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The Voice of Conscience (1912)

An accidental death on a hunting trip results in an innocent young man being accused of murder.

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(scenario), (story)
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Cast

Cast overview:
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Fannie Craig - William's Sweetheart
William Walters ...
Frank Craig - Fannie's Father
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Mrs. Frank Craig - Fannie's Mother
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Dick Morgan - Jack's Roommate
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Sheriff
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Storyline

Frank Craig, a man of wealth starts on a hunting trip with William Sherman, his daughter's sweetheart. Meanwhile, Jack Tenny, an old friend of Craig's, also goes into the woods hunting. One morning, while Sherman is getting water from the brook, Tenny appears at the camp, meets Craig and proudly shows him some game. Borrowing Craig's hunting knife Tenny is preparing the game. Craig suddenly stumbles and, in falling, is mortally wounded by the knife in Tenny's upraised hand. A hasty examination shows that Craig is dead. With with terror and fear, Tenny grabs up his gun and rushes from the scene. Reaching the little town he throws the blood-stained knife away and goes to his room. Returning from the brook Sherman finds Craig dead and is vainly trying to restore the spark of life when he is found by the sheriff and arrested as the murderer. Taken to town he is put on trial for his life with circumstances black against him. Tortured by his guilty conscience, Tenny attends each day of the ... Written by Moving Picture World synopsis

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Drama | Short

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Release Date:

3 September 1912 (USA)  »

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Aspect Ratio:

1.33 : 1
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User Reviews

Such a situation is perennially fresh
17 February 2017 | by See all my reviews

Just ordinary, natural happenings are shown as giving "the third degree" to a manslaughterer. Not daring to confess, he lets an innocent man (played by Francis Bushman) be suspected. The trial lasts three days and he (Harry Mainhall) looks on in torments that finally make him confess. Such a situation is perennially fresh and Mr. Mainhall's interpretation of it here makes a good offering. His acting shows a good measure of restrained imagination until the last few feet where the action becomes a little hysterical. One of the lesser roles, that of the conscience-stricken man's friend, weakened the effect somewhat by being too much like Mephistopheles, too much like a conscious torturer. He was made to appear to us more, as he must have appeared to his friend, and should have been more objective. In the last scene all the actors forgot art for a moment and began to feel the action as themselves, lost all objectivity. It is a very interesting picture as a whole and one worthwhile. - The Moving Picture World, October 12, 1912


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