The Enchanted Cottage (1924)
Drama | 17 March 1924
Director:
John S. RobertsonWriter:
Josephine LovettCinematographer:
George FolseyEditor:
William HamiltonProduction Company:
Inspiration PicturesThe Enchanted Cottage was based on Sir Arthur Wing Pinero’s 1922 West End play, The Enchanted Cottage: A Fable in Three Acts. Although not highly regarded in the U.K., the 6 Oct 1922 Var reported that the play was well received when it debuted as a “stock” production at the Bonstelle Theatre in Detroit, MI, and in Providence, RI.
One year later, the 5 Oct 1923 FD announced that Inspiration Pictures had purchased motion picture rights as a vehicle for actor Richard Barthelmess. A 20 Oct 1923 Exhibitors Trade Review item reported that Livingston Platt had been hired to design the sets, which the 8 Dec 1923 Motion Picture News stated were constructed at Inspiration’s studios in Fort Lee, NJ.
Although the 15 Dec 1923 Exhibitors Herald claimed that filming would be completed by the end of 1923, production continued well into the new year. Several weeks later, the 12 Jan 1924 Moving Picture World announced that Barthelmess was forced to undergo minor surgery, which delayed filming for approximately ten days. During this time, director John S. Robertson edited completed footage, since the 2 Feb 1924 Motion Picture News stated that the picture was scheduled for release on 17 Mar 1924. Once production wrapped, the 5 Mar 1924 Var reported that Barthelmess severed his contract with the distributor, Associated First National Pictures.
Items in the 14 Apr 1924 FD and 16 Apr 1924 Var indicated that the film opened at the Strand Theatre in New York City and the State Theatre in Los ...
The Enchanted Cottage was based on Sir Arthur Wing Pinero’s 1922 West End play, The Enchanted Cottage: A Fable in Three Acts. Although not highly regarded in the U.K., the 6 Oct 1922 Var reported that the play was well received when it debuted as a “stock” production at the Bonstelle Theatre in Detroit, MI, and in Providence, RI.
One year later, the 5 Oct 1923 FD announced that Inspiration Pictures had purchased motion picture rights as a vehicle for actor Richard Barthelmess. A 20 Oct 1923 Exhibitors Trade Review item reported that Livingston Platt had been hired to design the sets, which the 8 Dec 1923 Motion Picture News stated were constructed at Inspiration’s studios in Fort Lee, NJ.
Although the 15 Dec 1923 Exhibitors Herald claimed that filming would be completed by the end of 1923, production continued well into the new year. Several weeks later, the 12 Jan 1924 Moving Picture World announced that Barthelmess was forced to undergo minor surgery, which delayed filming for approximately ten days. During this time, director John S. Robertson edited completed footage, since the 2 Feb 1924 Motion Picture News stated that the picture was scheduled for release on 17 Mar 1924. Once production wrapped, the 5 Mar 1924 Var reported that Barthelmess severed his contract with the distributor, Associated First National Pictures.
Items in the 14 Apr 1924 FD and 16 Apr 1924 Var indicated that the film opened at the Strand Theatre in New York City and the State Theatre in Los Angeles, CA.
According to the 27 Jan 1924 FD, The Enchanted Cottage marked the theatrical motion picture debut of stage actress Marion Coakley.
Left a physical wreck by the war, Oliver Bashforth leaves his family and moves into a lonely cottage in search of solitude. He meets Laura Pennington--a plain, lonely, and unattractive woman-- and marries her, primarily to escape from his energetic sister, Ethel. In their unhappy marriage they allow their ugliness to suppress romance, but their mutual admiration grows and becomes love, manifested by recognition of inner beauty and faith that their children will possess the physical perfection denied ...
Left a physical wreck by the war, Oliver Bashforth leaves his family and moves into a lonely cottage in search of solitude. He meets Laura Pennington--a plain, lonely, and unattractive woman-- and marries her, primarily to escape from his energetic sister, Ethel. In their unhappy marriage they allow their ugliness to suppress romance, but their mutual admiration grows and becomes love, manifested by recognition of inner beauty and faith that their children will possess the physical perfection denied them.
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