Nurse Marjorie | |
---|---|
Directed by | William Desmond Taylor |
Written by | Julia Crawford Ivers (adaptation, scenario) |
Based on | Nurse Marjorie by Israel Zangwill |
Starring | Mary Miles Minter |
Cinematography | James Van Trees |
Distributed by | Realart Pictures Corporation |
Release date |
|
Running time | 6 reels |
Country | United States |
Language | Silent (English intertitles) |
Nurse Marjorie is a 1920 American silent drama film directed by William Desmond Taylor and starring Mary Miles Minter. Based on a 1906 play, Nurse Marjorie, by Israel Zangwill, with a scenario by Julia Crawford Ivers, [1] it is one of approximately a dozen of Minter's films know to survive today, [2] and one of even fewer readily available for the general public to view. [3]
As well as being readily available to view, the plot is described in various film magazine summaries and reviews. [4] [5] [6] [7]
Lady Marjorie Killonan (Minter) is the headstrong Anglo-Irish daughter of the Duke and Duchess of Donegal. She has recently completed charitable work nursing the poor, but now intends to become a professional nurse to the rich. Her mother does not consider this an acceptable role for someone of her status, but her father is more supportive of her ambitions. In addition, her mother hopes to wed Marjorie to Lord Fitztrevor (Leigh), but a clearly disinterested Marjorie tells the lord that he must wait for her answer until she returns from her nursing work.
At the hospital, Marjorie's first two patients are Dick (Lee), a young orphan boy with a broken leg, and John Danbury (Fillmore), a Labour MP who has undergone an operation to correct a squint. Dick is smitten with Marjorie at first sight, but due to the homely nurse who attended to him before his operation, Danbury believes Marjorie to be exceedingly unattractive, and will not let her care for him. He quickly realises his error once his dressings are removed, and immediately falls in love with Marjorie, claiming that he is not yet fit to be discharged in a bid to spend more time in her company. He also becomes exceedingly jealous of the attention that Marjorie gives to his fellow patient, until he realises that this patient is a young boy and not a rival.
Before his is discharged Danbury proposes to Marjorie, but although she clearly returns his affections, she decides to test him first. She poses as the poor daughter of her old nurse Biddy O'Mulligan (Titus), who now runs a fish emporium. Even the sight of Marjorie frying fish in shabby clothes does not dissuade Danbury, although his parents attempt to buy off Marjorie, but when she tells him the truth about her parentage and status, her dishonesty causes him to end the engagement.
Shortly after this, Danbury is shot at a political rally and returns to hospital. When Marjorie reads of this, she rushes to his side to nurse him, rejecting Lord Fitztrevor in the process, and Danbury forgives her for her previous deception. This time it is Marjorie's mother who objects to her daughter's union with a Labour politician, but with a little persuasion from her father all doubts are overcome, and Marjorie and Danbury are free to wed.
The April 24th, 1920 edition of Motion Picture News lists a musical cue sheet for the film. [8]
The Trail of the Lonesome Pine is a 1923 American silent Western film directed by Charles Maigne and starring Mary Miles Minter. It was adapted by Will M. Ritchey from the play and novel of the same name by John Fox Jr. This was the second time that Maigne had directed Minter in an adaptation of a Fox novel, the first being 1920's A Cumberland Romance. This was Minter's final film; her contract with Paramount Pictures was not renewed, and she stated that she was "through" with films. As with many of Minter's features, The Trail of the Lonesome Pine is thought to be a lost film.
Periwinkle is a 1917 American silent film directed by James Kirkwood and starring Mary Miles Minter. It was based on the 1910 novel Periwinkle; an Idyl of the Dunes written by William Farquhar Payson. As with many of Minter's features, it is thought to be a lost film.
The Mate of the Sally Ann is a 1917 American silent comedy-drama film directed by Henry King and starring Mary Miles Minter. As with many of Minter's features, it is thought to be a lost film.
Beauty and the Rogue is a 1918 American silent comedy crime drama film directed by Henry King and starring Mary Miles Minter. It was filmed under the working title of "Mademoiselle Tiptoe," based on a story by Arthur Berthelet and adapted for the screen by Elizabeth Mahoney, who was the screenwriter for many of Minter's Mutual Film features. As with many of Minter's features, it is thought to be a lost film.
Powers That Prey is a 1918 silent comedy-drama film directed by Henry King and starring Mary Miles Minter, with whom King stated that he enjoyed working. The film is based on a story called Extra! Extra! by Will M. Ritchey, which was also the working title of the film. As with many of Minter's features, it is thought to be a lost film.
