A boy from Ireland comes to America and makes good, but he doesn't forget the poverty he left behind. He returns to rescue his sweetheart just as her family is about to be evicted from their land.





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Cast overview:
Terry O'Connor
Thomas O'Connor ...
Murphy - the Landlord
Parish Priest
Robert G. Vignola ...
Man in Campaign Office
Elsie Myron - American Heiress
Agnes Mapes ...
Aileene's Mother
Laurene Santley


The story is very simple and direct, merely that of a young Irish lad who leaves the old country to seek his fortune in the new. His little sweetheart he leaves behind in care of her old granny, promising to return to her later on. We are given all the details of the young Irishman's trip abroad, including scenes in mid-ocean in the steerage of the Baltic; his arrival at the Castle Garden and then some bits of his career in New York concluding with his successful entrance into politics and his election as a Tammany Alderman. Of course, it would not be a real Irish drama if the young hero did not go back to Ireland just in time to save his Colleen from eviction, but the realism of the real Irish scenes makes this feature of the story remarkably convincing. Written by Moving Picture World synopsis

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Drama | Short





Release Date:

23 November 1910 (USA)  »

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Aspect Ratio:

1.33 : 1
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Did You Know?


Film debut of J.P. McGowan. See more »


Featured in Irish Cinema: Ourselves Alone? (1995) See more »

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User Reviews

A Story That Doesn't Make Much Sense
1 November 2009 | by (New York City) – See all my reviews

This early Kalem piece suffers from a story that doesn't make much sense. Sidney Olcott -- the director as well as the star -- is forced by poverty to leave Ireland and Gene Gauntier -- the scenarist as well as the ingénue -- for New York, where he makes his mark as a politician in only seven years. Meanwhile, back on the Old Sod (as they used to say) poverty continues and the ladies are about to be thrown out of their house, but Olcott shows up in the nick of time with the cash. Apparently it never occurred to anyone to wire the money.

When confronted with these poorly written early movies -- and there are a lot of them -- one searches for good things, and they are here in the camera work of George K. Hollister, who shoots everything beautifully and who managed to get in one trick shot and one long pan shot into the proceedings: quite a triumph considering the inert camera that Olcott preferred. Even Hollister's still camera is quite beautiful.

The three -- Olcott, Gauntier and Hollister -- would reteam frequently, most notably for 1912's smash hit FROM THE MANGER TO THE CROSS.

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