|
The Vengeance of Durand; or, The Two Portraits
(1913) United States of America
B&W : Two reels
Directed by J. Stuart Blackton
Cast: L. Rogers Lytton [Matthew Durand], Edith Storey [Marion], Earle Williams [Carl, a painter], Julia Swayne Gordon [Mrs. Durand], Florence Klotz [Marion, as a girl], E.K. Lincoln [a second], Harry Northrup [a second], Leo Delaney
The Vitagraph Company of America production; distributed by The General Film Company, Incorporated. / From a short story by Rex Beach. / Released 24 January 1913. / Standard 35mm spherical 1.33:1 format.
Drama.
Synopsis: [?] [From The Moving Picture World]? Part One: Intense jealousy takes possession of Matthew Durand when his wife’s foster brother, Carl, comes from Paris and she greets him affectionately. Carl has been studying art in Europe and she has not seen him in many years. She had almost despaired of ever seeing him again and he brings back the ties of their early childhood. Durand is a man strong in his likes and dislikes, unreasonably so, and his wife’s adopted relationship to Carl does not in any way ameliorate his anger or consideration. His jealousy develops into an overpowering hatred for Carl which displays itself in no uncertain manner when Carl paints Mrs. Durand’s portrait, which she admires and prizes very highly, for Carl has not only displayed his wonderful genius in the work, but has been inspired by the beauty of his foster-sister, who is a most charming woman. Durand interprets his wife’s smile as reproduced in the portrait as an evidence of her admiration for the handsome artist and younger man. In fury, he destroys the portrait and determines to question Carl’s right to show any attention to his wife. He meets the artist, insults him and challenges him to a duel. On the eve of the encounter, Mrs. Durand pleads with her husband, for the sake of their child, not to give way to his passion, endanger his life and bring disgrace upon his family. He is obdurate. The duel is arranged. Both men, with their seconds, appear upon the field of honor, take their positions and just as they are about to discharge their pistols at each other, Mrs. Durand rushes between them to stop them. It is too late. Carl, not seeing the woman in time, pulls the trigger, the bullet intended for his opponent passes through her body and she falls dead. Carl returns to Paris and Durand is left alone with his little daughter. His hatred for Carl turns to revenge and he educates his child, Marion, to avenge the death of her mother, filling her young mind with a hatred for Carl, keeping her in ignorance of the real relationship of her mother and the young artist, and the circumstances attending her death. Ten years later, Durand, with his daughter, now a young lady, visits Paris and they meet Carl, who has now become a famous painter. Durand whispers to his daughter and pointing to Carl, tells her, “There goes the man who killed your mother.” Part Two: This is the beginning of the end, in which Matthew Durand hopes to satisfy the depth of his revenge and hopes to completely humiliate and strike down his victim. He goes with his daughter to Carl’s studio and makes arrangements with the artist to paint Miss Durand’s portrait. She refuses to reveal her identity and this lends an additional interest to the painting of the mysterious stranger. Her father reminds her that this is her opportunity to keep the promise which she has made to him in memory of her mother. Left alone, she puts into practice that subtle art that alone belongs to a fascinating woman. She plays upon Carl’s susceptibilities to her attractiveness and while he is engaged in painting her picture, she leisurely sits at the piano and plays “The Rosary.” He stops his painting, walks over to her side and taking up the theme of the music, their conversation awakens in both a mutual appreciation for each other, which, after subsequent sittings, grows into a strong friendship, until she finds herself in love with the man whom she had promised to betray. Carl calls to see her father to tell him of his love for his daughter. Durand now makes himself known to Carl, laughs him to scorn and tells his daughter to strike the blow which will make his triumph complete. She refuses to reject Carl and her father, in his fury, tries to strike him, overturns a lamp, which sets fire to the house, and before they can escape, it is in flames. Carl lifts Marion in his arms, forces his way through the burning building and carries her to safety. Matthew Durand tries to follow them, is caught in the falling timbers and crushed beneath them, a victim of ills own retribution. After Carl’s recovery from the injuries he received in Marion’s rescue, he and she, in the happiness of their union, recount the memories of the past and Carl tells her that which was hidden from her by her father, the truth of her mother’s death and their adopted relationship.
Reviews: [The Moving Picture World, 8 February 1913, page ?] This is a real feature. The author is Rex Beach. Quality shows all the way through the two reels. The picture is highly dramatic; there are many moments of deep suspense, and there are situations that stir the emotions. In the duel scene, when the artist drives a bullet into the body of the woman who has innocently caused the trouble, there are all the elements of tragedy. The woman has sought to stop the duel; at the moment the shots are exchanged she comes upon the ground and rushes in between the combatants. There is tragedy in the hand-to-hand encounter between the two men in later years, when the lamp is overturned and the house is set en fire, resulting in the death of Durand, the rescue of the daughter by the artist and his temporary loss of reason. There is deep pathos in the appeal of the orphaned girl, in love with the man who had accidentally killed her mother, and who had indirectly caused the death of her father, when she tries to restore his reason; other means failing, she sits at the piano and plays and sings “The Hours I Spent With Thee, Dear Heart, Are As a String of Pearls to Me.” It is a rare situation, one to impress the beholder and to affect him. Space forbids enumeration of the carefully executed scenes. They are all splendidly done. To Earle Williams, who portrayed the artist, falls the most of the work. He has risen to his fine opportunity and given us something unusual in pictured drama. So, also, has Edith Storey. It is difficult to realize that this is the same girl who only a year or two ago was doing work the exact antithesis of the part she plays here, the cowgirl of the plains, fearless in horsemanship. Her versatility is unique. Above all, she is an actress. Roger Lytton, who plays Durand, is strong throughout, Mrs. Swayne has the part of the mother; in this characterization she brings to bear all her experience and proved talent.
Survival status: Print exists.
Current rights holder: Public domain [USA].
Keywords: Authors: Rex Beach (1877-1949)
Listing updated: 10 July 2024.
References: Slide-BigV p. 223; Tarbox-Lost pp. 132, 279 : Website-IMDb.
|
