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HISTORY

The 26 Apr 1919 Exhibitors Herald and Motography reported that William Fox had bought the film rights to David Belasco’s 1882 play, La Belle Russe, which Regent Feature Film Co. had first adapted into a five-reel motion picture five years earlier (see entry). Charles J. Brabin, who wrote this second adaptation, was also set to direct the film “at one of the Fox studios in Fort Lee, N.J., with Theda Bara as the star.” The article stated that the price of the film rights “is said to be one of the largest ever given by a motion picture producer.” ...

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The 26 Apr 1919 Exhibitors Herald and Motography reported that William Fox had bought the film rights to David Belasco’s 1882 play, La Belle Russe, which Regent Feature Film Co. had first adapted into a five-reel motion picture five years earlier (see entry). Charles J. Brabin, who wrote this second adaptation, was also set to direct the film “at one of the Fox studios in Fort Lee, N.J., with Theda Bara as the star.” The article stated that the price of the film rights “is said to be one of the largest ever given by a motion picture producer.”

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Bio
15 Jan 1920
p. 53
Exhibitors Herald and Motography
26 Apr 1919
p. 34
Exhibitors Trade Review
20 Sep 1919
p. 1381
Motion Picture News
20 Sep 1919
p. 2471
New York Clipper
15 Mar 1919
p. 1418
Wid's
21 Sep 1919
p. 11
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
Charles J. Brabin
Dir
WRITER
Charles J. Brabin
Scen
PHOTOGRAPHY
SOURCES
LITERARY
Based on the play La Belle Russe by David Belasco (New York, 8 May 1882).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
21 September 1919
Production Date:

Copyright Info
Claimant
Date
Copyright Number
William Fox
21 September 1919
LP14207
Physical Properties:
Silent
Black and White
Length(in feet):
5,400
Length(in reels):
6
Country:
United States
Language:
English
SYNOPSIS

Phillip Sackton’s aristocratic English family disinherits him when he marries the dancer Fleurette, so when war is declared, he enlists to earn money for Fleurette and their expected child. At the front his friend Brand tells of being shot by his jilted lover, the notorious dancer La Belle Russe, who looks like Fleurette. When Phillip is wounded behind enemy lines, news of his death reaches Fleurette, who goes to France with her baby. Lady Sackton summons them back, however, as the baby now is her sole heir. At the war’s end Brand finds Phillip in London on the verge of suicide because he cannot find Fleurette. They go to the family castle where Brand recognizes La Belle Russe. Phillip and Brand fight, but the real Fleurette appears, explaining that she had sent her twin sister to the castle with her son because she was sick. La Belle Russe, who had been hoping to take Fleurette’s place permanently, slinks out of the ...

More Less

Phillip Sackton’s aristocratic English family disinherits him when he marries the dancer Fleurette, so when war is declared, he enlists to earn money for Fleurette and their expected child. At the front his friend Brand tells of being shot by his jilted lover, the notorious dancer La Belle Russe, who looks like Fleurette. When Phillip is wounded behind enemy lines, news of his death reaches Fleurette, who goes to France with her baby. Lady Sackton summons them back, however, as the baby now is her sole heir. At the war’s end Brand finds Phillip in London on the verge of suicide because he cannot find Fleurette. They go to the family castle where Brand recognizes La Belle Russe. Phillip and Brand fight, but the real Fleurette appears, explaining that she had sent her twin sister to the castle with her son because she was sick. La Belle Russe, who had been hoping to take Fleurette’s place permanently, slinks out of the room.

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.