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If one is writing photoplays he can learn more from some of these Biographs than from any other company's pictures, because of the peculiar method that, consciously or otherwise, is followed in making them. The starting point seems to be in some original moral reflection, or impression might be better; for, while concrete, it is fluid enough not to hamper the dramatist in giving a pictorial expression to it. If one analyzes this story he will find it as deep as life; it will elude him in its meaning, even though he know more about it than the producer or author. It gives a tantalizing glimpse of humanity passing through a queer world; ours is a queer world. The tender-hearted boy hasn't had experience and finds that human wisdom is a very necessary virtue, for without it he finds that his kindliness is like a child in a winter storm without a house to shelter it. In this life, if one has anything precious, he must have a strong box to keep it in. Suggestive as the picture is, it isn't very brave, for it is made interesting to the many, though this, from the exhibitor's viewpoint, is a big merit. With several absorbingly interesting types and with a good story, clearly told and forcefully acted, it makes a desirable release. - The Moving Picture World, February 8, 1913
In 1913, the 35 year old Lionel Barrymore began writing his own scripts like D.W. Griffith, Mary Pickford and Mack Sennett whilst working with Griffith as director. His second attempt as writer was 'The Tended Hearted Boy', and he followed in the tradition of acting, writing and directing.
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