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HISTORY

The play was originally written in Danish. Some exterior scenes were shot at Marblehead, MA. Interiors were filmed in the old Thanhouser studio at New Rochelle, NY. An early news item indicated that the film began with a prologue showing Leonardo da Vinci finishing the Mona Lisa and then dropping on a sofa baffled by his own creation. As no review mentioned this scene, it has not been determined whether it was included in the released ... More Less

The play was originally written in Danish. Some exterior scenes were shot at Marblehead, MA. Interiors were filmed in the old Thanhouser studio at New Rochelle, NY. An early news item indicated that the film began with a prologue showing Leonardo da Vinci finishing the Mona Lisa and then dropping on a sofa baffled by his own creation. As no review mentioned this scene, it has not been determined whether it was included in the released film. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
ETR
16 Oct 20
p. 2094.
MPN
31 Jul 20
p. 961.
MPN
28 Aug 20
p. 1694.
MPN
23 Oct 20
p. 3174.
MPN
13 Nov 20
p. 3734.
MPN
27 Nov 20
p. 4023.
MPW
16 Oct 20
p. 921.
New York Times
8 Nov 20
p. 20.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
WRITER
PHOTOGRAPHY
Titles and spec eff photog
SOURCES
LITERARY
Based on the play The Riddle: Woman by Carl Jacobi, adapted by Charlotte E. Wells and Dorothy Donnelly (New York, 23 Oct 1918).
DETAILS
Release Date:
3 October 1920
Copyright Claimant:
Pathé Exchange, inc.
Copyright Date:
28 August 1920
Copyright Number:
LU15466
Physical Properties:
Silent
Black and White
Length(in feet):
5,785
Length(in reels):
6
Country:
United States
Passed by NBR:
No
SYNOPSIS

After her attempted suicide over an unhappy love affair is thwarted by Larz Olrik, Lilla Gravert leaves Denmark for New York and marries her savior. At their fifth wedding anniversary celebration Lilla meets Eric Helsingor, the man who betrayed her. Helsingor now demands money in return for his silence and Lilla complies. When Lilla and Larz adopt a baby boy referred to them by their lifelong friend Kristine, Lilla discovers that the child is actually Kristine and Helsingor's. Larz suspects that Helsingor is blackmailing Kristine, but when the latter is injured in a fight, Larz takes him home to recover. There Helsingor meets Marie Meyer, the daughter of an old mentor of Lilla, and attempts to convince the girl to elope with him. Becoming enraged at Helsingor's repeated offenses, Lilla attacks him and they struggle until Kristine shoots Helsingor and then herself. Lilla insists that Larz read the blackmailer's letters, but he throws them into the fire instead, eliminating all barriers between husband and ... +


After her attempted suicide over an unhappy love affair is thwarted by Larz Olrik, Lilla Gravert leaves Denmark for New York and marries her savior. At their fifth wedding anniversary celebration Lilla meets Eric Helsingor, the man who betrayed her. Helsingor now demands money in return for his silence and Lilla complies. When Lilla and Larz adopt a baby boy referred to them by their lifelong friend Kristine, Lilla discovers that the child is actually Kristine and Helsingor's. Larz suspects that Helsingor is blackmailing Kristine, but when the latter is injured in a fight, Larz takes him home to recover. There Helsingor meets Marie Meyer, the daughter of an old mentor of Lilla, and attempts to convince the girl to elope with him. Becoming enraged at Helsingor's repeated offenses, Lilla attacks him and they struggle until Kristine shoots Helsingor and then herself. Lilla insists that Larz read the blackmailer's letters, but he throws them into the fire instead, eliminating all barriers between husband and wife. +

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.