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HISTORY

For information on other films based on the Hubert Osborne play, please consult the entry for the 1936 RKO film Follow the Fleet, directed by Mark Sandrich and starring Fred Astaire and Ginger ... More Less

For information on other films based on the Hubert Osborne play, please consult the entry for the 1936 RKO film Follow the Fleet, directed by Mark Sandrich and starring Fred Astaire and Ginger Rogers. More Less

GEOGRAPHIC LOCATIONS
BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Exhibitors Trade Review
2 May 1925
p. 20, 25.
Exhibitors Trade Review
21 Sep 1925
p. 49.
Film Daily
7 Jun 1925
p. 140.
Film Daily
13 Aug 1925
p. 8.
Film Daily
27 Sep 1925.
---
Moving Picture World
7 Mar 1925
p. 75.
Moving Picture World
28 Mar 1925
p. 386.
Moving Picture World
9 May 1925
p. 229.
Moving Picture World
11 Jul 1925
p. 187.
New York Times
14 Sep 1925.
---
Variety
18 Mar 1925
p. 31.
Variety
26 Aug 1925
p. 11, 54.
Variety
2 Sep 1925
p. 17.
Variety
9 Sep 1925
p. 30.
Variety
16 Sep 1925
p. 40.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
WRITERS
Titles
Art titles
PHOTOGRAPHY
Dir of photog
FILM EDITOR
SET DECORATOR
Settings
PRODUCTION MISC
SOURCES
LITERARY
Based on the play Shore Leave
A Sea-goin' Comedy in Three Acts by Hubert Osborne, as produced by David Belasco (New York, 8 Aug 1922).
DETAILS
Release Date:
6 September 1925
Premiere Information:
New York opening at the Marchk Strand Theatre: week of 13 September 1925
Production Date:
late-April--late-June 1925
Copyright Claimant:
Inspiration Pictures, Inc.
Copyright Date:
10 August 1925
Copyright Number:
LP21709
Physical Properties:
Silent
Black and White
Length(in feet):
6,856
Length(in reels):
7
Country:
United States
Language:
English
SYNOPSIS

The fleet anchors in a small New England port, and while on shore leave "Bilge" Smith, a hardened, easygoing sailor, meets Connie Martin, the village dressmaker. Smith flirts with her, and Connie, who has never had a sweetheart, takes the flirtation seriously. Smith promises to return to her, and in his absence Connie has an old ship, left to her by her father, converted into a tearoom. The fleet returns, and Connie, not knowing Smith's first name, invites all the Smiths in the fleet to a party. Bilge Smith comes and, at first, does not remember Connie. When he realizes how serious she is about him, he proposes, but, learning of her newly found prosperity, he weighs anchor, refusing to live off a rich woman. Connie later writes to Smith and tells him that she has been reduced to poverty. He quickly returns to her and finds that she still owns the ship. Believing himself to have been tricked, Smith is preparing to leave when Connie haltingly tells him that she has put the ship in trust for her first baby, provided that the child's last name is Smith. Smith decides to stay and marry ... +


The fleet anchors in a small New England port, and while on shore leave "Bilge" Smith, a hardened, easygoing sailor, meets Connie Martin, the village dressmaker. Smith flirts with her, and Connie, who has never had a sweetheart, takes the flirtation seriously. Smith promises to return to her, and in his absence Connie has an old ship, left to her by her father, converted into a tearoom. The fleet returns, and Connie, not knowing Smith's first name, invites all the Smiths in the fleet to a party. Bilge Smith comes and, at first, does not remember Connie. When he realizes how serious she is about him, he proposes, but, learning of her newly found prosperity, he weighs anchor, refusing to live off a rich woman. Connie later writes to Smith and tells him that she has been reduced to poverty. He quickly returns to her and finds that she still owns the ship. Believing himself to have been tricked, Smith is preparing to leave when Connie haltingly tells him that she has put the ship in trust for her first baby, provided that the child's last name is Smith. Smith decides to stay and marry Connie. +

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.