The Girl with the Champagne Eyes (1918)

Drama | 3 March 1918

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HISTORY

Moving Picture World attributed the role of "Matt" to Charles Gorman. Various contemporary sources incorrectly referred to cast member Charles Edler as “Charles Elder.”
       The Girl with the Champagne Eyes was announced in the 26 Jan 1918 Exhibitors Herald as Jewel Carmen’s next starring vehicle, with a scheduled release date of 17 Feb 1918. The title of the film may have alluded to an existing nickname for Carmen, who was referred to generally as “the girl with the champagne eyes” in the Apr 1918 Motion Picture and 1 Jun 1918 Moving Picture World.
       Filming was based in Los Angeles, CA, as indicated by the 2 Feb 1918 Moving Picture World. The release date was moved to 24 Feb 1918, and again to 3 Mar 1918. An item in the 23 Feb 1918 Moving Picture World attributed the shift in schedule to Fox Film Corp.’s release of Six Shooter Andy (1918, see entry), also written by Bernard McConville. Reviews in the 9 Mar 1918 Motion Picture News and May 1918 Picture-Play complained that McConville’s scripts for both The Girl with the Champagne Eyes and Six Shooter Andy shared the same premise.
       Direction of this film was credited to brothers S. A. (Sidney A.) Franklin and C. M. (Chester M.) Franklin in the 23 Mar 1918 Exhibitors Herald, but only to the latter in other sources. Fox’s Frank Lloyd was said to have been in charge of the production, according to a 4 May 1918 Moving Picture World brief. ...

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Moving Picture World attributed the role of "Matt" to Charles Gorman. Various contemporary sources incorrectly referred to cast member Charles Edler as “Charles Elder.”
       The Girl with the Champagne Eyes was announced in the 26 Jan 1918 Exhibitors Herald as Jewel Carmen’s next starring vehicle, with a scheduled release date of 17 Feb 1918. The title of the film may have alluded to an existing nickname for Carmen, who was referred to generally as “the girl with the champagne eyes” in the Apr 1918 Motion Picture and 1 Jun 1918 Moving Picture World.
       Filming was based in Los Angeles, CA, as indicated by the 2 Feb 1918 Moving Picture World. The release date was moved to 24 Feb 1918, and again to 3 Mar 1918. An item in the 23 Feb 1918 Moving Picture World attributed the shift in schedule to Fox Film Corp.’s release of Six Shooter Andy (1918, see entry), also written by Bernard McConville. Reviews in the 9 Mar 1918 Motion Picture News and May 1918 Picture-Play complained that McConville’s scripts for both The Girl with the Champagne Eyes and Six Shooter Andy shared the same premise.
       Direction of this film was credited to brothers S. A. (Sidney A.) Franklin and C. M. (Chester M.) Franklin in the 23 Mar 1918 Exhibitors Herald, but only to the latter in other sources. Fox’s Frank Lloyd was said to have been in charge of the production, according to a 4 May 1918 Moving Picture World brief.
       The National Film Preservation Board (NFPB) included this film on its list of Lost U.S. Silent Feature Films as of October 2019. MPW attributes the role of "Matt" to Charles Gorman.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Atchison Daily Globe [Atchison, KS]
2 Mar 1918
p. 3
Exhibitors Herald
26 Jan 1918
p. 29
Exhibitors Herald
9 Feb 1918
p. 34
Exhibitors Herald
9 Mar 1918
---
Exhibitors Trade Review
2 Mar 1918
p. 1068
Motion Picture
Apr 1918
p. 113
Motion Picture News
2 Mar 1918
p. 1282
Motion Picture News
9 Mar 1918
p. 1468
Motography
9 Feb 1918
p. 275
Motography
16 Feb 1918
p. 315
Motography
9 Mar 1918
p. 460
Motography
23 Mar 1918
p. 591
Moving Picture World
2 Feb 1918
p. 690
Moving Picture World
23 Feb 1918
p. 1121
Moving Picture World
9 Mar 1918
pp. 1413-1414
Moving Picture World
4 May 1918
p. 682
Moving Picture World
1 Jun 1918
p. 1310
Picture-Play
May 1918
p. 272
Wid's Daily
27 Apr 1918
p. 587
DETAILS
Release Date:
3 March 1918
Production Date:
ended ca. Jan or early Feb 1918
Copyright Info
Claimant
Date
Copyright Number
William Fox
3 March 1918
LP12161
Physical Properties:
Silent
Black and White
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

On a boat to San Francisco, Nellie Proctor is nearly caught stealing a man's wallet, but because she slips it into James Blair's pocket, he is arrested for the crime and sentenced to two years on the chain gang. Nellie, ashamed at having sent an innocent man to prison, convinces her friend Milligan to help James escape, after which all three go to an Alaskan mining town to begin a new life. While James prospects for gold, Nellie and Milligan find work in a local saloon, and Nellie takes charge of four orphaned children. Warren McKenzie, the saloon owner, is also the sheriff, and when he discovers James's identity, he threatens to turn the young man over to the law unless Nellie visits him in his cabin. To save James, with whom she has fallen in love, from a second prison term, Nellie consents, but James and the children come to her ...

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On a boat to San Francisco, Nellie Proctor is nearly caught stealing a man's wallet, but because she slips it into James Blair's pocket, he is arrested for the crime and sentenced to two years on the chain gang. Nellie, ashamed at having sent an innocent man to prison, convinces her friend Milligan to help James escape, after which all three go to an Alaskan mining town to begin a new life. While James prospects for gold, Nellie and Milligan find work in a local saloon, and Nellie takes charge of four orphaned children. Warren McKenzie, the saloon owner, is also the sheriff, and when he discovers James's identity, he threatens to turn the young man over to the law unless Nellie visits him in his cabin. To save James, with whom she has fallen in love, from a second prison term, Nellie consents, but James and the children come to her rescue.

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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.