An anonymous donor drops a gold coin in the shoe of a homeless girl as she sleeps. A gambler with a 'sure thing' borrows the coin and wins a fortune, but he can't find her again to repay her.

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Cast

Credited cast:
Anita Hendrie ...
The Mother
Adele DeGarde ...
The Child
...
The Good Samaritan
Charles Inslee ...
The Gambler
Rest of cast listed alphabetically:
...
Reveller
Kate Bruce
George Gebhardt ...
Reveller
...
Gambler
...
Reveller
Barry O'Moore ...
Gambler / Reveller (as Herbert Yost)
...
Gambler / Reveller
...
Reveller
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Storyline

It was fête day in old Paris, and the city was the scene of gaiety and splendor. Contrasted with the brilliant throng we see a little child shivering in the snow, with her little wooden shoe held out expectant of a coin from those charitably disposed. But in the intoxicating jollity of the occasion the poor soul is passed by unnoticed until, exhausted, she sinks upon the stone step and sleeps. There now passes a kindly spirited knight, who flicks a Louis d'Or into the tiny wooden slipper at her side. Meanwhile, at the gambling house there has run to ruin at roulette a young blade, who is tipped that on the strike of twelve the number 17 is sure to come out. So impressed is he that he tries to borrow, in the hope of recouping his lost fortune, but his friends turn coldly away. From the place he saunters despondently and comes upon the little one on the step, still asleep. His hand, through habit, goes to his own pocket, hut, alas! It is empty. As he stands and contemplates the little ... Written by Moving Picture World synopsis

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Short | Drama

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22 February 1909 (USA)  »

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1.33 : 1
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Released as a split reel along with The Politician's Love Story (1909). See more »

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User Reviews

Quite Effective Despite Some Rough Edges
22 November 2004 | by (Ohio) – See all my reviews

This short drama is quite effective, even with a couple of rough edges. The story is well-conceived, more plausible than most of Griffith's other early features, and it is also filmed with apparent conviction. And, while less sensational than the material in many other features of the era, its point makes it more memorable and worthwhile.

The story centers around a very young girl who is out begging in the snow, and it also follows the responses from a couple of passers-by. The girl is actually a bit underplayed, and because of that her role works well. The situation is enough to speak for itself, without forced emoting. The finale is well-conceived, and it also works the better for not having squeezed too much emotion out of the earlier scenes.

Mostly for those reasons, this is among the better dramas made before 1910. Its few shortcomings are comparatively minor, and are mostly technical. There's little flashy about it, but the way that the story works reveals some care and discipline in filming the material.

D.W. Griffith is often given more credit than is actually warranted for devising or inventing the techniques of modern film-making, because other film-makers independently came up with many of the same or similar ideas at roughly the same time. But, as this example shows, he did have a much greater sensitivity than most towards his characters, and sometimes a keener eye for dramatic possibilities as well.


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