The Carpet from Bagdad | |
---|---|
Directed by | Colin Campbell |
Written by | Harold MacGrath |
Based on | The Carpet from Bagdad by Harold MacGrath |
Starring | |
Production company | |
Distributed by | V-L-S-E, Incorporated |
Release date |
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Running time | 5 reels [1] |
Country | United States |
Language | Silent (English intertitles) |
The Carpet from Bagdad is a 1915 American silent adventure film directed by Colin Campbell and based on Harold MacGrath's 1911 eponymous novel. In the story, Horace Wadsworth (played by Guy Oliver), one of a gang of criminals planning a bank robbery in New York, steals the titular prayer rug from its Baghdad mosque. He sells the carpet to antique dealer George Jones (Wheeler Oakman) to fund the robbery scheme. But the theft places both men and Fortune Chedsoye (Kathlyn Williams), the innocent daughter of another conspirator, in danger from the carpet's guardian.
Marketing for the film included a media tour of part of the set and an invitation-only screening sponsored by the publisher of MacGrath's book. The Carpet from Bagdad was released on May 3, 1915 to mostly positive reviews. Many praised the tinted desert scenes and realistic Middle East imagery, although some felt the scenery overshadowed the characters. The film is now mostly lost, although one badly damaged reel was salvaged in 1982 from the RMS Lusitania. The ship was torpedoed and sunk by an Imperial German Navy U-boat during the First World War on 7 May 1915.
Horace Wadsworth, disinherited brother of New York banker Arthur Wadsworth, joins a gang of international criminals. He plots to rob his brother's bank by constructing a tunnel from the nearby home of antique dealer George Jones, who is currently on a trip to Cairo to purchase antique rugs. Horace follows him there, and, learning of the Sacred Carpet of Bagdad, joins the caravan of its sworn guardian, Mohamed. Meanwhile, Horace's confederates Major Callahan and Mrs. Chedsoye arrive in Cairo along with Mrs. Chedsoye's daughter, Fortune, who is unaware of her mother's illicit activities.
When the criminals meet with Jones in Cairo, Jones becomes enamored of Fortune. Horace steals the Sacred Carpet from Mohamed's mosque and sells it to Jones to fund the robbery plan. Fortune, becoming suspicious of her mother and the surrounding events, steals the prayer rug from Jones and hides it in her mother's effects. Unable to locate the stolen carpet, Mohamed kidnaps Horace, Jones, and Fortune. Meanwhile, Mrs. Chedsoye and Major Callahan return to New York, where a fourth member of the conspiracy, Wallace, has acquired forged paperwork to gain access to the Jones residence.
The captives escape from Mohamed's planned torture and flee to Damascus. Horace immediately returns to New York to rejoin his compatriots. Fortune and Jones, who have fallen in love, also travel back to New York. Once there, Jones learns of the forgery, and returns home to confront the gang, who still have the Sacred Carpet and who have completed their tunnel into the vaults of Arthur Wadsworth's bank. Sympathetic to Horace after their shared experiences, Jones offers the robbers a two-hour lead before he notifies the police, but keeps the prayer rug. Meanwhile, Mohamed resigns himself to the loss of the carpet. [1] [2]
The Carpet from Bagdad is a film adaptation of Harold MacGrath's 1911 novel of the same name. [4] MacGrath was a well-traveled, successful author of over a dozen novels. [5] Stories with Asian settings were in vogue at the time, [6] and both The Carpet from Bagdad and the Selig Polyscope Company's previous adaptation of MacGrath's work, the popular serial The Adventures of Kathlyn , are set in part in the Near East. [7]
Director Colin Campbell was concerned with the film's realism. He had sets constructed to represent the streets of Cairo, Baghdad, and Damascus, [8] and used animals from the Selig Zoo. [4] Scenes set in the Arabian and Sahara Deserts were filmed in the deserts of California. [8] [9] The Arab characters' clothing was genuine, and the actors portraying those roles were required to remain dressed in-character throughout the several days of desert filming to ensure they would appear more natural in the imported garments. [9] Much of the film, including the desert scenes, was hand tinted. [10] Production costs exceeded $35,000, [11] the equivalent of over $1,100,000 in present-day terms. [12]
