Sapho

Poverty-stricken in nineteenth century Paris, flower salesgirl Pauline Frederick (as Fanny Legrand) is discovered for her extraordinary beauty, by sculptor Frank Losee (as Caoudal), and consequently becomes his model and mistress "Sapho". Ms. Frederick leaves Mr. Losee for poet John Sainpolis (as Dejoie), then falls in with engraver Pedro de Cordoba (as Flamant), before finally finding true love with student Thomas Meighan (as Jean Gaussin). However, Ms. Frederick's sordid past threatens their happiness...

By most accounts, this lost "Sapho" wasn't a very good adaptation of the frequently filmed Alphonse Daudet story, but Frederick and other members of the troupe were praised for their parts. "Variety" (March 16, 1917) said, "The public will be attracted in the hope that they are going to see something salacious, racy and with a dash of spice, but they are doomed to disappointment, for the picturization of Alphonse Daudet's famous Parisian courtesan is quite commonplace, for all the real thrills have been eliminated."

In "Moving Picture World" (March 24, 1917), George Blaisdell noted the outstanding work by Pauline Frederick and her four fine co-starring men, adding, "Hugh Ford has splendidly staged the production. He has reproduced the atmosphere of Paris of the period of today rather than of the time of the story. Mr. Ford has been at pains to bring out the lighter side of the drama, to leave covered as much as may be the sordid side; but he has banked strong on the dramatic situations of the denouement. It is all well done."

"Photoplay" (May 1917) columnist Julian Johnson wrote, "Miss Frederick is beautiful always, and quite thrilling when, as the model, there is more of her visible than even the sea shore sees in summer. Frank Losee, as the elderly sculptor who is her first patron and friend, John Sainpolis as Dejoie, Pedro DeCordoba as the forging clerk, and Thomas Meighan as the virile Jean, are excellently cast. The production is careful, the direction scholastic. 'Sapho' is perfect except that it has no life. The spirit, the soul, are lacking."

***** Sapho (3/11/17) Hugh Ford ~ Pauline Frederick, Thomas Meighan, Pedro de Cordoba, John St. Polis

The outstanding factor in the Famous Players adaptation of "Sapho" is the individual work of Pauline Frederick in the name role. Her interpretation of the famous heroine of Alphonse Daudet's classic is a thing of life. She has the fire, the abandon, the coquettish art of the young Frenchwoman who finds life pleasant, who makes what she believes to be love consecutively to the sculptor, the poet and the young man about town. And she possesses the depth of feeling to reveal to us the soul of the woman who comes in contact with the one man who in her world towers above all others, for whom she casts aside the luxuries bestowed by former favored suitors and elects to share with him a cottage in the country. "Sapho" is not a Sunday school tale. It is a psychological study of a type of womankind, a searching out of the heart of a woman. Sapho holds our attention if she does not win our sympathy as she transfers her affections even as she might change her garb, but there can be no question of her domination following the moment she finds herself. It is a worthy portrayal of an unworthy woman who turns straight. Frank Losee is Caoudal, the sculptor, who in the flower girl discovers more than the model he seeks. John Sainpolis is Dejoie, the poet of untender years who finds no difficulty in persuading Sapho to change her address. Pedro De Cordoba is Flamant, who for the love of Sapho commits forgery and loses his liberty and his mistress at the same time. Thomas Meighan is Jean Gaussin, the youth from the country, who not too late discovers he has loved unwisely and transfers back to the sweetheart of his childhood the affection that for a time had gone afield. It is a fine cast. Hugh Ford has splendidly staged the production. He has reproduced the atmosphere of Paris of the period of today rather than of the time of the story. Mr. Ford has been at pains to bring out the lighter side of the drama, to leave covered as much as may be the sordid side; but he has banked strong on the dramatic situations of the denouement. It is all well done. - The Moving Picture World, March 24, 1917