Aristocracy (1914)
Drama | 26 November 1914
Forty-five-year-old Tyrone Power, “the famous ‘legitimate’ star,” made “his first appearance in motion pictures in the Famous Players four-part film adaptation of Bronson Howard’s noted society play, ‘Aristocracy,’” the 14 Nov 1914 Motography reported. He would later become known as Tyrone Power, Sr. when his son, Tyrone Power (1914-1958), became a matinee idol in the 1930s. The magazine went on to state: “The astonishing success of the original stage production made the play famous throughout the world, and the film version even enhances the power and charm of the drama. ‘Aristocracy’ sounds the shallows and the depths of the exalted circle that provides the title of the subject. It criticizes with relentless vigor and earnestness the false pomp and superficial grandeur of the vain set that parades itself before the eyes of the world in the superlative dress of the idling rich, and is at moment overpowering in its fearless attacks on the shams and shames of the circle it exposes.” Three weeks later, the 5 Dec 1914 Motography praised the film’s technical aspects: “As usual with this company, the atmosphere inspired by the interior settings and exterior locations, whether they be in this country or elsewhere, is the last word in completeness. The photography is flawless, and the acting is as nearly so as Tyrone Power, Arthur Hoops, Marguerite Skirvin, Edna Mayo, Ida Waterman and William Roselle can make it.” According to the 28 Nov 1914 Moving Picture World, “Director [T. N.] Heffron has finely staged ‘Aristocracy.’ There are city mansions and rural palaces, there are great lawns and gardens, material contributing to the atmosphere of the story. The interiors are lavish ...
Forty-five-year-old Tyrone Power, “the famous ‘legitimate’ star,” made “his first appearance in motion pictures in the Famous Players four-part film adaptation of Bronson Howard’s noted society play, ‘Aristocracy,’” the 14 Nov 1914 Motography reported. He would later become known as Tyrone Power, Sr. when his son, Tyrone Power (1914-1958), became a matinee idol in the 1930s. The magazine went on to state: “The astonishing success of the original stage production made the play famous throughout the world, and the film version even enhances the power and charm of the drama. ‘Aristocracy’ sounds the shallows and the depths of the exalted circle that provides the title of the subject. It criticizes with relentless vigor and earnestness the false pomp and superficial grandeur of the vain set that parades itself before the eyes of the world in the superlative dress of the idling rich, and is at moment overpowering in its fearless attacks on the shams and shames of the circle it exposes.” Three weeks later, the 5 Dec 1914 Motography praised the film’s technical aspects: “As usual with this company, the atmosphere inspired by the interior settings and exterior locations, whether they be in this country or elsewhere, is the last word in completeness. The photography is flawless, and the acting is as nearly so as Tyrone Power, Arthur Hoops, Marguerite Skirvin, Edna Mayo, Ida Waterman and William Roselle can make it.” According to the 28 Nov 1914 Moving Picture World, “Director [T. N.] Heffron has finely staged ‘Aristocracy.’ There are city mansions and rural palaces, there are great lawns and gardens, material contributing to the atmosphere of the story. The interiors are lavish and spacious. The picture holds all the way, and at times moves strongly.”
The 21 Nov 1914 Variety called the film “an interesting presentation of a standard work…. The theme of international marriage is not as much in the public eye today as it was ten years ago and has not the topical interest it had when the play enjoyed it vogue, but the story itself is an interesting one for all time. The big scene, of course, is Stockton’s discovery of Prince Emil concealed in his wife’s bedroom and the rough and tumble fight which follows the disclosure….It has been skillfully managed. The screen flashes from the bedroom scene several times to show the husband’s approach to the rescue, a device which is highly effective in working up tension.”
