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HISTORY

According to the 12 February 1916 Motion Picture News, director Emile Chautard had begun work at World Film's Fort Lee, NJ, studio on Velma, featuring Frances Nelson. However, a month later, the 18 March 1916 Motion Picture News reported that the title was now Human Driftwood, and the company was filming in Florida. The 1 April 1916 Motography more specifically gave the location as Miami. Two weeks later, the 15 April 1916 Moving Picture World elaborated, noting that Chautard "took his company to Florida where the sub-tropical scenes were staged, and then with Mr. Warwick and Miss Nelson and thirty-eight players, a journey was made to a small settlement fifty miles inland from Saranac Lake, New York. There the proper snow scenes were made in just the environment requisite to a faithful carrying out of the author's story. The company arrived in the Adirondacks during the extremely cold spell," and because Warwick had only a short time to film before being needed to open a play back in New York City, they were forced to film "in the face of a terrible blizzard and a universe of snow." An advertisement in that same issue promised "500 big scenes and a punch in every one of them."
       The 22 April 1916 New York Clipper suggested, "Better titling would help the story,...and the shortening of several unimportant scenes is another thing that would make for improvement in a very pleasing and well acted picture play." Variety likewise recommended, "With retitling the picture could be developed into a rattling good feature." ...

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According to the 12 February 1916 Motion Picture News, director Emile Chautard had begun work at World Film's Fort Lee, NJ, studio on Velma, featuring Frances Nelson. However, a month later, the 18 March 1916 Motion Picture News reported that the title was now Human Driftwood, and the company was filming in Florida. The 1 April 1916 Motography more specifically gave the location as Miami. Two weeks later, the 15 April 1916 Moving Picture World elaborated, noting that Chautard "took his company to Florida where the sub-tropical scenes were staged, and then with Mr. Warwick and Miss Nelson and thirty-eight players, a journey was made to a small settlement fifty miles inland from Saranac Lake, New York. There the proper snow scenes were made in just the environment requisite to a faithful carrying out of the author's story. The company arrived in the Adirondacks during the extremely cold spell," and because Warwick had only a short time to film before being needed to open a play back in New York City, they were forced to film "in the face of a terrible blizzard and a universe of snow." An advertisement in that same issue promised "500 big scenes and a punch in every one of them."
       The 22 April 1916 New York Clipper suggested, "Better titling would help the story,...and the shortening of several unimportant scenes is another thing that would make for improvement in a very pleasing and well acted picture play." Variety likewise recommended, "With retitling the picture could be developed into a rattling good feature."

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Motion Picture News
12 Feb 1916
p. 827
Motion Picture News
18 Mar 1916
p. 1585
Motion Picture News
22 Apr 1916
p. 2382
Motography
22 Apr 1916
p. 939, 940, 955
Moving Picture World
15 Apr 1916
p. 404, 468
Moving Picture World
22 Apr 1916
p. 638, 694
Moving Picture World
12 Aug 1916
p. 22
New York Clipper
22 Apr 1916
p. 36
Variety
7 Apr 1916
p. 24
Wid's
13 Apr 1916
p. 507
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
WRITER
DETAILS
Alternate Title:
Velma
Release Date:
10 April 1916
Production Date:
February-March 1916
Copyright Info
Claimant
Date
Copyright Number
World Film Corp.
11 April 1916
LU8053
Physical Properties:
Silent
Black and White
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

Years after a brief affair with Bohemian resort dancer Myra, who stole $20,000 from his safe and accidentally killed her partner, Robert Hendricks, now part of a moral crusade society, goes to Alaska to reform a lawless mining town. By chance, Myra runs a dance hall there, but Robert fails to recognize her. However, he falls in love with her supposed "niece," Velma, fresh from a convent and now one of the dancehall girls, for whom Myra has already arranged a marriage with the wealthy, unscrupulous Lief Bergson. As a result, when Robert goes to Myra for permission to marry Velma, she reveals her own true identity, and tells him that Velma is really the child born from their short romance. Then, after Lief comes to carry off Velma, he and Robert start shooting at each other. Myra is killed during the fight, but before she dies, she confesses that Velma really is not Robert's daughter. Afterward, Robert kills Lief by throwing him into an icy river. Now apprised of the truth, Robert and Velma make plans for their ...

More Less

Years after a brief affair with Bohemian resort dancer Myra, who stole $20,000 from his safe and accidentally killed her partner, Robert Hendricks, now part of a moral crusade society, goes to Alaska to reform a lawless mining town. By chance, Myra runs a dance hall there, but Robert fails to recognize her. However, he falls in love with her supposed "niece," Velma, fresh from a convent and now one of the dancehall girls, for whom Myra has already arranged a marriage with the wealthy, unscrupulous Lief Bergson. As a result, when Robert goes to Myra for permission to marry Velma, she reveals her own true identity, and tells him that Velma is really the child born from their short romance. Then, after Lief comes to carry off Velma, he and Robert start shooting at each other. Myra is killed during the fight, but before she dies, she confesses that Velma really is not Robert's daughter. Afterward, Robert kills Lief by throwing him into an icy river. Now apprised of the truth, Robert and Velma make plans for their marriage.

Less

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.