Painted Daughters

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Painted Daughters
Directed byF. Stuart-Whyte
Based on Florodora
StarringZara Clinton
Marie Lorraine
Cinematography Lacey Percival
Production
company
Australasian Films (Master Pictures)
Distributed byUnion Theatres
Release date
  • 23 May 1925 (1925-05-23)
Running time
6,000 feet (est.)
CountryAustralia
Languages Silent film
English intertitles
Budget£4,000 [1] [2]

Painted Daughters is a 1925 Australian silent film directed F. Stuart-Whyte. Only part of it survives today.

Contents

Plot

In England, Mary Elliott and Courtland Nixon are lovers and dancing partners in a stage show called Florodora. Mary leaves Courtland and marries a wealthy admirer, who soon goes bankrupt and kills himself, leaving Mary to raise their daughter, Maryon. Courtland beomes a successful businessman.

Maryon grows up to become a dancer. A theatrical press agent, Ernest, reunites the cast of Floradora and Courtland is reunited with Mary. There is a fire in which both Mary and Courtland are injured, but they survive and decide to get married. So too do Maryon and Ernest.

Cast

Production

The movie was the first in a series of films produced by Australasian Films and released through Union Pictures under the banner of "Master Pictures". It was part of an attempt by Australasian Films and Union Theatres, led by Stuart F. Doyle, to make world-class films for the international market. He ended up spending over £100,000 on developing a new studio at Bondi and making a series of features from 1925 to 1928. For this first movie, Australasian decided to import a director from overseas. [1]

F. Stuart-Whyte, a Scotsman who worked in Hollywood for fifteen years, including as assistant on Douglas Fairbanks Films, was hired. [3] He arrived in Sydney in November 1924 to commence pre-production. [4] [5]

The movie was shot in a studio at Rushcutters Bay in Sydney with former Hollywood star Louise Lovely assisting with screen testing. [6] The majority of cast and crew were Australian, [7] but the cast included British music hall star Peggy Pryde, who was then living in Australia. [8] Zara Fielding had been in Hollywood for four years. [9]

During production, a portion of the movie worth £600 was stolen from the production office at the studuo at Rushcutter's Bay. [10] Other accounts said 2,000 feet of footage. [11] The thief was revealed to be a small boy and the footage was returned. [12]

Filming took place through March and April 1923. [13] [14]

Reception

Box office

The movie was popular at the box office. The success of this and Sunrise (1926) prompted Australasian to announce they would make twelve new films over the next twelve months. [15] This did not eventuate however the company did make several more films.

The Bulletin reported the film "was a box-oflice success less because of its intrinsic merits, which were inconsiderable, than because the public is so hungry for Australian pictures that it is willing, at the moment, to temper justice with mercy; but that mood won’t last. Australian film-producers will have to go in for good Australian stories, settings and actors. People will soon turn away from cheap imitations of Hollywood stuff and unknowns who act as if they had St. Vitus’s dance." [16]

According to writers Brian Adams and Graham Shirley:

The film’s modest local success was probably due more to publicity than directorial skill... While Painted Daughters emerged as a passable programme picture, the incompatibility of its internationalism and a limited budget led Australasian to inject enough national sentiment into their subsequent films to appeal to the home market at the very least. [17]

Critical

According to Everyones "a clever plot formed a fitting medium to place before the public the Sydney girl in all her beauty and joyousness... As an example of Australian moving picture work, “Painted Daughters” takes a high place. The standard of production is excellent throughout, and special care has been taken to make the sub-titles artistic, bright, and in keeping with the best examples of this important branch of picture work." [18]

Another review in the same trade paper said:

With few exceptions the cast is composed of tyros, so that the work of the producer has been by no means a sinecure. However, he has done remarkably well with the talent at his disposal and has, furthermore, succeeded in giving us something different in the way of stories, allegorical embellishments, and ambitious presentation... Exhibitors should al-ways do their best to encourage and support local productions and in screening “Painted Daughters” they will add a further link to the chain of pretentious Australian motion pictures. [19]

The Bulletin said the film "is pretty bad, but no worse than many imported films." [20] Another writer in the same magazine said "too many Australian films have been idiotic imitations of Hollywood in its most fatuous mood. No teacher, however patriotic, could recommend his pupils to see Painted Daughters." [21]

Triad magazine said the film:

