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HISTORY

The 30 Jan 1909 Moving Picture World ran the following review: “The Biograph people tell an excellent story in this, and tell it so strongly that it grips very close. The scene where the husband gets into the room to find his wife bending over the dead body of a man is very strong, though perhaps not materially stronger than the one where the girl’s first husband deserts her. Technically the film is excellent. All the little details are worked out to precision and the characters act naturally, as real people might be expected to do in similar circumstances.”
       The Welcome Burglar shared a split-reel with Those Awful Hats (see entry). ...

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The 30 Jan 1909 Moving Picture World ran the following review: “The Biograph people tell an excellent story in this, and tell it so strongly that it grips very close. The scene where the husband gets into the room to find his wife bending over the dead body of a man is very strong, though perhaps not materially stronger than the one where the girl’s first husband deserts her. Technically the film is excellent. All the little details are worked out to precision and the characters act naturally, as real people might be expected to do in similar circumstances.”
       The Welcome Burglar shared a split-reel with Those Awful Hats (see entry).

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
BIOB2
p. 57.
BPL
pp. 108-109.
EMP
pp. 356-357.
LCMP
p. 66, column 3.
LCPP
p. 227.
Moving Picture World
23 Jan 1909
p. 83ta, 101tr.
Moving Picture World
30 Jan 1909
p. 120r.
Nickelodeon
Mar 1909
p. 85.
NYDM
30 Jan 1909
p. 18ta, 18tn.
NYDM
6 Feb 1909
p. 16r.
The Daily Worker
p. 35.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
PHOTOGRAPHY
DETAILS
Release Date:
25 January 1909
Copyright Info
Claimant
Date
Copyright Number
American Mutoscope and Biograph Co.
19 January 1909
H121797
Physical Properties:
Silent
Black and White
Length(in feet):
790
Country:
United States
SYNOPSIS

“Alice Pierce, an innocent country girl, was the sweetheart of Ben Harris, a heartless wretch, and in the impetuosity of her trusting nature she consents to elope. It is the old story; he soon tires of her and cruelly deserts her. Poor Alice is then forced to fight her own way, as to return home she dare not. In this she succeeds so well that at her place of employment, where she fills the position of typist, she inspires in the manager a kindly interest by her modest demeanor, which feeling ripens into love culminating in their marriage. While out walking, she is seen and recognized by her first husband, who turns up after being supposed dead. He has sunk into the depths of debauchery and he at once resolves to force his presence upon her. Sending a bogus telegram to her husband, he decoys him away from home at night, and then makes his way to their home. Just previous to his arrival, a burglar breaks into the house, leaving the window open behind. Through this he crawls and the burglar, hearing his intrusion, conceals himself behind the portières. Alice, hearing a noise, goes to learn the cause, and when she sees Harris, is dumbfounded. He locks the door and seizes the poor frightened woman and in the struggle backs against the burglar, who fires and kills him. At this moment the husband returns and finding the door locked is at once suspicious. The position of Alice is indeed compromising until an idea strikes her. She bids the burglar decamp leaving his tools behind, which escape he is glad to make, and when the husband bursts into the ...

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“Alice Pierce, an innocent country girl, was the sweetheart of Ben Harris, a heartless wretch, and in the impetuosity of her trusting nature she consents to elope. It is the old story; he soon tires of her and cruelly deserts her. Poor Alice is then forced to fight her own way, as to return home she dare not. In this she succeeds so well that at her place of employment, where she fills the position of typist, she inspires in the manager a kindly interest by her modest demeanor, which feeling ripens into love culminating in their marriage. While out walking, she is seen and recognized by her first husband, who turns up after being supposed dead. He has sunk into the depths of debauchery and he at once resolves to force his presence upon her. Sending a bogus telegram to her husband, he decoys him away from home at night, and then makes his way to their home. Just previous to his arrival, a burglar breaks into the house, leaving the window open behind. Through this he crawls and the burglar, hearing his intrusion, conceals himself behind the portières. Alice, hearing a noise, goes to learn the cause, and when she sees Harris, is dumbfounded. He locks the door and seizes the poor frightened woman and in the struggle backs against the burglar, who fires and kills him. At this moment the husband returns and finding the door locked is at once suspicious. The position of Alice is indeed compromising until an idea strikes her. She bids the burglar decamp leaving his tools behind, which escape he is glad to make, and when the husband bursts into the room she stands over the prostrate form of her former spouse, with the pistol in her hand and pretends the lifeless body is that of a burglar whom she has shot.”—23 Jan 1909 Moving Picture World

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GENRE
Genre:


Subject

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.