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HISTORY

Always the Woman was “personally produced” by its star, Betty Compson, according to the 16 Jul 1922 FD. It was the third of three films from Betty Compson Productions, the other two being Prisoner of Love (1921, see entry) and For Those We Love (1921, see entry). All were directed by Arthur Rosson, and two were written by Perley Poore Sheehan. A half-page advertisement for Always the Woman that ran in the trade magazines, including the 7 May 1922 FD, highlighted Compson’s Hollywood stature, touched on various exotic trends in contemporary films, and made a special appeal to her female audience: “Beautiful Betty Compson. In her most ravishing role. As Queen of ancient Egypt. Reincarnated as a modern show girl. Fascinating oriental settings, gowns, costumes, stunning clothes. The story of a courageous American actress. Yankee strategy against the cunning of an amorous Sheik. A flaming romance of the desert. The spectacle of Woman Triumphant.”
       Always the Woman opened in New York City at the Capitol Theatre on Broadway for the week of 9 Jul 1922, according to the 10 Jul 1922 FD. Goldwyn Pictures released it nationally a week later, on 16 Jul ... More Less

Always the Woman was “personally produced” by its star, Betty Compson, according to the 16 Jul 1922 FD. It was the third of three films from Betty Compson Productions, the other two being Prisoner of Love (1921, see entry) and For Those We Love (1921, see entry). All were directed by Arthur Rosson, and two were written by Perley Poore Sheehan. A half-page advertisement for Always the Woman that ran in the trade magazines, including the 7 May 1922 FD, highlighted Compson’s Hollywood stature, touched on various exotic trends in contemporary films, and made a special appeal to her female audience: “Beautiful Betty Compson. In her most ravishing role. As Queen of ancient Egypt. Reincarnated as a modern show girl. Fascinating oriental settings, gowns, costumes, stunning clothes. The story of a courageous American actress. Yankee strategy against the cunning of an amorous Sheik. A flaming romance of the desert. The spectacle of Woman Triumphant.”
       Always the Woman opened in New York City at the Capitol Theatre on Broadway for the week of 9 Jul 1922, according to the 10 Jul 1922 FD. Goldwyn Pictures released it nationally a week later, on 16 Jul 1922. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Exhibitors Herald
29 Jul 1922
p. 57-58.
Exhibitors Trade Review
22 Jul 1922
p. 611.
Film Daily
7 May 1922
p. 4.
Film Daily
10 Jul 1922
p. 2.
Film Daily
16 Jul 1922
p. 8.
Film Daily
13 Aug 1922
p. 14.
Moving Picture World
22 Jul 1922
p. 309.
DETAILS
Release Date:
16 July 1922
Premiere Information:
New York opening: week of 9 July 1922
released nationally: 16 July 1922
Copyright Claimant:
Betty Compson Productions
Copyright Date:
22 July 1922
Copyright Number:
LP18333
Physical Properties:
Silent
Black and White
Length(in feet):
5,462
Length(in reels):
6
Country:
United States
Language:
English
Passed by NBR:
No
SYNOPSIS

In ancient Egypt, Queen Neco Tokris angers the high priest by falling in love with a minor cleric. The high priest arranges for his rival to be stoned to death, and the queen, rather than submit, allows herself to be buried alive with her lover’s body. Many centuries later, a ship steams toward Cairo, Egypt. Among its passengers are wealthy playboy Reginald Stanhope; vaudeville dancer Celia Thaxter and her manager, Gregory Gallup, who together are maneuvering Reginald into marrying her. Also aboard are Herbert Boone, a shell-shocked drug addict, and his nagging wife, Adele; Kelim Pasha, an Egyptian prince who attracts Adele Boone’s affections; and Mahmud, an Egyptian mystic who insists that Celia Thaxter and Herbert Boone are the reincarnations of an ancient Egyptian queen and a priest who sacrificed themselves for their love. He secretly believes himself to be the reincarnation of the high priest who betrayed the queen. Upon their arrival in Cairo, the group sets out across the desert in search of Queen Neco Tokris’s tomb, which contains her legendary treasure. Kelim Pasha discloses his evil designs on Celia and the treasure, and brings the caravan under his power. Reginald Stanhope, confessing that he is merely an agent of Kelim Pasha, leaves for help, and dies. A rehabilitated Herbert Boone swears his love for Celia and vows to protect her. When they arrive at Queen Neco Tokris’s tomb, Mahmud reveals that there is no treasure, but rather Kelim Pasha’s atonement for betraying the queen. Pasha stumbles and falls into a deep pit, and Adele Boone is dragged to her death when she tries to save him, leaving Herbert Boone and Celia Thaxter free to pursue their ... +


In ancient Egypt, Queen Neco Tokris angers the high priest by falling in love with a minor cleric. The high priest arranges for his rival to be stoned to death, and the queen, rather than submit, allows herself to be buried alive with her lover’s body. Many centuries later, a ship steams toward Cairo, Egypt. Among its passengers are wealthy playboy Reginald Stanhope; vaudeville dancer Celia Thaxter and her manager, Gregory Gallup, who together are maneuvering Reginald into marrying her. Also aboard are Herbert Boone, a shell-shocked drug addict, and his nagging wife, Adele; Kelim Pasha, an Egyptian prince who attracts Adele Boone’s affections; and Mahmud, an Egyptian mystic who insists that Celia Thaxter and Herbert Boone are the reincarnations of an ancient Egyptian queen and a priest who sacrificed themselves for their love. He secretly believes himself to be the reincarnation of the high priest who betrayed the queen. Upon their arrival in Cairo, the group sets out across the desert in search of Queen Neco Tokris’s tomb, which contains her legendary treasure. Kelim Pasha discloses his evil designs on Celia and the treasure, and brings the caravan under his power. Reginald Stanhope, confessing that he is merely an agent of Kelim Pasha, leaves for help, and dies. A rehabilitated Herbert Boone swears his love for Celia and vows to protect her. When they arrive at Queen Neco Tokris’s tomb, Mahmud reveals that there is no treasure, but rather Kelim Pasha’s atonement for betraying the queen. Pasha stumbles and falls into a deep pit, and Adele Boone is dragged to her death when she tries to save him, leaving Herbert Boone and Celia Thaxter free to pursue their happiness.
+

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.