King René’s Daughter (Thanhouser, 1913)
Just after her birth, Iolanthe (Maude Fealy) is engaged to Tristan (Harry Benham) as a political alliance between her father, King René (Robert Broderick), and his father, Count de Vaudemont (Leland Benham?). Shortly thereafter, a fire breaks out in the palace. Iolanthe is rescued, but is for whatever reason now blind. Ebn Jahia (David H. Thompson), Moorish mystic, divines her future and says that, so long as she never knows that she cannot see, her vision will return on her sixteenth birthday.
Iolanthe is raised in isolation, hidden away in a small cottage inside a walled garden. She and Tristan have never met. As the scheduled wedding date approaches, Tristan — “hating the woman he has never seen” — runs away. He finds his way into the garden and discovers Iolanthe without realizing who she is. Tristan falls in love with Iolanthe and begs King René to break the engagement to his daughter so that he might marry her. King René reveals that Iolanthe is his daughter.
Iolanthe’s nurse (Mrs. Lawrence Marston) is worried that Tristan gave away Iolanthe’s blindness and that now she will never see again. Tristan did figure it out after Iolanthe was unable to distinguish a white rose from a red one, but he also figured out that Iolanthe apparently didn’t know that she couldn’t see and did not say anything about it. At the end of day on her sixteenth birthday, Iolanthe recovers her vision and everyone lives happily ever after.
There are subplots I’m not super clear on and details that seem to be relevant but damned if I can tell you why. The film is based on Henrik Heri’s then-popular stage play Iolanthe (unrelated to the Gilbert and Sullivan opera of the same title). Contemporary audiences would probably have been more familiar with the source material than I am and would know the answers to some of my questions, like is Ebn Jahia a villain? and is there some conspiracy to keep Iolanthe blind? and wait, who’s that other guy with the beard?
It’s shot on the same locations as the earlier Thanhouser film Romeo and Juliette (1911) and also shares some of its sets, but they’re still impressive here. The costumes are splendid taken on their own merit, but if I didn’t know the film was set in France, I would have guessed from the clothes that we were in Scotland. Almost the whole film is composed of medium-close shots that, compositionally, aren’t too interesting, but it’s decently edited together. The first reel is rather drawn-out, but the pacing improves tremendously in the second and third.
I don’t know. It isn’t bad, and I wouldn’t avoid watching it again, but I don’t think I’d strongly recommend it.
My rating: Meh.