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Mary is coerced into helping with a burglary of a minister's apartment. Later she repents and goes to the minister's storefront mission to help.




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Credited cast:
Charles Avery ...
Kate Bruce ...
John R. Cumpson ...
Arthur V. Johnson ...
Reverend John Stanton
James Kirkwood ...
Florence La Badie
Stephanie Longfellow ...
Mary Rollins
Wilfred Lucas
Anthony O'Sullivan ...
In Congregation
Lottie Pickford ...
Frank Powell ...
A Thief
Billy Quirk ...
A Drunk
In Congregation


In a Bowery dance-hall we find Mary Rollins associated with those poor souls who walk in the Valley of the Shadow of Death. One of their number is a youth whose mother appears and tries to get him away from the place, but appeals are in vain and she goes to the little mission, where she finds Rev. John Stanton, the pastor, who is the good shepherd willing to seek the lost one. Stanton's entrance in the dance hall occasions vile derision from the mob, and, indeed, they would have assaulted him, had he not cowed them by an exhibition of his forced aggressiveness. Here he meets Mary, through whose glance he sees a pure soul which is being forced into the quagmire of crime by conditions. Before leaving with the boy, Stanton hands around cards on which is printed Psalm 23. These lines impress her so deeply that she is drawn to the little mission to hear the words of encouragement preached by the kindly spirited Mr. Stanton. How strongly do the words of holy writ, "Let them be ashamed who ... Written by Moving Picture World synopsis

Plot Summary | Add Synopsis


Short | Drama





Release Date:

2 August 1909 (USA)  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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User Reviews

Second Time Round
4 November 2004 | by (London, England) – See all my reviews

I didn't get this the first time round when I watched it as a teenager. Back then, I thought it was just boring viewing. Now that I have revisited it as an adult I can see what the 34 year old D.W. Griffith was trying to do. His main character is the camera rather than the actors, and it's what the camera frames that motivates him as opposed to his creative team. He's a bit like Hitchcock believing actors are merely cattle. Cecil B. DeMille also placed a heavy emphasis on scenery and what the camera can shoot. From this perspective, I enjoyed this piece of work because I understood the scenery that he was trying to embrace. Forget the fact that there was no story, the main thing was the scenery.

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