Ethel Marsham (Norma Talmadge) lives in a state of “genteel poverty” with her parents. She’s in love with Cyril Moffat (Frank O’Neil), but he’s a poor man himself and her parents (James Lackaye and Florence Radinoff) are depending on Ethel marrying into wealth.
(I’m much more used to seeing Frank O’Neil in blackface. I didn’t recognize him at all with his natural skin tone and hair.)
James Greythorne (Van Dyke Brooke), Father’s old schoolmaster, has made a fortune abroad and is returning to America with the aim of settling down. He’s just the man Ethel’s parents are looking for. Ethel reluctantly agrees to marry him, but Greythorne isn’t blind and he realizes that her heart belongs to another.
Greythorne declares to Father that, on second thought, he’s much too old to marry his daughter, but he hopes that he’ll look favorably on his recently (very recently) adopted son and heir instead. He ushers him in and who should it be but Cyril.
The scenario is credited to W.A. Tremayne, who wrote for a large number of Vitagraph films as well as for the stage, but I couldn’t shake the feeling that the story seemed familiar as I was watching it. And then it hit me: Edward Bulwer-Lytton’s 1846 novel Lucretia. I wouldn’t go so far as to say it’s based on Lucretia, not even loosely, but it borrows some of its larger themes and a few specific situations, particularly the female lead hiding a message for her forbidden lover in the hollow of a tree at the edge of her parent’s land, which is lifted wholesale from Bulwer-Lytton.
Of all the pioneering studios, I like the films of Vitagraph most of all and I’ve seen a large number of them. When watching one, I like to play a little side game of connecting the props it uses to other Vitagraph films. In An Old Man’s Love Story, I noticed that the pergola in the Marsham’s backyard was previously used as the entrance to Vauxhall in Vanity Fair (1911), the rustic outdoor seating was used again in A Florida Enchantment (1914), and the tea set I believe is the same one seen in Fox Trot Finesse (1915).
The editing is crude and jumpy. There’s too much reliance on titles to move the plot. The lighting in the interiors is all overhead carbon arc or mercury vapor lamps, which is quite unflattering to the actors, but the outdoor scenes shot in natural light are much nicer. The set decoration is the usual for Vitagraph films of this vintage — namely, if one chair is good, then a dozen are surely better. It’s amazing the cast could navigate the maze of furniture squeezed onto every set. I don’t know who the cinematographer was, but they seemed to have an aversion to wide-angle lenses. Even for the exteriors, there’s nothing wider than a medium shot. Perhaps the aim was to make the story seem more intimate, but to me, it just feels claustrophobic.
Did I like it? Eh… my first impression was favorable, but after rewatching it to write this review and paying closer attention to the details, I have to say that it’s overall quite crudely put together. It’s a good story and well acted, Van Dyke Brooke’s performance being the stand-out, but I don’t think that’s enough to raise it any higher than…
My rating: Meh.