Having contracted with Paramount for a several stars in 1917, Thomas Ince became responsible for a series with Enid Bennett, as I outline in my Ince biography. Lightest of all the surviving Bennett films is one of the last, SILK HOSIERY, a Cinderella-type tale shot from April 29 to June 12, 1920. She plays Marjorie Bowen, a girl who dreams of the gallants in stories of the past, actually seeing small figures step out of the pages of books to bow to her in the prologue.
In actuality, she is a model for gowns she can never hope to own herself, for "the weary workers toil late for other people's vanity" according to an intertitle. The plot is full of fluff and disguise, as she realizes her dreams; she becomes involved in intrigue surrounding the letters and jewels given by Prince Ferdinandi to a married woman. Able at last to wear one of the dresses she has so skillfully modeled to a ball, she is mistakenly abducted based on the outfit.
There may be a happy ending for her; the man she thought was a lord is actually an American secret service agent, assigned to keep the prince from mischief. But the film leaves it open-ended, asking the audience to debate among itself whether the heroine's laughter is based on the cynical belief that she has been cheated, or that her wish has been fulfilled. Unfortunately, the curious beginning and end were the high point in an otherwise inconsequential tale with little substance. SILK HOSIERY cost $80,561, and grossed $178,708.
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