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HISTORY

The working titles for the film were The Duchess of Suds and Op O' Me Thumb . Three cameras were used in the shooting of this production, which was awarded the Board of Merit of the Motion Picture Theatrical Association's first seal of approval. Contemporary sources state that the harsh conclusion generated such widespread criticism that a second, happy ending was filmed in which Amanda lives happily on Lady Burke's estate with Lavender and ... More Less

The working titles for the film were The Duchess of Suds and Op O' Me Thumb . Three cameras were used in the shooting of this production, which was awarded the Board of Merit of the Motion Picture Theatrical Association's first seal of approval. Contemporary sources state that the harsh conclusion generated such widespread criticism that a second, happy ending was filmed in which Amanda lives happily on Lady Burke's estate with Lavender and Ben. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
ETR
10 Jul 20
p. 627.
MPN
24 Jan 20
p. 559.
MPN
3 Apr 20
p. 3325.
MPN
1 May 20
p. 3849.
MPN
19 Jun 20
p. 4944.
MPN
10 Jul 20
p. 511.
MPN
17 Jul 20
p. 528.
New York Morning Telegraph
4 Jul 1920.
---
New York Times
28 Jun 20
p. 13.
Variety
2 Jul 20
p. 27, 28.
Wid's
4 Jul 20
p. 5.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
WRITER
PHOTOGRAPHY
ART DIRECTOR
Art dir
COSTUMES
PRODUCTION MISC
Elec eff
SOURCES
LITERARY
Based on the play Op O' Me Thumb by Frederick Fenn and Richard Pryce (New York, 6 Feb 1905).
DETAILS
Alternate Titles:
The Duchess of Suds
Op O' Me Thumb
Release Date:
27 June 1920
Copyright Claimant:
Mary Pickford Co.
Copyright Date:
15 June 1920
Copyright Number:
LP15295
Physical Properties:
Silent
Black and White
Length(in reels):
5-6
Country:
United States
Language:
English
Passed by NBR:
No
SYNOPSIS

Amanda Afflick, a laundress with a romantic imagination, weaves a story about a shirt brought to the laundry eight months earlier by Horace Greensmith. She tells her fellow workers that the shirt belongs to her fiancé, Sir Horace, to whom her father objected and expelled from their castle, but who will one day return. While waiting for her lord, Amanda saves Lavender, the old laundry horse, from the glue factory and takes her home with her but is ousted the following morning by indignant tenants. Luckily, Lady Burke, a philanthropist, comes to Lavender's aid by providing her a home on the Burke country estate. Although the laundry driver Ben Pillsbury pines for Amanda, she ignores him, preferring to wait instead for Lord Horace. When Greensmith finally arrives for his shirt, Amanda pleads with him to pretend that he is her lover and he agrees, but later, realizing how shabby she looks, he discards her. He leaves Amanda, her romantic dreams shattered, sobbing, while Ben waits outside the laundry, ... +


Amanda Afflick, a laundress with a romantic imagination, weaves a story about a shirt brought to the laundry eight months earlier by Horace Greensmith. She tells her fellow workers that the shirt belongs to her fiancé, Sir Horace, to whom her father objected and expelled from their castle, but who will one day return. While waiting for her lord, Amanda saves Lavender, the old laundry horse, from the glue factory and takes her home with her but is ousted the following morning by indignant tenants. Luckily, Lady Burke, a philanthropist, comes to Lavender's aid by providing her a home on the Burke country estate. Although the laundry driver Ben Pillsbury pines for Amanda, she ignores him, preferring to wait instead for Lord Horace. When Greensmith finally arrives for his shirt, Amanda pleads with him to pretend that he is her lover and he agrees, but later, realizing how shabby she looks, he discards her. He leaves Amanda, her romantic dreams shattered, sobbing, while Ben waits outside the laundry, disconsolate. +

GENRE
Genre:


Subject

Subject (Minor):
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.