William Selig aggressively promoted his studio and its films. One such promotion, a March 1915 media tour of the unfinished Selig Zoo, allowed reporters a visit to The Carpet from Bagdad's bazaar set. [13] This was the first film distributed by V-L-S-E, [14] a conglomerate created by Vitagraph Studios, Lubin Manufacturing Company, Selig Polyscope Company, and Essanay Studios. [15] The film was also screened in a special invitation-only showing at the art gallery of the Bobbs-Merrill Company, publisher of MacGrath's novel, an early example of a sponsored exhibition of a feature film in a location other than a theater. [16]
The Carpet from Bagdad was released on May 3, 1915, [1] to generally positive reviews. Variety described it as a more interesting film than its title might imply, with "perfect direction and faultless acting". [4] Peter Milne of Motion Picture News approved of Campbell's attention to detail and realism. [7] The Moving Picture World's James McQuade praised the film's acting and special effects. Although he believed an unfilmed Cairo scene made Mohamed's motivations easier to understand in the novel, he considered the film a "close second" to Campbell's 1914 The Spoilers . [17] Clarence Caine's review in Motography also compared The Carpet from Bagdad favorably to The Spoilers, but he viewed the film's color as its best feature, especially the closing scene of a desert sunset. [10] Several newspaper reviews also complimented the tinted desert scenes, [18] [19] with New Zealand's The Levin Chronicle describing the film as "a gem of the cinematographer's art" for its use of color. [20] The Chicago Daily Tribune offered a more mixed opinion on the film; reviewer Kitty Kelly found it difficult to care about characters "overshadowed by environment", and considered the 35-year-old Williams unconvincing as an ingenue. [21]
Despite the acclaim from many contemporary reviewers, modern scholars of the silent film era would not consider The Carpet from Bagdad a masterpiece, according to the British Film Institute's Clyde Jeavons. [22]
Like many films from the silent era, The Carpet from Bagdad was believed completely lost, but in 1982 an Oceaneering International diving expedition salvaged a number of artifacts from the wreck of the RMS Lusitania, [23] including one reel of film. With the assistance of BBC technical advisor Laurie Ward, the BFI National Archive was able to recover images from several feet of the film, sufficient to identify the title, but not to restore any of the film to projectable condition. [22] Although there was a theater on Lusitania, this print of The Carpet from Bagdad was probably being taken to London as a film distributor's preview, as was the case for several other films known to have been on board. [24]
William Nicholas Selig was a vaudeville performer and pioneer of the American motion picture industry. His stage billing as Colonel Selig would be used for the rest of his career, even as he moved into film production.
The Selig Polyscope Company was an American motion picture company that was founded in 1896 by William Selig in Chicago, Illinois. The company produced hundreds of early, widely distributed commercial moving pictures, including the first films starring Tom Mix, Harold Lloyd, Colleen Moore, and Roscoe "Fatty" Arbuckle. Selig Polyscope also established Southern California's first permanent movie studio, in the historic Edendale district of Los Angeles.
Harold A. Lockwood was an American silent film actor, director, and producer. He was one of the most popular matinee idols of the early film period during the 1910s.
Lester H. Cuneo was an American stage and silent film actor. He began acting in theatre while still in his teens. His name remains associated with the history of Western film.
The Adventures of Kathlyn (1913) is an American motion picture serial released on December 29, 1913, by the Selig Polyscope Company. An adventure serial filmed in Chicago, Illinois, its thirteen episodes were directed by Francis J. Grandon from a story by Harold MacGrath and Gilson Willets and starred Kathlyn Williams as the heroine. Harold MacGrath's novel of the same title was released a few days later in January 1914, so as to be in book stores at the same time as the serial was playing in theaters.
Kathlyn Williams was an American actress, known for her blonde beauty and daring antics, who performed on stage as well as in early silent film. She began her career onstage in her hometown of Butte, Montana, where she was sponsored by local copper magnate William A. Clark to study acting in New York City. She later appeared in numerous films between 1910 and 1932 before retiring from acting. Williams died of a heart attack in Los Angeles at age 81.
Harold MacGrath was a bestselling and prolific American novelist, short story writer, and screenwriter. He sometimes completed more than one novel per year for the mass market, covering romance, spies, mystery, and adventure.
