|The Constant Nymph|
|Directed by||Adrian Brunel|
|Written by|| Dorothy Farnum |
|Based on|| The Constant Nymph (novel) (1924 novel)|
by Margaret Kennedy
1926 play (Basil Dean)
|Produced by|| Michael Balcon |
|Starring|| Ivor Novello |
|Cinematography||David W. Gobbett|
|Distributed by||Woolf & Freedman Film Service|
|110 minutes (10,600 feet  )|
The Constant Nymph is a 1928 British silent film drama, directed by Adrian Brunel and starring Ivor Novello and Mabel Poulton. This was the first film adaptation of the 1924 best-selling and controversial novel The Constant Nymph by Margaret Kennedy and the 1926 stage play version written by Kennedy and Basil Dean.  The theme of adolescent sexuality reportedly discomfited the British film censors, until they were reassured that lead actress Poulton was in fact in her 20s.
Location filming took place in the Austrian Tyrol, and the film proved a commercial and critical success, being named the best British feature film of 1928.  Jo Botting of the British Film Institute notes: "The progression through the film is from light to darkness, from space to enclosure and from hope to despair." 
Young composer Lewis Dodd (Novello) travels to Austria to visit his mentor Albert Sanger (Georg Henrich). He meets Sanger's teenage daughters Tessa (Poulton), Antonia (Benita Hume), and Pauline (Dorothy Boyd) and Sanger's third wife Linda (Mary Clare), who does not appear to be liked by Sanger's daughters. The atmosphere is jovial and celebratory, until Sanger dies very suddenly.
Lewis contacts the girls' uncle in Cambridge, who comes to Austria accompanied by his daughter Florence (Frances Doble). After a whirlwind courtship Lewis proposes to Florence, who eagerly accepts his offer of marriage. Tessa is distraught at the news. It is decided that Tessa and Pauline will be sent to a boarding school in England. Meanwhile, Lewis and Florence attempt to settle down in London, but find that in the home setting things are very different and Lewis comes to feel trapped by the superficiality of London society and the realisation of his wife's ambitious, pushy nature.
Tessa and Pauline are unhappy at school and decide to run away, arriving at the home of Lewis and Florence on the evening on which Florence has arranged a musical recital designed to showcase Lewis' talents to her influential friends. Florence is extremely annoyed by the interruption to her evening and allows the girls to stay, but with ill-disguised bad grace. Lewis is angry at his wife's attitude, and ends up taking her to task in front of the gathering, leaving her humiliated.
The atmosphere in the household deteriorates as the attraction between Lewis and Tessa becomes increasingly obvious. Lewis begins to treat Florence with increasing disdain and lack of respect. As the date of Lewis' first public performance draws near, he decides to leave Florence after the concert, and Tessa agrees to leave with him. Florence is suspicious that something is afoot, challenges Tessa and the two end up in a serious argument, after which Florence forbids Tessa from attending the concert.
Left locked in alone at home on the evening of the concert, Tessa manages to escape through a window and makes her way to the theatre. Lewis' performance is a big success, but afterwards he ignores the congratulatory gathering Florence has assembled in his dressing room, and instead heads off with Tessa to catch the boat train for Belgium. Tessa begins to feel ill as she boards the boat and her condition deteriorates as the journey progresses. When they finally arrive at a dreary back-street lodging house in Brussels, it is clear that Tessa is seriously ill and the guilt-stricken Lewis begins to write a letter to Tessa's uncle begging for help and attempting to make it clear that he alone is responsible for the situation and Tessa has done nothing to merit reproach. Before he can finish the letter however, Tessa collapses and dies.
Thought to have been lost, the film was found as a result of a 1992 British Film Institute campaign to locate missing movies. 
The Constant Nymph is a 1924 novel by Margaret Kennedy. It tells how a teenage girl falls in love with a family friend, who eventually marries her cousin. It explores the protagonists' complex family histories, focusing on class, education and creativity.
Jeremy Philip Northam is an English actor and singer. After a number of television roles, he earned attention as Mr. Knightley in the 1996 film adaptation of Jane Austen's Emma. He has appeared in the films An Ideal Husband, Gosford Park, Amistad, The Winslow Boy, Enigma, Cypher, Dean Spanley, and Martin and Lewis, amongst others. He also played Thomas More in the Showtime series The Tudors. From 2016 to 2017 he appeared as Anthony Eden in the Netflix series The Crown.
Mabel Lilian Poulton was an English film actress, popular in Britain during the era of silent films.
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Benita Hume was an English theatre and film actress. She appeared in more than 40 films between 1925 and 1955.
Sylvia Cecil was an English singer and actress. She began her career in the Gilbert and Sullivan operas with the D'Oyly Carte Opera Company, with whom she performed, off and on, from 1918 until 1937. She also performed in musical theatre, concerts, music hall and variety from 1921, and broadcast on radio. In the 1940s and 1950s she starred in several musicals by Ivor Novello and Noël Coward.
The Constant Nymph is a 1943 romantic drama film starring Charles Boyer, Joan Fontaine, Alexis Smith, Brenda Marshall, Charles Coburn, May Whitty, and Peter Lorre. It was adapted by Kathryn Scola from the 1924 novel of the same name by Margaret Kennedy and the 1926 play by Kennedy and Basil Dean and directed by Edmund Goulding.
Adrian Brunel was an English film director and screenwriter. Brunel's directorial career started in the silent era, and reached its peak in the latter half of the 1920s. His surviving work from the 1920s, both full-length feature films and shorts, is highly regarded by silent film historians for its distinctive innovation, sophistication and wit. With the arrival of talkies, Brunel's career ground to a halt and he was absent from the screen for several years before returning in the mid-1930s with a flurry of quota quickie productions, the majority of which are now classed as lost. Brunel's last credit as director was in a 1940 comedy film, although he worked for a few years more as a "fixer-up" for films directed or produced by friends in the industry.
The Constant Nymph may refer to:
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