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One Night, and Then -- (1910)

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Henry Revol was a wealthy bachelor, who had nothing but time and money at his disposal. We see him at his mansion in the midst of a Bohemian gathering. The party is made up of the lights of... See full summary »

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Cast

Credited cast:
Henry B. Walthall ...
Henry Revol
Kate Bruce ...
The Mother
George Nichols ...
The Doctor
Rest of cast listed alphabetically:
Florence Barker ...
At the Party
William J. Butler
Charles Craig ...
At the Party
Adele DeGarde ...
One of the Children
Gladys Egan ...
One of the Children
Francis J. Grandon ...
At the Party
Ruth Hart ...
At the Party
Dell Henderson ...
At the Party
Elinor Kershaw ...
At the Party
James Kirkwood ...
At the Party
W. Chrystie Miller ...
At the Party
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Storyline

Henry Revol was a wealthy bachelor, who had nothing but time and money at his disposal. We see him at his mansion in the midst of a Bohemian gathering. The party is made up of the lights of theatrical, literary and art circles. It is nothing unusual, simply one of the reckless affairs so often held at his home. These are the "false pleasures" of life, made all the more pronounced when contrasted with the "simple life," a scene in a humble home where a mother lives in the love of her children. Revol is simply burned up by the fires of dissipation, and at a succeeding affair falls fainting in his chair. The doctor summoned, tells anticipate fate, but the thought of the jeering of his fawning friends pricks his pride, when a plumber enters his home to do some repairing. An idea strikes him. He will exchange clothes with him and go out somewhere incog. This he does, and after leaving what money he has about him on the mantel, only taking enough to pay for a room for the night, and ... Written by Moving Picture World synopsis

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Short | Drama

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Release Date:

14 February 1910 (USA)  »

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1.33 : 1
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A print of this film survives in the Museum of Modern Art, New York. See more »

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User Reviews

A pleasanter ending would be duly appreciated
8 March 2015 | by (Chicago) – See all my reviews

Whether this film is dramatically as powerful as it might be if it were changed a bit depends upon the point of view. There is a novelty, perhaps, in a wealthy man's arraying himself in a workman's clothes, throwing away his keys and locking his own door behind him. His subsequent attempt to enter his own house while seeking relief for an unfortunate and his fatal wounding are undoubtedly dramatically correct; but one must say in reference to the close that the dramatic power of the picture would not have suffered and a pleasanter impression would have been left if the man had been permitted to live after he had learned that "the greatest of these is charity." When there is some hope of a hitherto misspent life being utilized for the benefit of others it doesn't seem quite right to see it ended. Possibly such occurrences are common in real life, but in a drama there is surely no harm in correcting what to a large number of people seem errors of fate or some other malign influence. A pleasanter ending would, one may feel certain, be duly appreciated by the average audience. But in spite of this the film received applause which the action well merited. - The Moving Picture World, February 26, 1910


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