Stella Maris

Mary Pickford (as Stella Maris) is a beautiful, but bedridden, paraplegic; she "has been tenderly shielded from all the sordidness and misery of life." Ms. Pickford (as Unity Blake) is, also, "another little prisoner of fate, 'The Ugly Duckling' of a London orphanage." Pickford's "Stella" lives luxuriously, with Aunt Ida Waterman (as Lady Blount) and Uncle Herbert Standing (as Sir Oliver Blount). Dashing cousin Conway Tearle (as John Risca) is a gentleman caller, and future love interest. Mr. Tearle is rather unfortunately married, however, to alcoholic Marcia Manon (as Louisa Risca). Ms. Manon visits the London orphanage, and espies Pickford's "Unity". Apparently, she has arranged to adopt "Unity" as a servant (should the waif be able to find her way to Manon's home). Upon arrival, "Unity" is treated as a slave; and, after nearly beating "Unity" to death, Manon lands herself in the pokey. Soon, Tearle is left responsible for "Stella" and "Unity"; and, both of Pickford's crippled women fall in love with him. Who will he choose?

The predictable "Stella Maris" story is somewhat poorly told. The events, and time frames given, make for an incredibly disjointed storyline. If only events were more fully explained; for instance, how is it that "Unity" is adopted (or, re-adopted?), hidden from her lovely lookalike's open portals for so long, and gets romantic with her adopted father? And, he, remember, is still married, and courting his cousin? Perhaps, the confusion could be ended with a re-fashioning of the film's title cards. Small details, like the spelling of characters' names, are likewise inconsistent. It's odd that an otherwise obviously fine production should suffer from more than a few distractions.

"Stella Maris" is, however, redeemed by its incredible performances; particularly those essayed by Pickford and Manon. Pickford's "Unity Blake" is utterly riveting; and her "Stella Maris" is no slouch, either. The contrasting roles, directed by Marshall Neilan, really allow Pickford to show her incredible prowess as an actress, rather than as a personified "star". It may be true that Pickford was able to play "Unity" without repercussion, because audiences could also have her lovely, curled "Stella". She is so good that an unenlightened viewer (who misses an occasional title card) may not believe Pickford was playing both roles. Pickford delivered many fine performances, but "Stella Maris" may be THE one to show a Pickford detractor. Certainly, Mary Pickford was a 1918 "Best Actress", for her dual role; and Marcia Manon's addicted, sadistic wife was the year's "Best Supporting Actress".

********* Stella Maris (1/21/18) Marshall Neilan ~ Mary Pickford, Conway Tearle, Marcia Manon, Ida Waterman

This is a fine old silent melodrama with an outstanding dual performance by Mary Pickford, certainly one of her greatest accomplishments. The story itself is quite good, and the rest of the cast is solid as well, but it is Pickford who holds your attention from start to finish with a wonderful portrayal of two very different characters.

Both of her characters are wonderful creations, and Pickford's portrayals bring both of them to life convincingly and memorably. Stella and Unity have vastly different appearances, life experiences, and personalities, and Pickford even gives them distinctive mannerisms and expressions. This allows the story to bring them together seamlessly in a plot that itself offers good, thoughtful drama and some good comic moments as well. You quickly come to care for both Stella and Unity in different ways, and feel for them as they learn some often difficult lessons about life.

While probably little-known today, "Stella Maris" is a terrific movie, one of the best of its era. If you enjoy silent films, you'll probably find it well worth the trouble to track down.

If you are not familiar with silent films, and not likely to see many of them, see this. It is one of the best.

I have the following reasons for putting this film on my top ten silent films: 1. Mary Pickford plays two completely different characters, both excellent performances. 2. Coming out in 1918, at the time of WWI, this film has the poignant subject matter of a girl sheltered from awareness of the cruelty of the world, who later discovers the truth about war and poverty and violence.

In less than an hour and a half, we see the joy of love and the pain of human existence. An existential nutshell... Enjoy....

Mary Pickford would likely have won that year. If you didn't know that Stella Maris and Unity Blake were played by the same actress, you probably would not guess that they were. Stella Maris has been paralyzed her entire life. Fortunately, her family is wealthy so they can give her the best of care. However, she is still bedridden. Her relatives feel so sorry for her that they keep all bad news from her, and with her only seeing the beauty of nature visible from the spectacular view of her bedroom window, and with her only encountering the kind souls that enter the world that is her room, she has grown to young womanhood knowing nothing of the ugliness of life.

In contrast, Unity Blake is an orphan at an orphanage and is a very plain girl on top of everything. Louisa Risca, a drunken woman with a drug habit to boot, adopts Unity as a servant girl who won't/can't complain about her habits. It's quite touching when Unity first thinks she's getting a mother and instead realizes that instead she is just a servant, and an indentured one at that. The common thread between Unity's and Stella's very different worlds is John Risca (Conway Tearle), husband of Louisa and frequent visitor of Stella Maris. At the insistence of Stella's aunt and uncle, John has never told Stella that his wife is an addict or that he is even married for that matter.

One day, in a drunken rage, Louise beats Unity to the brink of death over a mistake the girl has made in doing the marketing. Not even John's connections can save Louise from doing three years in prison for this deed. Meanwhile, a prominent European surgeon restores Stella's ability to walk and she is now able to explore the world - the whole world - with all of its ugliness as well as its beauty. John Risca makes Unity his ward to compensate in his own way for what his wife has done. Thus Unity, for the first time, gets to see some of the beauty in life. Thus the worlds of these two girls collide with very interesting and powerful results - I'll let you watch and see what happens.

This is very sophisticated story-telling and acting for a 1918 film. If you are disappointed at all, please remember this film was made just three or so years out from a time when comedy mainly consisted of pants kicking fests and drama of maidens being tied to railroad tracks. Of course the greatness of this film lies not only in Mary Pickford's convincing portrayal of two very different people, but in Frances Marion's adapted screenplay, Ms. Marion being one of the great writers for the screen in the silent and early sound eras.

STELLA MARIS has got to be one of the great silent films. Superstar Mary Pickford plays two roles in this seemingly sentimental tale (but it's not). She plays the lovely but crippled Stella Maris, whose family works hard to hide the ugliness of life from. She is shielded from the world because she is crippled. But of course her family doesn't do her any real favors. Eventually Stella is able to walk, and she discovers the horrors of war and crime and poverty by herself.

Pickford also plays Unity Blake, a homely and misshapen orphan who is taken from the orphanage by a cruel and drunken woman (Marcia Manon) who eventually beats her and goes to jail. Sent back to the orphanage, Unity is "hired" by the cruel woman's husband (Conway Tearle), but he is enamored of beautiful Stella Maris.

Pickford is just plain brilliant in playing these two women (and yes they share a few scenes together). Stella is pretty much standard fare for Pickford: golden curls, white frilly dresses, etc. Unity is a marvel of invention with her crooked body, crooked smile, and long dark hair. It's hard to believe this is Mary Pickford.

The film itself uses the iris shot beautifully to show what characters are thinking. The fade outs are well done. The scenes where the two Pickford characters appear together are flawless. Of special note is a gorgeous shot of Unity approaching the camera for a closeup, but in the end only her eyes show up in a deep purple tinted scene.

The ending is haunting. Superb work.