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HISTORY

Principal photography began in May 1919 at the 56th Street Studio in New York City, as stated in the 3 May 1919 Motion Picture News and the 8 May 1919 Wid’s Daily. The feature marked the first Thomas H. Ince production to be made on the East Coast. It was also the debut of nineteen-year-old screenwriter Adele Buffington, a former employee of the California Theatre in Los Angeles, CA, who, according to the 12 April 1919 Moving Picture World, sold the story to Ince for $300.
       The close of production was reported in the 12 July 1919 issue, which also described one of the film’s interiors as a Parisian nightclub set that took up “half of the New York studio.” Augmenting the cast were 150 background actors, along with troupes of “acrobatic dancers and professional jugglers.” The 5 July 1919 Motion Picture News noted that the company was to remain in New York City to make another feature before returning to California.
       L’Apache was released on 2 November 1919, followed by an opening during the week of 9 November 1919 at the Regent Theatre in Los Angeles. The picture was referred to as Apache by the 3 July 1919 Wid’s Daily, and as La Apache by the 14 November 1919 Variety. A review in the 14 December 1919 Wid’s Daily listed the running length as 5,625 feet, while the 14 February 1920 Billboard listed it as 5,285.
       The National Film Preservation Board (NFPB) included this film on its list ...

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Principal photography began in May 1919 at the 56th Street Studio in New York City, as stated in the 3 May 1919 Motion Picture News and the 8 May 1919 Wid’s Daily. The feature marked the first Thomas H. Ince production to be made on the East Coast. It was also the debut of nineteen-year-old screenwriter Adele Buffington, a former employee of the California Theatre in Los Angeles, CA, who, according to the 12 April 1919 Moving Picture World, sold the story to Ince for $300.
       The close of production was reported in the 12 July 1919 issue, which also described one of the film’s interiors as a Parisian nightclub set that took up “half of the New York studio.” Augmenting the cast were 150 background actors, along with troupes of “acrobatic dancers and professional jugglers.” The 5 July 1919 Motion Picture News noted that the company was to remain in New York City to make another feature before returning to California.
       L’Apache was released on 2 November 1919, followed by an opening during the week of 9 November 1919 at the Regent Theatre in Los Angeles. The picture was referred to as Apache by the 3 July 1919 Wid’s Daily, and as La Apache by the 14 November 1919 Variety. A review in the 14 December 1919 Wid’s Daily listed the running length as 5,625 feet, while the 14 February 1920 Billboard listed it as 5,285.
       The National Film Preservation Board (NFPB) included this film on its list of Lost U.S. Silent Feature Films as of February 2021.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Billboard
12 Dec 1919
p. 76
Billboard
14 Feb 1920
p. 80
Exhibitors Trade Review
29 Nov 1919
p. 2237
Exhibitors Trade Review
27 Dec 1919
p. 434
Motion Picture News
7 Mar 1919
p. 66
Motion Picture News
3 May 1919
p. 2864
Motion Picture News
28 Jun 1919
p. 146
Motion Picture News
5 Jul 1919
p. 367
Motion Picture News
20 Dec 1919
p. 4532
Moving Picture World
12 Apr 1919
p. 224
Moving Picture World
12 Jul 1919
p. 274
Moving Picture World
20 Dec 1919
pp. 1007-1008
Variety
14 Nov 1919
p. 52
Variety
19 Dec 1919
p. 45
Wid's Daily
8 May 1919
---
Wid's Daily
3 Jul 1919
---
Wid's Daily
14 Dec 1919
p. 19
DETAILS
Alternate Titles:
Apache
La Apache
Release Date:
2 November 1919
Premiere Information:
Los Angeles opening: week of 9 Nov 1919
Production Date:
mid May--late Jun 1919
Copyright Info
Claimant
Date
Copyright Number
Thomas H. Ince
12 September 1919
LP14192
Physical Properties:
Silent
Black and White
Length(in feet):
5,625
Length(in reels):
6
Country:
United States
Language:
English
SYNOPSIS

Natalie Bourget, an American living in Paris, France, is married against her will to Jean Bourget, the brutal leader of the "Apache" underworld. At a cabaret, Jean compels Natalie to perform an Apache dance, during which Harrison Forbes notices her close resemblance to his mistress, Helen Armstrong. The latter's life, under Harrison’s corrupting influence, has become so dissolute that she is too ashamed to face her grandfather, Professor Armstrong, who has recently arrived from the U.S. After Natalie agrees to take her place, Helen drowns herself, and that same night, Jean robs and murders Harrison. Professor Armstrong introduces Natalie, posing as Helen, to Otis Mayne and the two fall deeply in love, but their happiness is disrupted when Natalie is charged with Harrison's murder. During the trial, Jean is shot while fleeing the police and confesses to the crime with his dying breath. The exonerated Natalie is reunited with ...

More Less

Natalie Bourget, an American living in Paris, France, is married against her will to Jean Bourget, the brutal leader of the "Apache" underworld. At a cabaret, Jean compels Natalie to perform an Apache dance, during which Harrison Forbes notices her close resemblance to his mistress, Helen Armstrong. The latter's life, under Harrison’s corrupting influence, has become so dissolute that she is too ashamed to face her grandfather, Professor Armstrong, who has recently arrived from the U.S. After Natalie agrees to take her place, Helen drowns herself, and that same night, Jean robs and murders Harrison. Professor Armstrong introduces Natalie, posing as Helen, to Otis Mayne and the two fall deeply in love, but their happiness is disrupted when Natalie is charged with Harrison's murder. During the trial, Jean is shot while fleeing the police and confesses to the crime with his dying breath. The exonerated Natalie is reunited with Otis.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.