Tess of the Storm Country (United Artists) (1922)

Advance Stories With Cast and Synopsis CAST AND SYNOPSIS fop MARY PICKFORD 1b “TESS OF THE STORM COUNTRY” From the Novel by Grace Miller White and Its Dramatization by Rupert Hughes; by Arrangement with Adolph ZuJkor; Direction by John S. Robertson; Photography by Charles Rosher. Released by United Artists Corporation. THE CAST Tessibel Skinner.Mary Plckford Frederick Graves.Lloyd Hughes Teola Graves.Gloria Hope Elias Graves.David Torrence Daddy Skinner.Forrest Robinson Ben Letts.Jean Hersholt Ezra Longman.Danny Hoy Dan Jordan.Robert Russell Old Man Longman.. Saville Mrs. Longman.Mme. de Bodamere m . SYNOPSIS Tessibel Skinner lives with her father in the “squatter” village, a small cluster of shanties on the shore of a lake. The “squatters" are her people and she fights for them when Frederick Graves, Sr., whose mansion tops the hill, tries to evict them as a nuisance. Graves’ son, Fred home from college, is not in sympathy with his father for Tess, “ B V t u i of ^Sged and dirty clothes, captivates him when, single-handed, she fights the game wardens sent by Graves, Sr., to burn the nets that bring these poor fisherfolk their livelihood. The squatters go fishing with a net which Tess has saved from the wardens. Dan Jordan, a young lawyer who wishes to marry Graves’ daughter, Teola, leads the wardens against them. In the skirmish Dan is killed. Tess’ father, Daddy Skinner, is arrested charged with the crime which really was committed by Ben Letts. The only two persons who know the truth about Jordan’s death are Ben Letts and Ezra Longman. Ezra, terrified by Ben, promises not to tell on condition that Ben stay away from Tess, with whom they both are in love. In a strong scene Graves tells Tess he knows her father is guilty and declares he will bring him to justice. Tess, in a burst of anger, drives him out of the house. In her despair she turns to God, assured by Fred Graves that if she will pray and read her Bible her faith will free Daddy Skinner. Daddy Skinner is convicted by Graves’ evidence and Tess is torn from him. Before he goes back to college Fred goes to tell Tess that her father’s case will be appealed—and that he loves her. So Tess. her hope renewed and her faith transfigured by love, carries on. . Dan Jordan’s death has meant more than the loss of love to Teola Graves, for it has brought certain disgrace. In her father’s absence Teola attempts to drown herself but is rescued by Tess—and her baby Is born in Tess’ shanty home. Too weak to face her responsibility she plays on Tess’ love for Fred and leaves the infant for Tess to care for. under pledge of secrecy. ’ Teola takes milk to the baby till she becomes too ill to leave her home. Tess, in desperation, tries to steal milk from the Graves kitchen. Bhe is caught by Graves who feels that not only has she incited the squatters ’ to oppose him but has taken his son away from him. Tess bears the whipping he gives her without a murmur, begging to be allowed to keep the milk. In self-righteous anger Graves spills it on the floor and Tess is forced to return to Teola’s baby empty-handed The next day Fred returns for the Christmas holidays. He goes to Tess’ shanty home, finds the baby there and accuses Tess of being the waif’s mother. Tess keeps her promise to Teola and does not reveal the truth. Fred leaves her in a fury of anger and scorn. Ben, who has been watching Tess’ shack, and maddened by jealousy enters the cabin, determined that Tess shall belong to him. Ezra is found half-dead in the snow by- Fred and confesses that Ben has tried to kill him because he threatened to tell Tess that it was Ben and not her father who shot Jordan. Fred follows Ben to Tess’ shack and arrives just in time to save Tess from him. Fred confronts Ben and tells Tess of Ezra’s confession. In a furious fight Fred captures Ben and Tess turns to him in her gratitude but he spurns her coldly ’ Tess takes Teola’s dying child to the church to be baptized. When Graves attempts to prevent the ceremony she performs it herself finish¬ ing the baptism just as the child dies and Teola cries out in acknowl¬ edgement of her motherhood. Tess, her work finished, passes out of the church, oblivious even of Fred’s agony of contrition, for she cannot for¬ give him. Teola dies. Graves realizes that in her sacrifice for his daughter Tess had shown the true spirit of Christianity, while he has manifested a bigoted self-righteousness. He is overcome with remorse and shame Christmas day Tess is happy with Daddy Skinner freed, yet there is a sadness which she cannot conceal in the thought that she has lost Fred forever. But through the storm comes Graves and Fred to ask for Teas’ friendship and forgiveness and to give to Daddy Skinner a deed to the shack in which he lives. Fred does not dare to hope that Tess will ever feel the same toward him again, but Tess is too generous to harbor ill- feeling and with her usual ability in overcoming obstacles she auicklv finds the way to Fred’s embrace. M * PICTURE FANS HAVE GREAT TREAT COMING Mary Pickford’s New Version of "Tess of the Storm Country” Booked Here Devotees to the cinema art are go¬ ing to have the opportunity of seeing “Tess of the Storm Country” again and therein lies a tale of more than passing interest. In the first place, this was the pic¬ ture in which Mary Pickford scored one of those earlier big screen tri¬ umphs, which insured her immortal fame and inspired the populace of the whole country to proclaim her “America’s Sweetheart.” That was ^jfiust eight years ago, for this epochal photoplay had its inning in 1914. Now, in this 1922, in her new “Tess of the Storm Country,” a United Artists’ release, coming to The. . Theatre next ., Mary Pickford will be seen for a second time as Tess in an elaborated version of Grace Miller White’s cele¬ brated story. The “Queen of the Screen” re-created this lovable char¬ acter before the camera at the Pick- ford-Fairbanks studio at Hollywood and this notable revival is now being presented internationally. Although this particular story served to carry Miss Pickford to the foremost ranks of favorites among photoplayers, she had earned her rights to real stardom before its pre¬ sentation. In fact, she attracted wide