The Love Light (1921) User Reviews

Over the top melodrama drags on far too long.

[Silents Fan · 6/10 · 8 August 2000]

Mary Pickford is worth watching even if the melodramatic plot wears a bit thin toward the end. But this movie isn't one of her finest hours.

A bucolic Italian light house keeper (Pickford) rescues an "American" sailor from the sea after he is "shipwrecked." She should have known that he wasn't American because he can speak more than one language.

During the course of this movie, set in the time of the First World War, Pickford's character looses both her brothers in the war (one through her own actions), falls in love with and marries a German spy who commits suicide after she turns him in, goes insane, gives birth and has her baby stolen by her best friend, and welcomes home her old boyfriend who has been blinded in the war. She is not having a good day.

If you liked "Sophie's Choice", you might like this movie. For me, it was just too much contrived melodrama. The moral that war destroys, not just the soldiers at the front, but the lives of their friends, family, and loved ones at home, is a valid one. It just isn't conveyed with much subtlety by this movie.

High on Spectacle, Low on Credibility

[JohnHowardReid · 7/10 · 28 September 2011]

CREDITS: Director/screenplay: FRANCES MARION. Chief cameraman: Charles Rosher. Second camera: Henry Cronjager. Assistant cameramen: Ray Binger, Jack Jacob. Film editor: Stuart Heisler. Art director: Stephen Goosson. Property man: Jack Wallace. Assistant property man: Ed Benshof. Head carpenter: Ralph Angel. Head electrician: Bill Johnson. Assistant electrician: Aaron Johnson. Assistant director: Alfred Werker. Producer: Mary Pickford.

SYNOPSIS: During WW1, an Italian lighthouse keeper falls in love with an American deserter. In one version, they are secretly married. In another version, they have an affair. In both cases, the "deserter" (not to give the plot away) falls over a cliff to his death. Some months later, a baby (allegedly a girl, although the child on film is obviously a boy) is born, only to be kidnapped by a madwoman who has lost her own child. In one version, scrupulous nuns refuse to help the heroine because the child is illegitimate and they feel it would be better off with the madwoman who was at least legally married. In the version under review, the nuns simply refuse to help Angela. Our heroine is desperate, but fortunately help is on the way in the form of a storm at sea in which…

NOTES: The first of three movies directed by Frances Marion, for many years the highest-paid writer in Hollywood. The film also marks the movie debut of Marion's husband, Fred Thomson, who became America's the second biggest cowboy star (only Tom Mix was more popular) before his untimely death of tetanus on Christmas Day, 1928, at the age of 38.

The Internet Movie Data Base lists Nat Deverich as assistant director. Certainly Deverich was on hand to help stage the terrific climax in which he was almost drowned. Possibly Werker then replaced him for location scenes. Certainly the assistant director was plainly Alfred Werker in a production still taken in Monterey, California, and dated 1920.

COMMENT: Not one of Mary's best films. The ludicrous, lugubrious, high-on-coincidence plot, which veers from farce to over-the-top gaslight melodrama, complete with over-lengthy explanatory cards (on some occasions, you get two cards for the price of one), doesn't help; nor does Mary's over-the-top acting; nor does Frances Marion's static, camera-chained-to-the-floor direction which encourages actors to play to the cinema audience as if they were declaiming their lines on a theatre stage. Mary is the worst offender, but Evelyn Dumo is not far behind. Only Fred Thomson (his first film too!) and the unbilled actor who plays the boring priest offer "natural" performances.

Nonetheless, a lot of money has obviously been spent on this barnstormer (you can't complain about the action sequences which come to a really thrilling climax), and it's all up there on the screen. The photography and many of the pictorial effects are highly attractive too.

Interestingly, Mary gives a far more natural performance in an incomplete and rather poor copy of D.W. Griffith's "Friends" (1912), included as an extra on the DVD.

Often Compelling, But Flawed, Melodrama

[Snow Leopard · 1 April 2002]

"The Love Light" has some very good material and gives Mary Pickford a good vehicle for displaying her range of talents. The story also is often compelling, in its look at the ways that World War I affects the lives of the inhabitants of a small Italian town. But it also has some flaws in the story and character development that detract from its effectiveness. It's a good movie, but not one of Pickford's best features.

The first part of the story is a light-hearted introduction to the town and its residents. Bit-by-bit, the war begins to affect their lives, until the tone of the movie has become quite serious. This part is done very well, with good writing and craftsmanship, and it is effective. Both the setting and characters are also very believable, helped by some very good photography. The main part of the movie, as things get more complicated, has some compelling moments, but it is hampered by having too many implausible developments that make it seem forced at times. Another difficulty is that Pickford's character sometimes makes rather foolish decisions and behaves in ways that just don't ring true with the bright, resourceful character that she has established. This and other problems detract somewhat from the emotional impact of some of the key developments.

