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THE MOTION PICTURE DIRECTOR
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the film career of the greatest star of his day, Maurice Costello. In “Bride of the Storm” he had the pleasure and satisfaction of helping launch the promising career of that favorite’s remarkable daughter, Dolores Costello. Her rare type of wistful, spiritual beauty was ideally suited to the characterization of Faith Fitzhugh, the little Maryland girl, who shipwrecked off
Pag lighthouse in the Dutch West Indies, becomes the slavey of the three keepers. In a short glimpse of her father’s mansion in Baltimore at the beginning of the picture, and in the shipwreck and rescue by the keepers, Julia Swayne Gordon is seen as Faith’s mother.
Tyrone Power as Jacob Kroom, the hook-handed grandfather in charge of the light, Sheldon Lewis as Piet, his crookedbacked monster of a son, and Otto Mattieson as Hans, his idiot grandson, form a particular sinister and repellant trio. Aware of Faith’s identity and comprehending that she comes from people of means they keep her so that they may marry her to Hans and come into possession of her property.
Faith arrives at womanhood ignorant of all but the bleak cramped world of the lonely light house isolated on tiny, rocky Pag island, the memories of her earlier, happy life almost blotted out by the drudgery, hardship, and loneliness of her existence under the brutality and ignorance of her masters. Old Jacob regards her as a
heaven-sent bride brought by the storm for his grandson, whom he knows no woman would willingly have and this thought of marriage with Hans is a constant horror to her.
Then one day from the balcony of the lighthouse she sees a destroyer anchored a short way off and the sight of the American flag at its peak stirs old memories. Something wells up in her throat and she sings — “Maryland,” the words meaningless to her and garbled with Dutch which has replaced what little she knew of her native tongue. Dick Wayne, a young lieutenant played by John Harron catches a snatch of the song as he is coming up on the other side of the lighthouse and this and the hostile reticense of the Krooms, who deny the presence of a woman piques his curiosity so that he returns another time to find Faith alone on the beach.
As he maneuvered for a landing in a small rowboat, a breaker neatly capsized it and drenched him. Scrambling ashore to where Faith has been watching the accident (Continued on Page 65)
Dolores Costello and Johnny Harron, the lovers, about whom the maelstrom of a gripping, dramatic plot whirls, with malevolent intensity