Judy of Rogue's Harbor is a 1920 American silent drama film directed by William Desmond Taylor and starring Mary Miles Minter. The film is based on the novel of the same name by Grace Miller White, with a scenario by Clara Beranger. It was produced by Famous Players–Lasky and distributed through Realart and Paramount Pictures. As with many of Minter's features, it is thought to be a lost film.
Dinty is a 1920 American silent comedy drama film written by Marshall Neilan and John McDermott specifically for Wesley Barry, a young actor known for his freckled complexion. Prominent among the supporting players were Colleen Moore, Marjorie Daw, Pat O'Malley, and Noah Beery.
All Souls' Eve is a 1921 American silent drama film directed by Chester M. Franklin and starring Mary Miles Minter. The film is based on the mystical 1920 Broadway play of the same name by Anne Crawford Flexner, with a story by Elmer Blaney Harris. Much was made of the film's use of double, triple and quadruple exposures to enable Minter to play two parts within the same scenes. As with many of Minter's features, it is thought to be a lost film.
Moonlight and Honeysuckle is a 1921 American silent romantic comedy film directed by Joseph Henabery and starring Mary Miles Minter and Monte Blue. It was adapted by Barbara Kent from the 1919 stage play of the same name by George Scarborough. As with many of Minter's features, it is thought to be a lost film.
South of Suva is a 1922 American silent drama film starring Mary Miles Minter and directed by Frank Urson. It was adapted by Fred Myton from a story by Ewart Adamson. As with many of Minter's features, it is thought to be a lost film.
Don't Call Me Little Girl is a 1921 American silent comedy film directed by Joseph Henabery and starring Mary Miles Minter. It was adapted by Edith Kennedy from the stage play "Jerry" by Catherine Chisholm Cushing. As with many of Minter's features, it is thought to be a lost film.
Her Winning Way is a silent comedy film directed by Joseph Henabery and starring Mary Miles Minter. The screenplay was written by Douglas Z. Doty, based upon the novel Ann Annington by Edgar Jepson and the play Ann by Lechmere Worrall. As with many of Minter's features, it is thought to be a lost film.
Tillie is a 1922 American silent drama film directed by Frank Urson and starring Mary Miles Minter. The scenario was written by Alice Eyton, based on the novel Tillie, the Mennonite Maid by Helen Reimensnyder Martin. Tillie reunited Minter with Allan Forrest, her most frequent leading man from her time at Mutual Film and the American Film Company, for the first time since their 1919 picture Yvonne from Paris. As with many of Minter's features, Tillie is thought to be a lost film.
Drums of Fate is a 1923 American silent drama film directed by Charles Maigne and starring Mary Miles Minter. It was adapted by Will M. Ritchey from the novel "Sacrifice" by Stephen French Whitman. It was also referred to as "Drums of Destiny" in some promotional material. As with many of Minter's features, it is thought to be a lost film.
Jenny Be Good is a 1920 American silent romance drama film directed by William Desmond Taylor and starring Mary Miles Minter, based on a novel by Wilbur Finley Fauley and adapted for the screen by Julia Crawford Ivers. It is the last of Minter's films to also feature her older sister Margaret Shelby in a supporting role. As with many of Minter's features, it is believed to be a lost film.
A Cumberland Romance is a 1920 American silent drama film written and directed by Charles Maigne and starring Mary Miles Minter and Monte Blue, based on the 1899 novel A Mountain Europa by John Fox Jr. Maigne also wrote the screenplay. It is one of approximately a dozen of Minter's features still known to survive today.
Eyes of the Heart is a 1920 American silent crime film directed by Paul Powell and starring Mary Miles Minter. It was adapted by Clara Genevieve Kennedy from the story "Blindness" by Dana Burnet, published in the Ladies Home Journal. As is the case with many of Minter's features, it is thought to be a lost film.
Sweet Lavender is a 1920 American silent drama film directed by Paul Powell and starring Mary Miles Minter. The scenario was adapted by Beulah Marie Dix from the 1888 play of the same name by Arthur Wing Pinero. Like many of Minter's features, it is thought to be a lost film.
The Little Clown is a 1921 American silent comedy film directed by Thomas N. Heffron and starring Mary Miles Minter, adapted by Eugene B. Lewis from a comedy play by Avery Hopwood. It is one of approximately a dozen of Minter's films which still survive today. A copy of the film was found in the Dawson Film Find in 1978 - although other copies survived in various holdings - and a few brief frames from this copy can be seen in 2016 documentary Dawson City: Frozen Time.
Yvonne from Paris is a 1919 American silent comedy film directed by Emmett J. Flynn and starring Mary Miles Minter, Allan Forrest, and Vera Lewis. It was Minter's last film with the American Film Company; she signed a contract with Realart, part of Famous Players–Lasky, in June 1919.