It thus ends up being a cut below some of Pickford's other melodramas. But it's still a movie worth seeing for its strengths. Because it starts with a good foundation, it holds up fairly well despite its flaws.

Mary Pickford and Frances Marion introduce Fred Thomson and Others

[wes-connors · 6/10 · 24 April 2010]

In a coastal Italian village, perky Mary Pickford (as Angela Carlotti) and brothers Edward Phillips (as Mario) and Jean De Briac (as Antonio) lead a carefree peasant life. They play harmless tricks on the town priest and watch as their farm animals get drunk. But, "The Great War" (World War I) soon brings waves of misery to Ms. Pickford's family and friends. Her brothers go off to war, along with sensitive boyfriend Raymond Bloomer (as Giovanni). Pickford keeps the home fires burning by housing a soldier who washes up on her shore - but, self-described AWOL American Fred Thomson (as Joseph) harbors a dark secret…

Later on, war-weary villager Evelyn Dumo (as Maria) steals Pickford's baby, after losing her own. "The Love Light" refers to the job Pickford takes helping in the local lighthouse (and also, her home). This is one of a few films where Frances Marion, one of Hollywood's greatest early film writers, receives a director's credit. Her collaboration with Pickford and director of photography Charles Rosher doesn't meet expectations, but they are obviously skilled. The film could be described as overblown flourishes of symbolic prose come to naught. Most of the male cast are seen at the beginning of successful acting careers.

"The Love Light" may be most noteworthy for introducing Marion's hunky husband to moviegoers, herein, as Pickford's secondary romantic interest. By the end of the decade, Mr. Thomson had became a very popular star, joining Pickford and husband Douglas Fairbanks for three years in Quigley's annual top ten "Box Office Stars" list - Thomson was #6 in 1925, #3 in 1926, and #4 in 1927 - then, suddenly in 1928, he died. Despite dying at this level of popularity, in a series of well-produced westerns often ghost-written by wife Marion, Thomson is largely forgotten; and, few prints of his once numerous film prints survived the ages.

****** The Love Light (1/9/21) Frances Marion ~ Mary Pickford, Raymond Bloomer, Fred Thomson, Eddie Phillips

In this case, Frances Marion was a better director than writer

[MissSimonetta · 6/10 · 31 May 2019]

Starring one of the greatest movie stars of all time and directed by a truly pioneering woman, I expected great things of THE LOVE LIGHT. Women directors were all but pushed out of the Hollywood system by the late 1920s (Dorothy Arzner being about the only woman director working in Hollywood during the 1930s), so THE LOVE LIGHT is an important film in this regard and for that, I am glad it still exists. Unfortunately, its artistic merits do not match up with its social ones.

No one will deny this is a good-looking movie. The lighting and cinematography are gorgeous, with fine craftsmanship that stands out. Certain shots are composed with great imagination and sensitivity. The early scenes, if a bit too slapstick-y to appeal to all tastes, are warm and a good way to get the audience cozy before tragedy strikes.

No, it's the story which sinks this one. I love me a good melodrama, but this is a melodrama and then some, stretching credibility with its bizarre twists. The story structure is also decidedly unsound. Events do not occur as a result of character drives and goals, but because they need to happen, making all the characters puppets of the story rather than drivers of the story. If you were to summarize the plot of THE LOVE LIGHT to someone, it might sound a lot like, "And then this happened and then this happened and then this happened," just total nonsense.

Mary Pickford was one of the first movie actors to bring a more natural approach to screen performance in the 1910s, which makes me wonder why she goes so overboard with the gesticulation and pop-eyed expressions in this movie. Is it because she's trying to be an "expressive" and "animated" Italian woman? I don't know, but it often kills the credibility of her performance. This is a shame, because in THE LOVE LIGHT, Pickford gets to play a woman her own age, an occasion which would become a rarity during her 1920s career. Unfortunately, her character often acts like a child anyway-- or at least, when it suits the plot for her to act like one.

The other actors aren't much better, with everyone but Fred Thomson overacting. Thomson comes off much more natural than the others-- probably because his character is a spy and therefore wants to be lowkey. As a result, he is the only character who feels like a person and therefore his character is sorely missed after getting killed.

Frances Marion is one of the greatest screenwriters to have ever lived, but this was not her best effort by a long shot. Nor was it Pickford's.

Heartwarming Mary Pickford / Frances Marion Film

[Ron Oliver · 10/10 · 8 August 2000]

With her love off to war, a young woman operates the lighthouse near her home on the coast of Italy. One day, finding an American seaman washed up on the shore, she takes him home & nurses him. Romance blossoms and they marry. But little does she know that THE LOVE LIGHT she beams to him from atop her tower every midnight will have tragic consequences she cannot begin to imagine...

