The Ocean Waif

Frederic Chapin who wrote the story and Eustace Hale Ball who wrote the screenplay have put together a very hybrid concotion here. The ocean waif part of the story is lkie somethig out of a Mary Pickford film while the plot about the novelist coming to write in a haunted house is straight out of George Cohan's hit play of 1913, Seven Keys to Baldpate which was actually filmed in 1916 in Australia and would be filmed again, with Cohan himself in the lead, in 1917. It's quite neatly done if one ignores those very tiresome close-ups that were fashionable in nearly all US films 1915-1918. The best thing is perhaps Londoner Edward Norton doing the "British servant" act that he would continue to do for in umpteen films for three further decades......

The glaring close-ups contribute to the even more glaring predictability of the rest of the plot.

Alice Guy-Blache' (1873-1968) was not only the world's first woman film director but quite possibly the first film director period. Her work as Alice Guy for Gaumont predates Fantasy filmmaker Georges Melies by several months. Her earliest film LA FEE AUX CHOUX/THE CABBAGE FAIRY dates from 1896. After coming to America in 1907 with her husband Herbert Blache', she starts up her own studio in 1910 and opens her major studio called Solax in Fort Lee N. J. in 1912. Among the people who work for her is a young actress/writer named Lois Weber who would also develop into a major director.

THE OCEAN WAIF survives as a fragment of the original. It is a little over 41 minutes long and suffers from nitrate decomposition in many places. However the skill of Alice Guy-Blache' still shines through in the restrained performances from the actors (remember this is 1916) and the strong visual composition of the shots. Sadly this is her only feature film to survive and it's incomplete. There are still several of her short films but for someone so important to film history, it's a sad legacy and a sad comment on how the films of independent producer-directors were treated. As an example of that, the other film on the disc Ruth Ann Baldwin's 49-17 which was made for Universal in 1917, survives in virtually pristine condition. It has the added attraction of an early film appearance from the great Danish born actor and later humanitarian Jean Hersholt.

Thanks are due to producer Jessica Rosner, Kino International, and pianist Jon Mirsalis for putting together and then releasing this FIRST LADIES: EARLY AMERICAN FILMMAKERS series on DVD. They look as good as they possibly can and are indispensable to students of film, people interested in women pioneers, and of course silent film aficionados. Rounding out the series is Dorothy Davenport Reid's THE RED KIMONO. To find out more about Alice Guy-Blache' check out Alison McMahan's thorough biography of her, ALICE GUY-BLACHE': LOST VISIONARY OF THE CINEMA. Kino Lorber has now issued a 3 DVD box set GAUMONT TREASURES 1897-1913 with Disc 1featuring several Alice Guy short films...For more reviews visit The Capsule Critic.

I just saw this film as part of TCM's Women Pioneer Filmmakers Series. What a fascinating woman Alice Guy Blache was! And what a shame (although that isn't a strong enough word) that her legacy is not well-known to the public. This film is quite enchanting--parts of it reminded me of "Broken Blossoms" (1919). But while it has elements of tragedy, and even a dark streak of incest courtesy of the foster father, there are tender and light-hearted moments of comedy that keep it from bogging into too much sentiment. Guy's motto was "Be Natural", and it's amazing how well the actors in her company took this to heart--there is very little of the histrionic style of acting in this film, which makes it so much easier for a modern audience to watch.

Alice Guy Blache's films should be revived, they should be available on VHS and DVD, and her legacy needs to be recognized!

Handsome young novelist Carlyle Blackwell (as Ronald Roberts) receives a message while yachting. His current novel is wildly successful and the publisher wants a follow-up. Meanwhile, on shore, pretty Doris Kenyon (as Millie) is beaten and pushed around by her alcoholic foster-father William Morris (as Hy Jessup). Having finally had enough, Ms. Kenyon runs away and moves into an abandoned mansion. There are rats living there, but Kenyon manages to stay out of their way. They are joined by Mr. Blackwell and his fussy valet Edgar Norton (as Hawkins). Blackwell needs a romantic and inspirational place to write his new book...

At first, Kenyon tries to stay hidden. The men wonder if she's the ghost talked about in the village. With Blackwell in the picture, you can count on romance. He is attracted to Kenyon, but his fiancée visits. There could even be a murder...

"The Ocean Waif" has deteriorated in spots, but can be enjoyed and understood. Directed by Alice Guy and produced by her husband Herbert Blache, the movie features nice Gothic house and fairly representative performances. The main draw, Carlyle Blackwell was a very big star. There is a limited level of restoration; due to severe damage, taking out every white spot would have been visually disarming. The film was certainly a longer feature, with at least 15 minutes missing. Apparently, a "bathing scene" featuring Kenyon is cut. Even more obvious, much of the ending is lost. A couple title cards, short clips and flashbacks successfully end the story.

**** The Ocean Waif (1916-11-02) Alice Guy ~ Carlyle Blackwell, Doris Kenyon, Edgar Norton, William Morse

The Ocean Waif (1916)

** 1/2 (out of 4)

Silent melodrama about author Ronald Roberts (Carlyle Blackwell) who gets word that his latest book is a huge seller so he's asked to write another. He winds up in a small location to write but he ends up getting involved with a young woman named Millie (Doris Kenyon) who is trying to get away from her abusive father.

Alice Guy directed this film, which has enough good moments to make it worth viewing, although there's no doubt that it's still far from being a classic or even a good movie for that matter. I think the main reason to watch it is for the performances that are actually pretty good. Blackwell certainly makes you believe his character but it's Kenyon who steals the picture. I thought she was very good no matter what type of emotion her character was playing and I especially liked the chemistry of the two actors.

The film features some nice cinematography and there's no doubt that Guy has a good way to build up the relationship. With that said, even for 1916 standards the story itself really isn't anything we hadn't already seen and there's no question that it's quite predictable. Fans of silents will want to check it out.