“Jefferson Stockton, of San Francisco, president of The Transcontinental Railway Company, loves his work and is proud of his success, but is still fonder and prouder of his pretty daughter, Virginia, and his beautiful young wife, Diana, Virginia’s stepmother. The Stuart-Lawrences of New York, members of the old ‘Knickerbocker Aristocracy,' are also fond and proud of each other, but perhaps prouder still of the blue blood that runs in their veins, so when they hear that their son, Stuyvesant Lawrence, is engaged to Virginia Stockton, daughter of a San Francisco family of ‘rich nobodies,’ father Lawrence immediately takes the train West to put a stop to the affair. Virginia has another suitor, the Marquis of Normandale, a poor but titled Englishman, but when he proposes for Virginia’s hand, Jefferson Stockton laughs at his pretensions; still, he tells the Marquis that he will enter into another business agreement with him. Jefferson contracts to take the Marquis’ house in London, with servants, furniture, and the Marquis himself for a handsome sum on a year’s lease. The needy nobleman consents, and the papers are signed, for Jefferson Stockton, wishing to satisfy his wife’s love and ambition for society, knows that the entrance to New York’s fashionable circle is best gained through the gateway of Europe, and he intends to stay there until his beautiful new home in New York has been finished. Then, equipped with the prestige given by foreign residence and titled acquaintances, the Stocktons will be able to take their place among the aristocracy of the great American metropolis, for which his young and beautiful wife Diana so longs. The elder Lawrence arrives in San Francisco and interviews both his ...
“Jefferson Stockton, of San Francisco, president of The Transcontinental Railway Company, loves his work and is proud of his success, but is still fonder and prouder of his pretty daughter, Virginia, and his beautiful young wife, Diana, Virginia’s stepmother. The Stuart-Lawrences of New York, members of the old ‘Knickerbocker Aristocracy,' are also fond and proud of each other, but perhaps prouder still of the blue blood that runs in their veins, so when they hear that their son, Stuyvesant Lawrence, is engaged to Virginia Stockton, daughter of a San Francisco family of ‘rich nobodies,’ father Lawrence immediately takes the train West to put a stop to the affair. Virginia has another suitor, the Marquis of Normandale, a poor but titled Englishman, but when he proposes for Virginia’s hand, Jefferson Stockton laughs at his pretensions; still, he tells the Marquis that he will enter into another business agreement with him. Jefferson contracts to take the Marquis’ house in London, with servants, furniture, and the Marquis himself for a handsome sum on a year’s lease. The needy nobleman consents, and the papers are signed, for Jefferson Stockton, wishing to satisfy his wife’s love and ambition for society, knows that the entrance to New York’s fashionable circle is best gained through the gateway of Europe, and he intends to stay there until his beautiful new home in New York has been finished. Then, equipped with the prestige given by foreign residence and titled acquaintances, the Stocktons will be able to take their place among the aristocracy of the great American metropolis, for which his young and beautiful wife Diana so longs. The elder Lawrence arrives in San Francisco and interviews both his son and Stockton, denying his consent to the betrothal, upon which both Stockton and his daughter agree that the engagement be temporarily canceled. With aching heart, Stuyvesant Lawrence takes his departure for New York, and the unhappy little Virginia Stockton goes to Europe with her family, both living only until the time when Stuyvesant may be able to win his parents over. But Stuyvesant’s mother intercepts Virginia’s letters to her son, and at length his letters to Virginia cease, each thinking the other faithless. Diana is for a time radiantly happy in the baronial halls of the Marquis, while Jefferson Stockton views her pleasure with fond amusement, though immensely bored by it all himself. A friend of the Marquis, Prince Emil Von Haldenwald, a penniless roué, falls in love with Diana, and she feels the strange magnetism of his keen and admiring gaze, even while she resents it. The Prince sues for the hand of Virginia, who, believing he loves her and that Stuyvesant is to be married to another, consents, and they are married against Jefferson Stockton’s wish. The night of the marriage, Virginia hears that Stuyvesant is in Europe and is still true to her, but learns of the interception of her letters too late. While the Prince’s ruined estates are being repaired, Virginia and he live with the Stocktons, and one night, during Jefferson Stockton’s absence, the Prince enters Diana Stockton’s room and attempts to embrace her. Half-hypnotized, she is struggling weakly, when suddenly they hear her husband’s return. The Prince hides on the balcony, but is discovered by Stockton, who sends him from their home. The Stocktons’ happiness seems shattered, but the hand of a kindly Fate at length lifts the pall of unhappiness that European aristocracy has spread for them and the drama has a happy ending.”—28 Nov 1914 Moving Picture World
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