Final film of actress Carol Dempster.
New York Times review, reprinted in the Madera Tribune and Madera Mercury, Madera, California, Wednesday 26 October 1927, Volume XL, Number 148, page 2:
ADOLPHE MENJOU IN GRIFFITH FILM
In referring to D. W. Griffith's great picture, "Sorrows of Satan," the New York Times writs (sic) as follows:
A film which will do well as a gold-digger and also reap no little praise from those who back really worth-while productions. Nobody can deny that Griffith, in this latest piece of work, has elicited remarkable performances from the quartet of principal players, and it probably will be conceded generally that his direction of the love scenes in an impoverished neighborhood and his work on those revealing fantastic orgies is masterful.
"In swinging from squalor to pomp, depicting wretchedness on one side and passionate orgies on the other Mr. Griffith reveals himself a master, and in this present offering he has made a photodrama that excels anything he has done in recent years.
"It is a marvelously beautiful film in which Mr. Griffith has obtained some gorgeous lighting effects.
"The producer draws his contrasts splendidly, revelry being depicted with its wontons and sordid tastes, and then the gentle love of Mavis for Tempest.
"There are vistas in the scenes of reckless luxury that challenge the most discriminating eye. Bright lights glisten during some periods and then soft shadows drift across the beflowered halls. Women, dressed none to extensively, are beheld in a variety of poses.
"Adolphe Menjou is remarkably fine as the Prince who enjoys the ruin of his victims. He is distinctive, all most gentle in setting forth his temptations. Carol Dempster's acting is something exceptional. She imbues the part with pathos and eagerness. She presents the portrait of undying hope, and not even in "Isn't Life Wonderful?" did she give an idea of the talent she displays in this new film. Lya de Putti depicts the siren with a sinuous ease, denoting by her half-closed eyes the nature of the Princess. Another remarkable characterization is that of Ricardo Cortez in the role of Tempest." - N.Y. Times
ADOLPHE MENJOU IN GRIFFITH FILM
In referring to D. W. Griffith's great picture, "Sorrows of Satan," the New York Times writs (sic) as follows:
A film which will do well as a gold-digger and also reap no little praise from those who back really worth-while productions. Nobody can deny that Griffith, in this latest piece of work, has elicited remarkable performances from the quartet of principal players, and it probably will be conceded generally that his direction of the love scenes in an impoverished neighborhood and his work on those revealing fantastic orgies is masterful.
"In swinging from squalor to pomp, depicting wretchedness on one side and passionate orgies on the other Mr. Griffith reveals himself a master, and in this present offering he has made a photodrama that excels anything he has done in recent years.
"It is a marvelously beautiful film in which Mr. Griffith has obtained some gorgeous lighting effects.
"The producer draws his contrasts splendidly, revelry being depicted with its wontons and sordid tastes, and then the gentle love of Mavis for Tempest.
"There are vistas in the scenes of reckless luxury that challenge the most discriminating eye. Bright lights glisten during some periods and then soft shadows drift across the beflowered halls. Women, dressed none to extensively, are beheld in a variety of poses.
"Adolphe Menjou is remarkably fine as the Prince who enjoys the ruin of his victims. He is distinctive, all most gentle in setting forth his temptations. Carol Dempster's acting is something exceptional. She imbues the part with pathos and eagerness. She presents the portrait of undying hope, and not even in "Isn't Life Wonderful?" did she give an idea of the talent she displays in this new film. Lya de Putti depicts the siren with a sinuous ease, denoting by her half-closed eyes the nature of the Princess. Another remarkable characterization is that of Ricardo Cortez in the role of Tempest." - N.Y. Times
Debut of actress Nina Quartero.