attention when she made her debut on the speaking stage at the age of five years. Her first role was that of a boy, Little Ted, and she did this so well that at the age of eight she went on the road in “The Little Red School House” and a year later#was starred in “The Fatal Wedding,” in which she played the part of Jessie, the little mother. Not long after¬ ward she won the honor of originat¬ ing the part of Betty Warren in “The Warrens of Virginia,” a David Belasco proauction, which was this star’s first play on New York’s Broadway. After completing her contract with Mr. Belasco the lure of the movies « ained an upper hand, and, under the irection of David Wark Griffith, she made her first appearance on the screen, becoming a prime favorite from the inception. Her initial salary was $40 a week, but she was receiving $2,000 a week very soon afterward and, ever since she has been climbing steadily until today she is paid $10,000 a week. During the last year Miss Pick¬ ford has received thousands of re¬ quests from admirers to re-enact the beloved character of Tess and she has acceded to the wishes of her followers, being further actuated by a desire to improve upon her artistic achievement to such an extent as to make the characterization live. The version of 1914 was in five reels and it was played until all the “prints” were worn out. Now, with the improvements made in the film- making industry, it will be possible to preserve the new conception so that it may entertain generations of the distant future. MARY PICKFORD IN NEW-OLD PHOTOPLAY Presents Her Own 1922 Version of “Tess of the Storm Country” The greatest of importance attaches to the' announcement of the forth¬ coming showing in this city of Mary Pickford’s notable 1922 production of “Tess of the Storm Country,” which is announced as the feature attrac¬ tion next . at the . Theatre. This screen event marks a vital epoch in phoioplay history in¬ asmuch as it is the first instance in which a great star has resurrected from the past the picture which won her a permanent place in the photo¬ play hall of fame and produced it for a second time on an elaborated scale, taking advantage of all the progress the film-making industry has made in the intervening years. It was just eight years ago that Miss Pickford portrayed the lovable character of Tess before the motion picture camera and this artistic tri¬ umph of hers was so all-encompas¬ sing there is no way of determining how many millions of people in all the civilized nations of the world saw it. As a matter of fact, this photo¬ play was exhibited continuously until every print was worn out and the negative lost its power to reproduce. During the last two years Miss Pick¬ ford has been the recipient of thou¬ sands of requests to once more offer herself in this masterly story. Newspapers and magazines of many countries have joined in the clamor for this new production. As a con¬ sequence, “America’s Sweetheart” has responded by making a greatly im¬ proved version of the play. Critics everywhere declare it to be her most artistic achievement and the con¬ census of opinion seems to be that it will live through posterity as one of the foremost cinema classics of the first two decades of the new art. Miss Pickford in the role of Tess is said to be truly at her very best and her performance reveals the finished touches of artistry which is so distinctly her own. Undoubtedly most of her legions of admirers will silent drama. The supporting cast she has se¬ lected personally is most capable. Lloyd Hughes, who plays the leading male role cre¬ ated by the late Harold Lockwood, is especial¬ ly acceptable, while Gloria Hope in the part of Teola Graves wins her full share of sym¬ pathy. Noteworthy performances are given by Jean Hersholt, Forrest Robinson, Robert Rus¬ sell, David Torrence, Danny Hoy, Gus Saville and Mme. de Bodamere. John S. Robertson directed this revival with Shaw Lovett assisting. Elmer Harris adapted the piece from Grace Miller White’s famous novel. Frank Ormston fulfilled the duties of srt director brilliantly, the settings being un¬ usually realistic. The story unfolded in “Tess of the Storm Country” has to do with a group of fishermen who had “squatted” on lake-shore land belong¬ ing to a wealthy and tight-fisted man, whose stern efforts to evict the “intruders” form the crux of the conflict. Tess is the daughter of one of these fisherman and it is her winsome manner and rare beauty which inspires the son of the rich man to intercede in behalf of those his father would persecute. This complicates matters as does the advances of a villainous fishermen who seeks the girl for himself. A heart-touching self-sacrifice on the part of Tess saves the rich man’s daughter from disgrace and the ending is such as pleases everyone after the heroine has gone through all the agonies of having her father arrested and tried for murder. Few motion picture directors have followed their profession in as many different parts of the world as John S. Robertson, who directed Mary Pickford in her elaborate new pro¬ duction of “Tess of the Storm Coun¬ try,” a United Artists release coming next . to the . Theatre. Mr. Robertson has exerted his directorial influence over such stars as John Barrymore, Gareth Hughes, May McAvoy and Elsie Ferguson in pictures made in California and New York. He made another starring David Powell and Ann Forrest, in London, go¬ ing to France for many of the exteriors. Later he directed David Powell and Evelyn Brent in Spain, working six weeks in Seville and Car- monia. Besides, his voice had been heard through the megaphone in Mexico, Canada, Cuba and Belgium. In short, Mr. Robertson is what you would call a globe-trotting director. David Torrence, who has the~rol« of Elias Graves in Mary Pickford** new production of “Tess of the Storm Country,” a United Artists re¬ lease coming to the . Theatre next . j s a brother of Ernest Torrence, musical comedy star who startled the mo¬ tion picture world by' making hi* debut on the screen as the meanest villain ever portrayed in any pro¬ duction. David Torrence distinguished himself in a twenty-year service on the dramatic stage, his most out¬ standing achievement having been to remain with Maude Adams’ company for eight years