Castles for Two (1917)
Status: This is a first for me! An In the Vaults article about a film I have seen with my own eyes. Castles for Two was featured on the final day of Cinecon 49. This rare film has suffered some damage over the years but the audience was still able to follow the plot, for the most part. The only known print is held the Library of Congress.
Moving Picture World was pleased as punch with the film, praising Marie Doro in particular:
There are Irish fairies and fays in “Castles for Two,” a five-reel photoplay produced by Jessy L. Lasky, with Marie Doro the featured player. Not that the entire story is a fairy tale, but much of it must be taken in the same credulous spirit necessary to the full enjoyment of “The Sleeping Beauty” and works of that nature. The plot is simple, and contains no surprises. There is an American heiress of great wealth, who becomes tired of spending money and decides to take a trip to Ireland, in search of the simple life. Her old nurse is a native of the land of Saint Patrick, and the girl has been brought up on tales of the “little people” that also inhabit the soil.
Once on the other side Patricia, the heiress, passes her secretary off as the lady of the dollars, puts on a peasant’s frock and goes looking in the woods for the fays. She finds them all right, also a cow, and takes refuge in a tree, from which she is rescued by a poverty-stricken young Irish lord, who is being urged on by his mother and three sisters to marry the American. Patricia pretends to be her own maid, and, as Lord O’Neil refuses to make love to the supposed heiress, the fairies reward him by letting the young man win the real dollar princess.
The need of the proper cast to interpret such a story is fully met by Marie Doro and her fellow-players. Miss Doro has the looks and manner of an American princess, and also the touch of elfishness which goes a great way in helping one to believe that she really saw the Irish Robbin Goodfellow and his small brothers. Elliott Dexter is. rather stolid for an Irishman, but brightens up in his lovemaking scenes. O’Neill’s mother and sisters are well acted by Julia Jackson, Jane Wolff, Harriett Sorenson, and Lillian Leighton. Mayme Kelso is the secretary. Horace B. Carpenter and Billy Elmer are a pair of the regulation stage Irishmen that love a fight and hate a landlord with equal ardor. The production is of the Lasky standard brand.
Having seen the film, my reaction to the performances is quite the opposite. Marie Doro’s elfishness is… odd, to say the least. Seeing a grown woman skip about and twitch her upper lip has lost its appeal, it seems. Miss Doro was a gorgeous woman but I think that she was perhaps better in still photographs.
Elliott Dexter’s more restrained performance has aged much better. The Moving Picture World reviewer complains that he is too stolid for an Irishman. Way to stereotype! What exactly was Dexter supposed to do to be more Irish? Actually, don’t tell me. I don’t think I want to know. I liked him just the way he was. (The film does resort to some fairly ham-fisted cliches in its portrayal of most of the Irish characters, with the peasantry being depicted without exception as dishonest drunks.)
I do agree, though, that the film gets considerably more fun once Doro and Dexter go a-wooing, particularly in the scenes where Doro is playing the chambermaid and messing with Dexter’s head. Both performers are clearly having a lot of fun with their roles and I wish the film had spent more time with them together.
In fact, Marie Doro and Elliott Dexter were even married for a time. Here is a little Photoplay feature on the home they shared. Nice digs, if I do say so myself.
Here’s a bit of bonus trivia: The managers of the Peoples theater in Portland, Oregon censored the film after loud protests from the Hibernians over its unflattering depiction of Irish peasant life.
Watching old movies can be a balancing act and it is sometimes easy to dismiss all stereotypes as “the way things were.” While it is certainly true that these depictions were more accepted by the general public, it is important to remember that the victims of these unfavorable characterizations did not always suffer in silence.