Phoebe Lester, a little country girl, whispers to her pet hen, "You've laid an egg for a man from New York. Ain't you proud?" and while taking breakfast to Philip, the new boarder, who came... See full summary »

Directors:

(as Oscar Lund),

Writer:

(scenario) (as Agnes Johnston)
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Cast

Cast overview:
...
William Parke Jr. ...
Philip Dawes
...
Farmer Si Brown
...
Brown's Wife
...
Stuyvesant Owen
Ethyle Cooke ...
Laura
Gerald Badgley ...
Young Child (as Master Gerald Badgley)
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Storyline

Phoebe Lester, a little country girl, whispers to her pet hen, "You've laid an egg for a man from New York. Ain't you proud?" and while taking breakfast to Philip, the new boarder, who came from that distant place, she gazes at him as if he has come from an unknown land. Returning to the city with a newfound love and regained health, Philip struggles to sell his poems to bring his "egg" girl to her New York. In the meantime, Phoebe's brown hen proves to be a golden one, and her egg money buys a ticket to Philip and her Wonderland. On the train, Laura, a flashily-dressed woman, meets Phoebe and, tempting her with a nice new dress, takes her to her house. There, Owen, a former employer of Philip, is fascinated by her simplicity. Such grandeur and strange "fizzy" drinks overwhelm her, but Providence intervenes, when the little brown hen hops into the street with Phoebe scrambling after. A big-hearted policeman finds her and takes her to Philip, and acts as "bridesmaid" at their wedding. ... Written by Moving Picture World synopsis

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Genres:

Drama

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Details

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Release Date:

7 January 1917 (USA)  »

Also Known As:

The Heart of New York  »

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Technical Specs

Sound Mix:

Aspect Ratio:

1.33 : 1
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User Reviews

Most of the charm of a fairy tale
22 October 2014 | by (Chicago) – See all my reviews

The five-reel Pathe Gold Rooster photo-play produced by Thanhouser with Gladys Hulette as the star, has much of the ingeniousness and most of the charm of a fairy tale. It is the story of a little country girl who runs away to the city, falls into the trap of a female white slaver, is saved through the instrumentality of a pet hen, and is married to a young chap who boldly proclaims that he is going to support her by writing poetry—and make good. If this doesn't prove the story's close connection with tales of fairy lore, we have all been mightily deceived as to the chronic condition of the verse market, both here and abroad. Agnes C. Johnson, the author of the scenario, has woven other artless bits of fiction into the play, one incident being to supply the hero with a ready-made family by the simple expedient of having an unfortunate woman place her baby upon the young chap's dumbwaiter and send the little fellow up as a sort of novel Christmas present. The youngster is welcomed by his new foster father and received in the same spirit by the foster father's sweetheart, when she arrives on the scene. The poet's rascally employer attempts to separate the couple by hinting at a scandal surrounding the baby's origin, but the young wife's faith in her husband foils the villain and causes him to experience a change of heart. He clears Philip's good name and secures him a job at verse making—at greatly increased rates. The setting forth of Miss Johnson's brain child in cold type fails to bring out its attractive qualities. Right from the start "Her New York" lulls the spectator's hard common sense to sleep and forces him to accept, and enjoy, a series of experiences that while they lack the extravagance of "Alice in Wonderland," have no firmer foundation in fact. Much of the success of the picture may be contributed to the acting of Gladys Hulette in the character of Phoebe. Although she must be aware that only simple country maidens that come to the city and land in the Ziegfeld chorus find New York such a particularly delectable plum, she enters into the spirit of her role with such hearty good will and belief and bestows upon it such a likable personality and so sure a knowledge of the art of acting, the result is five reels of solid enjoyment. William Parke, Jr., exhibits equal faith in the reality of the youthful poet whose muse finds inspiration in extolling the merits of the succulent canned bean, and Riley Chamberlain adds one of his authentic character studies to the general Joy. Carey Hastings, Robert Vaughn and Ethyle Cooke are adequate selections for the other parts. - The Moving Picture World, January 6, 1917


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