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HISTORY

This film was based on playwright Channing Pollock's 1909 play of the same name, which was previously turned into a musical, in 1913, by Reginald De Koven, titled Her Little Highness.
       According to the 7 Feb 1914 New York Clipper, the Famous Players Film Co. “secured the motion picture rights to all the dramatic successes” of Channing Pollock, including Such a Little Queen. The 1 May 1914 Variety announced that production began in Los Angeles and “will be finished in New York.” Among the California scenes was the opening that displayed “a panoramic view of the Kingdom of Herzegovina in the valley, the great mountains in the background, and a like scene of the Bosnian center,” the 3 Oct 1914 Moving Picture World noted. Apparently the “foreign” landscape was convincing because reviewer Peter Milne, in the 3 Oct 1914 Motion Picture News, claimed that “scenes actually taken in these lands, now in the toils of war, create added color.” He was referring to the involvement of the previously quaint little nations of Bosnia and Herzegovina, unknown to most Americans, in the early stages of the war, which only a month earlier had broken out in Europe.
       Such a Little Queen opened at the Strand Theatre on Broadway in New York. Realart Pictures remade the film in 1921 (see entry). The National Film Preservation Board (NFPB) included both titles on its list of Lost U.S. Silent Feature Films as of October 2019.
       In the 1918 MPSD, Danny “Kid” Hogan was listed as either an actor, the assistant director, or both on this film. ...

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This film was based on playwright Channing Pollock's 1909 play of the same name, which was previously turned into a musical, in 1913, by Reginald De Koven, titled Her Little Highness.
       According to the 7 Feb 1914 New York Clipper, the Famous Players Film Co. “secured the motion picture rights to all the dramatic successes” of Channing Pollock, including Such a Little Queen. The 1 May 1914 Variety announced that production began in Los Angeles and “will be finished in New York.” Among the California scenes was the opening that displayed “a panoramic view of the Kingdom of Herzegovina in the valley, the great mountains in the background, and a like scene of the Bosnian center,” the 3 Oct 1914 Moving Picture World noted. Apparently the “foreign” landscape was convincing because reviewer Peter Milne, in the 3 Oct 1914 Motion Picture News, claimed that “scenes actually taken in these lands, now in the toils of war, create added color.” He was referring to the involvement of the previously quaint little nations of Bosnia and Herzegovina, unknown to most Americans, in the early stages of the war, which only a month earlier had broken out in Europe.
       Such a Little Queen opened at the Strand Theatre on Broadway in New York. Realart Pictures remade the film in 1921 (see entry). The National Film Preservation Board (NFPB) included both titles on its list of Lost U.S. Silent Feature Films as of October 2019.
       In the 1918 MPSD, Danny “Kid” Hogan was listed as either an actor, the assistant director, or both on this film.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Motion Picture News
12 Sep 1914
p. 36
Motion Picture News
26 Sep 1914
p. 32
Motion Picture News
3 Oct 1914
p. 46
Moving Picture World
3 Oct 1914
p. 45
Moving Picture World
10 Oct 1914
p. 253, 254
New York Clipper
7 Feb 1914
p. 15
NYDM
1 Jul 1914
p. 28
Variety
1 May 1914
p. 20
Variety
26 Sep 1914
p. 22
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
PRODUCER
PHOTOGRAPHY
SOURCES
LITERARY
Based on the play Such a Little Queen by Channing Pollock (New York, 31 Aug 1909).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
21 September 1914
Production Date:
began Apr 1914
Physical Properties:
Silent
Black and White
Length(in feet):
5,000
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

Queen Anna Victoria of Herzegovina is exiled from her tiny country and forced to live in poverty in a Harlem flat in New York City, where she comically fumbles with such unfamiliar conveniences as ice boxes and dumbwaiters. Meanwhile, King Stephen of Bosnia, whom she loves but cannot marry because of political reasons, also is exiled to America and lands in a cheap hotel. When both are forced by circumstances to get jobs, Anna goes to work as a translator and Stephen as a clerk for wealthy New York meat packer Adolph Lauman, a self-made man who thinks the royals of Europe are useless. Nonetheless, Lauman soon decides that his daughter should marry Stephen in order to gain a royal title, so that he can then finance the king’s return to the throne. Eventually, Lauman’s daughter convinces her father that she loves Robert Trainor, an American, and that Stephen and Anna should marry each other. Both royals are soon returned to their respective thrones, now free to bind their kingdoms through ...

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Queen Anna Victoria of Herzegovina is exiled from her tiny country and forced to live in poverty in a Harlem flat in New York City, where she comically fumbles with such unfamiliar conveniences as ice boxes and dumbwaiters. Meanwhile, King Stephen of Bosnia, whom she loves but cannot marry because of political reasons, also is exiled to America and lands in a cheap hotel. When both are forced by circumstances to get jobs, Anna goes to work as a translator and Stephen as a clerk for wealthy New York meat packer Adolph Lauman, a self-made man who thinks the royals of Europe are useless. Nonetheless, Lauman soon decides that his daughter should marry Stephen in order to gain a royal title, so that he can then finance the king’s return to the throne. Eventually, Lauman’s daughter convinces her father that she loves Robert Trainor, an American, and that Stephen and Anna should marry each other. Both royals are soon returned to their respective thrones, now free to bind their kingdoms through matrimony.

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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.