Edendale is a historical name for a district in Los Angeles, California, northwest of Downtown Los Angeles, in what is known today as Echo Park, Los Feliz and Silver Lake. In the opening decades of the 20th century, in the era of silent movies, Edendale was known as the home of most major movie studios on the West Coast. Among its many claims, it was home to the Keystone Cops, and the site of many movie firsts, including Charlie Chaplin's first movie, the first feature-length comedy, and the first pie-in-the-face. The Edendale movie studios were mostly concentrated in a four-block stretch of Allesandro Street, between Berkeley Avenue and Duane Street. Allesandro Street was later renamed Glendale Boulevard.
The Selig Zoo in Los Angeles, California was an early 20th century animal collection managed by Col. W.N. Selig for use in Selig Polyscope Company films and as a tourist attraction. Over the years the zoo was also known as the Luna Park Zoo, California Zoological Gardens, Zoopark, and, eventually, Lincoln Amusement Park. After Westerns, "animal pictures" were Selig's second-most popular genre of film product.
Charles Clary was an American actor of the silent film era. Clary appeared in more than 200 films between 1910 and 1930. He was born in Charleston, Illinois and died on his 58th birthday in Los Angeles, California. He worked for Selig and the Fine Arts Film Company. Before Clary joined Selig, he "played stock companies and road shows all over America".
George Guy Oliver was an American actor. He appeared in at least 189 silent film era motion pictures and 32 talkies in character roles between 1911 and 1931. His obituary gives him credit for at least 600. He directed three films in 1915.
Betty Harte (1882–1965) was a leading lady during the heyday of the silent film era, starring in nine feature films and 108 short films. She is credited with writing four screenplays. She chose Betty Harte as her professional name in honor of her favorite author, Bret Harte.
The Million Dollar Mystery is a 23-chapter film serial released in 1914, directed by Howell Hansel, and starring Florence La Badie and James Cruze. It is presumed lost.
Otis Bryant Thayer was an American actor, director, producer and owner of silent era film production companies. Before his film career he was a stage actor and operatic comedian. By 1910, he piloted the Chicago based Selig Polyscope Company filming westerns on locations at Canon City. He founded the Art-O-Graf film company of Denver in 1919. And by 1920, he was the president of the "Superior Foto Play Company."
Louella Maxam was an American actress who performed in over 50 silent films from 1913 until 1921. She was often cast in comedies and Westerns, most notably being identified in 1915 as a "leading lady" in a series of shorts starring Tom Mix, who during the silent and early sound eras was promoted as the "Cowboy King of Hollywood". Later, she was a female lead in other films for various studios, including several productions featuring another early cowboy star, Franklyn Farnum. Following her departure from acting, Maxam worked in county and municipal government in California, including service with the Burbank police department, where in 1943 she was hired as that city's first "police woman".
William Robert Daly was an actor and director of silent films.
The Way of the Eskimo is a lost 1911 American silent drama film that portrayed the Inuit or "Eskimo" culture of northeastern Canada along the coast of Labrador. Directed by William V. Mong and produced by Selig Polyscope Company, this "photoplay" was based on a love story written by Columbia Eneutseak, a young Inuit woman who was born in the United States in 1893, in the "Esquimaux Village" exhibition at the World's Columbian Exposition in Chicago. She, fellow Inuit performer Zacharias Zad, and William Mong costarred in the film with a supporting cast that included members of Columbia's immediate family and other Inuit players. While this production was promoted in 1911 as being filmed on location in northern Canada, it was actually shot that year at the snow-covered port town of Escanaba, Michigan, along a frozen stretch of shoreline of Little Bay de Noc, which connects to Lake Michigan.
Miracles of the Jungle is a 1921 American adventure film serial, directed by James Conway and E. A. Martin, in 15 chapters, starring Ben Hagerty, Wilbur Higby, and Al Ferguson. A co-production by Selig Studios and Warner Bros., it was distributed by the Federated Film Exchanges of America; it originally ran in U.S. theaters between May 24 and August 24, 1921.
Goldie Colwell was an American film actress and journalist who starred in more than 80 films during Hollywood's silent era. She was Tom Mix's leading lady in many Selig westerns.
Otto F. Breitkreutz, universally known as Big Otto, was an American circus man and film producer during the early 20th century. He was called Big Otto because he weighed somewhere between 350–480 lb (160–220 kg) and was "big in heart and policy."