By no means be called a success, but it is in many ways an improvement on former Australian productions. Many of the crudities of directorship are missing, but the acting retains its unfinished and amateurish character. Nina Devitt, playing the daughter of an old stage favourite, is sempiternally conscious of the camera, and the others partake of the same incompetency. Surely there are screen aspirants with greater talent than these have. [22]

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References

  1. 1 2 Andrew Pike and Ross Cooper, Australian Film 1900–1977: A Guide to Feature Film Production, Melbourne: Oxford University Press, 1998, 125-126.
  2. ↑ "From the Departments of Film Publicity", Everyones., 4 (272 (20 May 1925)), Sydney: Everyones Ltd, nla.obj-560031663, retrieved 1 March 2024– via Trove
  3. ↑ "The "Herald" Sees it Through!", Everyones., 4 (264 (25 March 1925)), Sydney: Everyones Ltd, nla.obj-559990411, retrieved 1 March 2024– via Trove
  4. ↑ The Film Industry Sydney Morning Herald 17 March 1925 page 8 accessed 9 December 2011
  5. ↑ "The Future of Australian Motion Picture Production.", Everyones., 4 (257 (4 February 1925)), Sydney: Everyones Ltd, nla.obj-575220907, retrieved 1 March 2024– via Trove
  6. ↑ Amusements Sydney Morning Herald 15 January 1925 page 6 accessed 9 December 2011
  7. ↑ Painted Daughters Adelaide Advertiser 25 February 1925 page 16 accessed 9 December 2011
  8. ↑ Pryde on the IMDb
  9. ↑ "Australian Movie Land Behind the Scenes in Studio and on Location", The Australian Woman's Mirror, 1 (11), Sydney: The Bulletin Newspaper, 3 February 1925, nla.obj-412188540, retrieved 1 March 2024– via Trove
  10. ↑ Film Stolen The Brisbane Courier 3 March 1925 page 8 accessed 9 December 2011
  11. ↑ "Australasian Films Lose Negative.", Everyones., 4 (261 (4 March 1925)), Sydney: Everyones Ltd, nla.obj-559978889, retrieved 1 March 2024– via Trove
  12. ↑ "Stolen Film Recovered.", Everyones., 4 (263 (18 March 1925)), Sydney: Everyones Ltd, nla.obj-559984857, retrieved 1 March 2024– via Trove
  13. ↑ "From The Department of Film Publicity", Everyones., 4 (262 (11 March 1925)), Sydney: Everyones Ltd, nla.obj-562043435, retrieved 1 March 2024– via Trove
  14. ↑ "Stuart Whyte in Action.", Everyones., 4 (267 (15 April 1925)), Sydney: Everyones Ltd, nla.obj-560002945, retrieved 1 March 2024– via Trove
  15. ↑ Australian Films Sydney Morning Herald 30 September 1925 page 15 accessed 9 December 2011
  16. ↑ "Poverty Point", The Bulletin, 46 (2384), Sydney, N.S.W: John Haynes and J.F. Archibald, 22 October 1925, nla.obj-633447752, retrieved 1 March 2024– via Trove
  17. ↑ Shirley, Graham; Adams, Brian (1983). Australian cinema, the first eighty years. p. 89.
  18. ↑ "Advertising", Everyones., 4 (273 (27 May 1925)), Sydney: Everyones Ltd, nla.obj-560038273, retrieved 1 March 2024– via Trove
  19. ↑ "SYDNET'S RECENT FILM RELEASES", Everyones., 4 (273 (27 May 1925)), Sydney: Everyones Ltd, nla.obj-560038808, retrieved 1 March 2024– via Trove
  20. ↑ "SUNDRY SHOWS.", The Bulletin, 46 (2376), Sydney, N.S.W: John Haynes and J.F. Archibald, 27 August 1925, nla.obj-633054596, retrieved 1 March 2024– via Trove
  21. ↑ "Poverty Point", The Bulletin, 46 (2393), Sydney, N.S.W: John Haynes and J.F. Archibald, 24 December 1925, nla.obj-699391096, retrieved 1 March 2024– via Trove
  22. ↑ "THE SHADOW SHOW", The Triad: A Journal Devoted to Literacy, Pictorial, Musical and Dramatic Art, 10 (9), Sydney, 1 July 1925, nla.obj-1259573924, retrieved 1 March 2024– via Trove
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