Albert Woodson, a talented young artist, has become madly infatuated with Cora Irwin, a fellow artist. Cora's atelier was the rendezvous of the members of the higher Bohemia, and at her ... See full summary »




Credited cast:
Stephanie Longfellow ...
The Shepherdess
W. Chrystie Miller ...
The Shepherdess' Father
Rest of cast listed alphabetically:
Dorothy Bernard
William J. Butler ...
Verner Clarges ...
Charles Craig ...
A Friend
A Country Boy
Guy Hedlund ...
A Farmhand
Jeanie Macpherson ...


Albert Woodson, a talented young artist, has become madly infatuated with Cora Irwin, a fellow artist. Cora's atelier was the rendezvous of the members of the higher Bohemia, and at her little reception there always gathered the men and women of arts and letters. Among them was Albert Woodson, and during the course of these affairs he proposes marriage to the seemingly nonchalant Cora, who regards his protestation as a joke and laughingly rejects his proposal. Despondent, Albert goes to his home and decides to take a long walking trip in the country, where he hopes to crush that infatuation for the heartless Cora. As he trudges through the fields, his mind is occupied admiring the beauty of the land, which enthralls him so as to almost forget the cold-hearted artist. Here he meets a pretty little shepherdess as she feeds her sheep. Her artlessness and beauty make such an impression on him that Cora has now gone entirely from his thoughts. It is a case of love at first sight, and it is... Written by Moving Picture World synopsis

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rural setting | See All (1) »


Romance | Short





Release Date:

5 September 1910 (USA)  »

Also Known As:

A Summer Idyl  »

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It is a notable production
19 August 2015 | by (Chicago) – See all my reviews

A picture that is different, so different that one is disposed to rub one's eyes to see if the scenario writer has actually dared to introduce an innovation and give a picture a new ending. Here is a city man who a country in a huff, falls in love with the little country girl in the same old way, and then—well, the lure of the city is too strong, he goes back to his former sweetheart, leaving the country shepherdess to fill her grandfather's pipe and chase her sheep across the bridge as of yore. Of course she cries a bit. It needs a few tears to express the shattered emotion, but she accepts the inevitable with good grace and cuddles under her grandfather's wing in a very satisfactory and re-assuring way. So much for the story. The pictorial part is notable. The farm scenes were made while the farm operations were in progress. The harvesting scenes are faithful reproductions. The only criticism the writer has to offer is that the horses haul that reaper and binder faster than they do when actually at work. The machine would not stand such rapid motion. It couldn't. The reciprocating motion of the knife would tear the machine to pieces if it went long at that pace. The scene where they are loading the grain is an excellent reproduction. It is a picture worthy preservation. The man on the load knew what he was doing, he loaded the bundles right. Some farm scenes are carelessly composed, and not infrequently are wrong, but these deserve commendation for their accuracy. The tones in the picture are excellent. There it no soot and whitewash, but a soft gradation which is good to see and adds much to the pictorial effect. It is a notable production. And yet, it must go at the close of a day while poor vaudeville acts stay on. - The Moving Picture World, September 17, 1910

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