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HISTORY

The scenario was adapted from the 1911 opera, I gioielli della Madonna (The Jewels of the Madonna), composed by Ermanno Wolf-Ferrari with a libretto by Carlo Zangarini and Enrico Golisciani; the plot was based on a true story. The upcoming feature film adaptation, provocatively titled Sin, was announced in the 7 Aug 1915 Motion Picture News as the first Fox Film Corp. release under its new “one-a-week” policy, and as the next starring vehicle for actress Theda Bara, who achieved fame by playing temptresses or “vampires.”
       The picture debuted in New York City on 3 Oct 1915 at the Academy of Music, followed by a general release and a Los Angeles, CA, opening at Miller’s Theatre on 4 Oct 1915.
       According to the 30 Oct 1915 Moving Picture World, after the film encountered no resistance from censors in Kansas City, MO, Charles W. Harden, head of the regional Fox exchange, expected similar results in Topeka, the capital of neighboring Kansas. However, the state censorship board objected to the title and demanded the removal of several scenes. The state appeals board invited the censor and members of several women’s clubs to a private screening, and despite the women’s overall approval of the film, it was banned in Kansas. ...

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The scenario was adapted from the 1911 opera, I gioielli della Madonna (The Jewels of the Madonna), composed by Ermanno Wolf-Ferrari with a libretto by Carlo Zangarini and Enrico Golisciani; the plot was based on a true story. The upcoming feature film adaptation, provocatively titled Sin, was announced in the 7 Aug 1915 Motion Picture News as the first Fox Film Corp. release under its new “one-a-week” policy, and as the next starring vehicle for actress Theda Bara, who achieved fame by playing temptresses or “vampires.”
       The picture debuted in New York City on 3 Oct 1915 at the Academy of Music, followed by a general release and a Los Angeles, CA, opening at Miller’s Theatre on 4 Oct 1915.
       According to the 30 Oct 1915 Moving Picture World, after the film encountered no resistance from censors in Kansas City, MO, Charles W. Harden, head of the regional Fox exchange, expected similar results in Topeka, the capital of neighboring Kansas. However, the state censorship board objected to the title and demanded the removal of several scenes. The state appeals board invited the censor and members of several women’s clubs to a private screening, and despite the women’s overall approval of the film, it was banned in Kansas.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Los Angeles Times
3 Oct 1915
p. 33
Motion Picture News
7 Aug 1915
p. 46
Motion Picture News
14 Aug 1915
p. 38
Motion Picture News
2 Oct 1915
pp. 26-27
Motion Picture News
16 Oct 1915
p. 46, 85
Motion Picture News
29 Nov 1915
p. 114
Motography
23 Oct 1915
p. 880
Moving Picture World
16 Oct 1915
p. 465
Moving Picture World
30a Oct 1915
p. 1005
Sandusky Register [Sandusky, OH]
6 Jan 1916
p. 8
Sandusky Register [Sandusky, OH]
8 Jan 1916
p. 10
Sun [New York, NY]
4 Oct 1915
p. 7
New York Times
3 Oct 1915
p. 39
Variety
8 Oct 1915
p. 21
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTOR
WRITER
PHOTOGRAPHY
Philip E. Rosen
Cam
SOURCES
LITERARY
Based on the opera, I gioielli della Madonna (The Jewels of the Madonna), music by Ermanno Wolf-Ferrari, libretto by Carlo Zangarini and Enrico Golisciani (Berlin, 1911).
DETAILS
Release Date:
4 October 1915
Premiere Information:
New York opening: 3 Oct 1915; Los Angeles opening: 4 Oct 1915
Production Date:
Aug 1915
Copyright Info
Claimant
Date
Copyright Number
William Fox
3 October 1915
LP6523
Physical Properties:
Silent
Black and White
Length(in reels):
5
Country:
United States
Language:
English
SYNOPSIS

Rosa, an Italian peasant girl, leaves her fiancé, Luigi, for the wealthy Pietro, head of a New York City crime syndicate known the Camorra, and departs for the U.S. Undaunted, Luigi follows Rosa across the ocean. Meanwhile, Pietro claims that he will steal the jewels of the Madonna for Rosa to prove his love. Impressed by this seeming devotion, Rosa informs Luigi of Pietro's boast. Refusing to be outdone, Luigi steals the jewels himself, and the theft is quickly discovered. Rosa makes her way through the Festival of the Madonna to find Pietro at Camorra headquarters. As a mob forms to hunt the culprit, Rosa begs Pietro for protection, but he throws her out into the street. Overcome by religious guilt, Luigi returns the jewels then kills himself at the church. Rosa collapses in a deranged stupor while police protect her from the angry mob. ...

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Rosa, an Italian peasant girl, leaves her fiancé, Luigi, for the wealthy Pietro, head of a New York City crime syndicate known the Camorra, and departs for the U.S. Undaunted, Luigi follows Rosa across the ocean. Meanwhile, Pietro claims that he will steal the jewels of the Madonna for Rosa to prove his love. Impressed by this seeming devotion, Rosa informs Luigi of Pietro's boast. Refusing to be outdone, Luigi steals the jewels himself, and the theft is quickly discovered. Rosa makes her way through the Festival of the Madonna to find Pietro at Camorra headquarters. As a mob forms to hunt the culprit, Rosa begs Pietro for protection, but he throws her out into the street. Overcome by religious guilt, Luigi returns the jewels then kills himself at the church. Rosa collapses in a deranged stupor while police protect her from the angry mob.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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