While traveling in Italy with her husband, Frances Marion met a woman whose story during The Great War was so compelling that she knew at once it would make a great movie. Marion was a screenwriter on the ascendant and her best friend was motion picture star Mary Pickford. Little Mary, who liked the idea, not only had Frances write it, but direct the film as well.

It turned out beautifully, with Pickford - in a daring departure from her little girl roles - giving one of her best performances. Her emotional display at the multitude of troubles thrown her way never wallows into histrionics. One need only look at this film to be assured, if there was ever any doubt, that America's Sweetheart was an excellent artist, as well as a huge celebrity.

This movie is also testament to one of the industry's supremely talented women. The Silent Era was a time when women were given enormous freedom to display their gifts in Hollywood, not just as actresses, but also as directors & writers. Frances Marion would not direct many films, but she was the consummate screenwriter. For over two decades she was the world's highest paid individual in her profession, male or female. She was also the first person to receive two Academy Awards. She would eventually write the scenarios for over 150 motion pictures, a large number of which are still considered to be classics.

This was the film debut for Fred Thomson, who plays the American seaman. A decathlon champion & Presbyterian minister, he had met Marion during the War. It was love at first sight for both of them & they double honeymooned in Europe with Pickford & Douglas Fairbanks. Not wanting to act, he'd eventually been persuaded to take the part in THE LOVE LIGHT by the two ladies. He proved to be a natural. A very moral man, he would find an outlet for expressing his ethics through Hollywood Westerns. With Thomson rapidly becoming one of the most popular cinema cowboys, he & Marion built a huge mansion in the Beverly Hills and began raising a family. Tragically, Fred Thomson would die on Christmas Day, 1928, from tetanus caused by a scratch on his ankle from a rusty nail. He was only 38 years old.

THE LOVE LIGHT enjoys excellent production values, sets & photography. It has been restored to a pristine condition and will be enjoyed & appreciated for many years to come.

One-Cup Light, Two-Cups Heavy

[Cineanalyst · 5/10 · 31 August 2005]

The collaboration between Mary Pickford and Frances Marion is one of the more interesting in the early history of Hollywood. Pickford helped define "movie star" with the aid of Marion, who wrote the screenplays for "The Poor Little Rich Girl" and some of her other early vehicles. In turn, Marion was among the first to establish the power of writers in Hollywood. And, of course, Marion and Pickford were both women in a business dominated by men.

Here, with "The Love Light", Marion made her directorial début--a career path that'd soon end. Judging by this film, that wasn't a bad thing. It is a competently made production, with the exception of the poorly realized and unrealistic storm climax. The photography and landscapes are pretty; there are some nice silhouette shots; and the different lighting effects, overall, display expertise.

The plot can be divided into three parts. The first part is light entertainment, which recalls similar moments in other Pickford and Marion fare, such as in "Armarilly of Clothes-Line Alley", or the childish interludes in "The Poor Little Rich Girl". The comedic set pieces are set against the backdrop of a picturesque Italian village and surrounding countryside--a good, if unoriginal, setup, I think--although the drunken farm animals bit falls flat.

The second part, with the war and espionage, isn't bad, either. But, it begins to seem that the story is going nowhere at times, and it becomes rather melodramatic, which are the problems with the third and final part of "The Love Light". Pickford's battle for sanity and her child is pure lurid melodrama of the kind that ruined "Stella Maris", another film by Pickford and Marion. In the end, "The Love Light" is an episodic, formulaic and melodramatic picture, which doesn't feature Marion's best writing, but did demonstrate that she could have been a competent director. As for Pickford, she's a professional, even though she sometimes didn't choose the best roles.

Unusual Mary Pickford vehicle

[Dr. Ed · 8/10 · 8 August 2000]

Pickford plays an Italian lighthouse keeper who falls in love with a man washed on shore who turns out to be a German spy. Although she has some moments of comedy, this is an adult story about love and redemption. Well written and directed by Frances Marion. The film also stars Marion's husband, Fred Thomson, as the spy. Certainly one of Pickford's best efforts.

beautiful to watch

[planktonrules · 5/10 · 13 May 2006]

This movie is one of the most aesthetically pleasing films of the silent era. It's very artfully done and just looks great. The problem for me, though, that kept this movie from scoring higher was its plot. The film seemed to be like two short films fused together and they were just too different that the overall package just didn't seem very coherent. Mary Pickford plays an Italian woman who falls for a sailor who washes up on the beach during WWI. They are secretly married and all seems fine until she discovers that this American is actually a German spy! And, it turns out, he's responsible for her brother's death. Okay. Well he's killed in a really cool scene and then the movie switches to Mary and her baby that is born months later. Another woman who just lost a baby covets Mary's and steals it. In the big conclusion, Mary burns her own house down when the light at the lighthouse fails to help save the ship with the stolen baby on board. The lady thief drowned, but the baby is fine. The end.

