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HISTORY

Don Quixote was stage idol De Wolf Hopper's first film. According to the 24 September 1915 Variety, Hopper and Fay Tincher had already begun work on the film at the Triangle-Fine Arts Studio in Hollywood, CA. The 27 November 1915 Moving Picture World reported that director Edward Dillon was finishing up the last scenes. A photo caption in the February 1916 Film Fun, noted that the producers had a difficult time finding just the right horse to portray "Rosinante," Don Quixote's "lean and scrawny" steed. When they found a frail horse that fit the novel's specifications, Hopper refused to ride the poor animal until it gained a few pounds and he lost a few. As Hopper told the 29 January 1916 Motography, "In the make-up and costume of Don Quixote, which consisted principally of about two hundred pounds of armor and the most cadaverous appearance I could possibly invent, I made my first attempt to mount that world-famous horse of Cervante's called 'Rozinante.' The attempt to get on the back of that razor-back charger was the physical effort of my life. Feeling my more or less pronounced weight, he first went down on his front knees and then his back legs wobbled. When righted, he insisted on backing through the scene instead of advancing. Finally we got him to work, and he became the dear old pet of the whole company." Hopper also revealed that two of the locations for the film were Santa Barbara, CA, because of its old Spanish style homes, and a mountain in Riverside County, east of Los Angeles.
       According to reviews, including one in ...

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Don Quixote was stage idol De Wolf Hopper's first film. According to the 24 September 1915 Variety, Hopper and Fay Tincher had already begun work on the film at the Triangle-Fine Arts Studio in Hollywood, CA. The 27 November 1915 Moving Picture World reported that director Edward Dillon was finishing up the last scenes. A photo caption in the February 1916 Film Fun, noted that the producers had a difficult time finding just the right horse to portray "Rosinante," Don Quixote's "lean and scrawny" steed. When they found a frail horse that fit the novel's specifications, Hopper refused to ride the poor animal until it gained a few pounds and he lost a few. As Hopper told the 29 January 1916 Motography, "In the make-up and costume of Don Quixote, which consisted principally of about two hundred pounds of armor and the most cadaverous appearance I could possibly invent, I made my first attempt to mount that world-famous horse of Cervante's called 'Rozinante.' The attempt to get on the back of that razor-back charger was the physical effort of my life. Feeling my more or less pronounced weight, he first went down on his front knees and then his back legs wobbled. When righted, he insisted on backing through the scene instead of advancing. Finally we got him to work, and he became the dear old pet of the whole company." Hopper also revealed that two of the locations for the film were Santa Barbara, CA, because of its old Spanish style homes, and a mountain in Riverside County, east of Los Angeles.
       According to reviews, including one in the 4 March 1916 Moving Picture World, Don Quixote was shortened by one thousand feet, an entire reel, after its opening at the Knickerbocker Theater in New York. The 19 February 1916 Motion Picture News stated, "The entertaining but somewhat long filmation of Don Quixote, starring De Wolfe Hopper, has gone out to the coast for revision, and has been sent back lopped of superfluous material so that it is now a compact five-reeler."
       Triangle released Don Quixote and The Last Act on the same day.
       The February 1916 Motion Picture Magazine ran a short-story adaptation of Don Quixote illustrated by photo stills from this film.
       Other films based on the same source include a 1908 French version made by Georges Méliès; a 1923 British version directed by Maurice Elvey and starring Jerrold Robertshaw; a 1933 British version directed by G. W. Pabst and starring Feodor Chaliapin; a 1947 Spanish version directed by Rafael Gil and starring Rafael Rivelles; a 1957 Russian version directed by Grigori Kozintsev; a 1962 Spanish version entitled Dulcinea;) and a 1972 American version entitled Man of La Mancha (see entry), directed by Arthur Hiller and starring Peter O'Toole.
       According to the Library of Congress American Silent Feature Film Survival Database, this film is extant.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Fun
Feb 1916
p. 27
Motion Picture Magazine
Feb 1916
pp. 35-46
Motion Picture News
25 Dec 1915
p. 104
Motion Picture News
1 Jan 1916
p. 92
Motion Picture News
8 Jan 1916
p. 100
Motion Picture News
10 Feb 1916
p. 981
Motography
8 Jan 1916
p. 84, 85
Motography
29 Jan 1916
p. 233
Motography
4 Mar 1916
p. 548
Moving Picture World
27 Nov 1915
p. 1672
Moving Picture World
25 Dec 1915
p. 2333, 2386
Moving Picture World
4 Mar 1916
p. 1454
Moving Picture World
11 Mar 1916
p. 1714, 1716
Moving Picture World
22 Apr 1916
p. 639, 699
NYDM
26 Feb 1916
p. 25
New York Times
20 Dec 1915
p. 11
Variety
p. 19
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
Edward Dillon
Dir
PRODUCER
WRITER
Chester Withey
Scen
PHOTOGRAPHY
SOURCES
LITERARY
Based on the novel El ingenioso hidalgo Don Quijote de la Mancha by Miguel de Cervantes Saavedra (Madrid, 1605) and his novel Segunda parte del ingenioso cabellero Don Quijote de la Mancha (Madrid, 1615).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
27 February 1916
Production Date:
September-November 1915
Copyright Info
Claimant
Date
Copyright Number
Triangle Film Corp.
21 February 1916
LP8166
Physical Properties:
Silent
Black and White
Length(in feet):
5,000
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

His mind unbalanced by too little nourishment and too much reading, Don Quixote, believing himself to be a chivalrous knight, sallies forth with Sancho Panza, his squire, and Rosinante, his broken-down horse, to perform noble deeds. During a battle with devilish windmills, Don Quixote is knocked unconscious, but is cared for by Dorothea, a beautiful shepherdess who was forced from her home after Don Fernando seduced and abandoned her. Quixote takes off to find Fernando and ends up at an inn where he meets and falls in love with Dulcinea, a common girl whose plainness eludes the befuddled knight. Expelled from the inn, Quixote encounters a group of convicts and, convinced that they are slaves, fights to free them from their guards. Later, Cardenio, one of the convicts, tells Quixote that he was arrested for loving Lucinda against her father's will, and when the knight discovers that Lucinda is about to marry the rakish Don Fernando, he risks his life to stop the wedding and restore her safely to Cardenio. In the ensuing battle, Quixote is shot and dies in the arms of Dulcinea and Sancho ...

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His mind unbalanced by too little nourishment and too much reading, Don Quixote, believing himself to be a chivalrous knight, sallies forth with Sancho Panza, his squire, and Rosinante, his broken-down horse, to perform noble deeds. During a battle with devilish windmills, Don Quixote is knocked unconscious, but is cared for by Dorothea, a beautiful shepherdess who was forced from her home after Don Fernando seduced and abandoned her. Quixote takes off to find Fernando and ends up at an inn where he meets and falls in love with Dulcinea, a common girl whose plainness eludes the befuddled knight. Expelled from the inn, Quixote encounters a group of convicts and, convinced that they are slaves, fights to free them from their guards. Later, Cardenio, one of the convicts, tells Quixote that he was arrested for loving Lucinda against her father's will, and when the knight discovers that Lucinda is about to marry the rakish Don Fernando, he risks his life to stop the wedding and restore her safely to Cardenio. In the ensuing battle, Quixote is shot and dies in the arms of Dulcinea and Sancho Panza.

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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.