The Inner Shrine (1917)
54 mins | Drama | 14 June 1917
Director:
Frank ReicherWriters:
Beatrice de Mille , Leighton OsmunProduction Company:
Jesse L. Lasky Feature Play Co.The scenario was based on the 1909 novel, The Inner Shrine by Basil King, and the 1910 stage adaptation by Channing Pollock. An item in the 17 April 1915 Motography reported that screen rights for the play had been purchased by director James Durkin of Pre-Eminent Films Ltd., as a vehicle for actress Maude Fealy. The completion of this picture could not be determined from available sources.
On 13 January 1917, Motography announced plans by the Jesse L. Lasky Feature Play Co. to make a film version of Basil King’s novel, featuring stage star Margaret Illington in her screen debut. The 31 January 1917 New York Clipper stated that she left New York City four days earlier to begin work immediately on the picture at Lasky Studios in Hollywood, CA. According to the 17 February 1917 Motion Picture News, Illington was to occupy the same dressing bungalow used by opera star Geraldine Farrar during her tenure with the studio. It was also noted that Illington was an avid student of filmmaking and made frequent visits to the Famous Players-Lasky Studio in Queens, NY. The 24 February 1917 Moving Picture World claimed that the actress had originated the role of “Diane Winthrop” on stage, but contemporary sources did not verify this. One week later, the 24 March 1917 issue reported the close of production. Camille Ankewich (Marcia Monon) was identified as a cast member in the 25 February 1918 Paramount Pictures press book.
Illington completed Sacrifice (1917, see entry), her second and final film ...
The scenario was based on the 1909 novel, The Inner Shrine by Basil King, and the 1910 stage adaptation by Channing Pollock. An item in the 17 April 1915 Motography reported that screen rights for the play had been purchased by director James Durkin of Pre-Eminent Films Ltd., as a vehicle for actress Maude Fealy. The completion of this picture could not be determined from available sources.
On 13 January 1917, Motography announced plans by the Jesse L. Lasky Feature Play Co. to make a film version of Basil King’s novel, featuring stage star Margaret Illington in her screen debut. The 31 January 1917 New York Clipper stated that she left New York City four days earlier to begin work immediately on the picture at Lasky Studios in Hollywood, CA. According to the 17 February 1917 Motion Picture News, Illington was to occupy the same dressing bungalow used by opera star Geraldine Farrar during her tenure with the studio. It was also noted that Illington was an avid student of filmmaking and made frequent visits to the Famous Players-Lasky Studio in Queens, NY. The 24 February 1917 Moving Picture World claimed that the actress had originated the role of “Diane Winthrop” on stage, but contemporary sources did not verify this. One week later, the 24 March 1917 issue reported the close of production. Camille Ankewich (Marcia Monon) was identified as a cast member in the 25 February 1918 Paramount Pictures press book.
Illington completed Sacrifice (1917, see entry), her second and final film for Famous Players-Lasky, after The Inner Shrine, although the latter was her second release. The July 1917 Film Fun reported the actress’s return to New York City and the resumption of her stage career.
The Inner Shrine was released on 14 June 1917, preceded by openings at the Strand and Rialto Theatres in New York City during the week of 13 May 1917. A Boston, MA, opening followed at the Beacon Theatre during the week of 14 June 1917.
The National Film Preservation Board (NFPB) included this film on its list of Lost U.S. Silent Feature Films as of February 2021.
Upon coming into her inheritance, Diane Winthrop does exactly what her guardian, Derek Pruyn, had feared she would: marry the Viscount D'Arcourt, an impoverished French nobleman. After the wedding, the viscount turns to his mistress, and Diane realizes that he married her for her fortune. Diane seeks solace with the Marquis de Bienville who, desiring more than her company, contrives to ruin her reputation by detaining her all night in his chateau. This incident precipitates a duel between the viscount and the marquis, during which the viscount commits suicide. Fearing that he will be charged with murder, the marquis leaves France for South America where he finds the ailing Derek, abandoned by his servants and raving in his delirium about Diane. The marquis learns that Derek had always loved Diane but repressed his emotions because of the difference in their ages. When Derek finally recovers, the marquis reveals the truth about his affair with Diane. Derek leaves South America and is reunited with ...
Upon coming into her inheritance, Diane Winthrop does exactly what her guardian, Derek Pruyn, had feared she would: marry the Viscount D'Arcourt, an impoverished French nobleman. After the wedding, the viscount turns to his mistress, and Diane realizes that he married her for her fortune. Diane seeks solace with the Marquis de Bienville who, desiring more than her company, contrives to ruin her reputation by detaining her all night in his chateau. This incident precipitates a duel between the viscount and the marquis, during which the viscount commits suicide. Fearing that he will be charged with murder, the marquis leaves France for South America where he finds the ailing Derek, abandoned by his servants and raving in his delirium about Diane. The marquis learns that Derek had always loved Diane but repressed his emotions because of the difference in their ages. When Derek finally recovers, the marquis reveals the truth about his affair with Diane. Derek leaves South America and is reunited with Diane.
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