If you feel confused by the odd plot, you are not alone. It's just too confusing and loses some focus along the way. It should have either dwelled much more on her relationship with the spy or skipped this entirely and focused on the lost baby. Together, the film is just too disparate to make much sense and seems too melodramatic and manipulative.

Pickford/Marion Collaboration Misses The Mark

[Ash-65 · 12 August 2000]

This film was a rare departure from little-girl roles for Mary Pickford, who almost succeeds in giving a perfectly moving performance. The script, by Frances Marion, throws Pickford's Angela so many curves that it becomes tiring watching her sometimes-hammy reactions. Marion was Pickford's best friend, and she hand a hand in as many as seventeen of America's Sweetheart's movies. One can hope these were more successful.

Marion, director as well as writer, crammed so many melodramatic topics into The Love Light that one feels as if she thought she'd never work on a film again. Spies, unrequited love, blindness, war, betrayal, death, theft, natural disasters, insanity, and a lynch mob on top of everything else. These are enough concepts to deal with comfortably in at least two movies, but they are all unhappily jammed into about 90 minutes.

Marion's husband Fred Thomson is easy on the eyes and natural on camera as the American that Italian Angela takes into her home. The other players are mostly standard overactors, with the possible exception of Edward Philips as Angela's charming younger brother Mario.

Another thing to beware: the all-too-modern score recently imposed upon it by Maria Newman. At times it seems as if she hadn't even seen the movie.

There are some good moments ("Stewed Chicken", for instance), but overall it's only for fans of the star and writer/director.

Picturesque Squalor

[FerdinandVonGalitzien · 4/10 · 8 May 2009]

From time to time it's very advisable for the aristocracy to watch some silent film about the harsh life of the common people in order to remind themselves of the privileges and the comfortable life that they have enjoyed since the beginning of mankind or even before… in comparison with the complicated and hard work that common people have to endure everyday since the aristocrats rule the world.

And that's what happens in "The Love Light", the first film directed by Dame France Marion who will be famous afterwards in the silent and talkie world thanks overall to her work as a screenwriter; better for her, certainly, because her career as a film director doesn't impress this German count.

The film tells the story of Dame Angela Carlotti ( Dame Mary Pickford ) a merry Italian girl who lives surrounded by a "picturesque squalor" ( an important difference of opinion between upper and low classes; aristocrats prefers to live surrounded by "picturesque luxury"… ); she has two brothers and a secret admirer but all she gives him in return is indifference. Destiny begins to work hard and pretty soon war is declared and Dame Angela's two brothers enlist and in the next reel both are dead. But destiny is even crueller and Dame Angela meanwhile falls in love with… a German!! And to make things worse, she doesn't know that her Teutonic sweetie is a spy and that the light signals that she sends to him every night from the lighthouse she maintains thinking that is a love signal, don't mean "Ich Liebe Dich" but "Sink Any Damn Italian Boat At Sea"…

Fortunately for Dame Angela, pretty soon her sweetie German spy will be found by the neighbours in her house in which she was hiding him ( a not strange fact, indeed, because it is not an easy task for a German to go unnoticed… ) but the German spy will prefer to die before being captured by those Italians.

From that German love, a half-Teutonic baby will born ( the wicked Destiny at full speed… ) but a greedy neighbour who has a particular idea of motherhood will carry away her son with the consent of a Catholic nun who has taken the Council of Trent to extremes… a fact that will put Dame Angela at the verge of insanity.

But meanwhile Dame Angela's secret admirer has returned from the war and you can think that finally Dame Angela's sorrowful life will improve; a tremendous mistake because Destiny has in store for her that the returned soldier is blind. But as they say in Germany, it may be a blessing in disguise and finally Dame Angela will recover her son and will start a new life with her blind sweetie in a poor Italian village in what it is supposed to be a happy ending for the common people.

As this German count said before, it was much better for Dame Frances Marion that she continued her career as a screenwriter, because as can be seen in "The Love Light", she had a lot of imagination to invent incredible stories, ja wohl!… but a completely different subject is to direct films and her silent debut lacks emotion and rhythm in spite of the effort of Dame Pickford to involve the audience with her many disgraces. The nonexistent film narrative causes indifference in the spectator making this the kind of film where only Dame Pickford herself provides the interest and not her circumstances.

And now, if you'll allow me, I must temporarily take my leave because this German Count must send Morse signals from the Schloss north tower to one of his Teutonic rich heiress.