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HISTORY

Contemporary sources state that the pre-release title was The Reeds of the Clan . Much of this film was shot on the upper half of the New England shore. On 12 Nov 1916, at Marblehead, MA, during the shooting of this film, a boat containing Mary Pickford, director Maurice Tourneur, several cast members, and the cameramen sprang a leak. Two cameras were lost as the schooner went down and Pickford was rescued by Tourneur after a wave knocked her down. According to modern sources, Clarence Brown was the assistant director and editor, Leatrice Joy was an extra, and the film was originally titled Lass of Killean . ... More Less

Contemporary sources state that the pre-release title was The Reeds of the Clan . Much of this film was shot on the upper half of the New England shore. On 12 Nov 1916, at Marblehead, MA, during the shooting of this film, a boat containing Mary Pickford, director Maurice Tourneur, several cast members, and the cameramen sprang a leak. Two cameras were lost as the schooner went down and Pickford was rescued by Tourneur after a wave knocked her down. According to modern sources, Clarence Brown was the assistant director and editor, Leatrice Joy was an extra, and the film was originally titled Lass of Killean . More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
ETR
13 Jan 17
p. 422.
Motog
20 Jan 17
pp. 151-52.
MPN
20 Jan 17
p. 432.
MPW
28 Jul 17
p. 627.
MPW
20 Jan 17
p. 354, 423
NYDM
13 Jan 17
p. 26.
Wid's
11 Jan 17
pp. 27-28.
DETAILS
Alternate Title:
The Reeds of the Clan
Release Date:
8 January 1917
Physical Properties:
Silent
Black and White
Length(in reels):
7
Country:
United States
Language:
English
Passed by NBR:
No
SYNOPSIS

After her father, the chieftain of a clan off the western coast of Scotland, dies at sea during a storm, Marget MacTavish consoles the other clan members even though she is heartbroken. On the Sabbath, Marget takes command as chieftain and drives everyone into the nearly empty church, except for David Pitcairn, who thinks that praying is fruitless. When Marget and Jamie Campbell, a young fisherman, become engaged in a traditional ceremony, Mrs. Campbell writes to the Countess of Dunstable and confesses that years earlier, she, as Jamie's nurse, reported Jamie's death so that she could raise him. The countess arrives with her second husband, an Earl, who convinces Marget that for Jamie's sake she should break the engagement. Although Jamie protests, Marget uses her authority as chieftain to command him to leave her. Marget drifts to sea to leave the area, but her old, unseaworthy vessel begins to sink. Pitcairn awakens and rings an alarm, then prays for Marget as Jamie takes a power boat from his mother's yacht and rescues her. Jamie's parents then accept the ... +


After her father, the chieftain of a clan off the western coast of Scotland, dies at sea during a storm, Marget MacTavish consoles the other clan members even though she is heartbroken. On the Sabbath, Marget takes command as chieftain and drives everyone into the nearly empty church, except for David Pitcairn, who thinks that praying is fruitless. When Marget and Jamie Campbell, a young fisherman, become engaged in a traditional ceremony, Mrs. Campbell writes to the Countess of Dunstable and confesses that years earlier, she, as Jamie's nurse, reported Jamie's death so that she could raise him. The countess arrives with her second husband, an Earl, who convinces Marget that for Jamie's sake she should break the engagement. Although Jamie protests, Marget uses her authority as chieftain to command him to leave her. Marget drifts to sea to leave the area, but her old, unseaworthy vessel begins to sink. Pitcairn awakens and rings an alarm, then prays for Marget as Jamie takes a power boat from his mother's yacht and rescues her. Jamie's parents then accept the marriage. +

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.