The White Sin was the second Palmer Photoplay production shot at the Thomas Ince studio, and was released by F.B.O. on February 24, six months after completion. The six reel movie was adapted by Del Andrews and Julian La Mothe from Harold Shumate's magazine story at a cost of $92,564, and had initially been announced as an Ince special. However, as I outline in my Ince biography, there was every reason for Ince to decide not to put his name on this melodrama relying on more than a few "far-fetched moments," in the restrained words of Variety, with improbable plot twists and coincidence at every turn.
The motto of The White Sin appeared in the first intertitle: "Romance—tempting us to escape from the gray realities of today into the rose-colored land of tomorrow." Hattie Lou (Bellamy) has only known a life of drudgery since the death of her parents. She lives in Farm Center under the heel of an aunt who has "no room for charity in her bigoted soul." When the Limited passes through town, it seems to offer Hattie Lou life, luxury, adventure, and romance, but she is too innocent to realize that the Van Horns aboard the train are nothing but wastrels. The maid of Grace Van Horn (Francelia Billington) has quit rather than endure Stubby (Billy Bevan), who "can hear the rustle of a dress a mile away," and Hattie Lou applies, unaware of the reason the position is open. On the family yacht, Nanka, Spencer Van Horn (Hollem Cooley) tells Hattie Lou that he is in love with her and the captain will marry them. He and Stubby intend it as a trick, but the captain double-crosses them, taking the vessel beyond the three-mile limit where the wedding will be valid. By morning, Spencer has new pursuits in mind, and abandons Hattie Lou ashore.
Two years later, destitute in New York, she reads that the Nanka has been lost with all hands and resolves to present herself and Spencer's child to his parents. She is warmly received, and tells them an imaginary story of Spencer's love and devotion, rather than his vile deception. A new, unselfish love springs up between her and Grant (John Bowers), the eldest son, an injured war veteran who felt he was a burden to all but who now finds a new reason to live. A brief shot of an island off the beaten track reveals that Spencer and Grace survive, foreshadowing the events to come. No sooner has Grant proposed to Hattie Lou and she accepted him than a telegram arrives that Spencer is on the way home.
Distraught, Hattie Lou is most concerned for the baby's legitimacy, still believing that the marriage was a sham. At first Spencer is surprised to see her, then after Grace reveals to Hattie Lou the truth of the marriage, decides she is once again conveniently at hand. Disgusted, Grace locks Hattie Lou's room to save her from Spencer.
As Moving Picture World noted, "The photography is at all times excellent. The climax of the picture is a fire scene, and it is here that the photographer, Max DuPont, has surpassed himself." Here was an "Ince punch" but one that was rather a deus ex machina to bring closure to the narrative. Scenarist Shumate justified the conclusion by noting its suspense. "At the time of the climax of the story, she has no way to turn, no possible means of solving the problems that have mounted until she is hemmed in. She is beset by insurmountable walls, lashed by the mad fury of conscience. She must make a decision for all time and yet any decision that she may make can only increase her peril and additionally arm her foes." Grant tries to break into her room but succumbs to the smoke. Family shame finally drives Spencer to rescue his brother and wife, but when after saving Grant, he returns to the flames for Hattie Lou, he is consumed by them. Hattie Lou lowers herself from a window with the baby, and the next spring she and Grant are happily united.
Shumate added, "To the director, William Seiter, credit must be given unreservedly for a clean cut handling of a story that could have been so easily overdone. Likely Mr. Seiter will make innumerable stories far better than this one, but he will never handle characters with greater dexterity and greater clearness of purpose." Highlights included some vivid prose and dynamic illustrations in the intertitles. As for the lead, in Shumate's words, "Bellamy is alluring, sympathetic and totally devoid of false mannerism. She might have been Hattie Lou come to life." Variety echoed that she "does splendid work in this feature in a role calling for constant emotional pyrotechnics and considerable versatility." However, Cooley's Spencer was so oily a rake as to resemble the serial caricature of a villain.
The motto of The White Sin appeared in the first intertitle: "Romance—tempting us to escape from the gray realities of today into the rose-colored land of tomorrow." Hattie Lou (Bellamy) has only known a life of drudgery since the death of her parents. She lives in Farm Center under the heel of an aunt who has "no room for charity in her bigoted soul." When the Limited passes through town, it seems to offer Hattie Lou life, luxury, adventure, and romance, but she is too innocent to realize that the Van Horns aboard the train are nothing but wastrels. The maid of Grace Van Horn (Francelia Billington) has quit rather than endure Stubby (Billy Bevan), who "can hear the rustle of a dress a mile away," and Hattie Lou applies, unaware of the reason the position is open. On the family yacht, Nanka, Spencer Van Horn (Hollem Cooley) tells Hattie Lou that he is in love with her and the captain will marry them. He and Stubby intend it as a trick, but the captain double-crosses them, taking the vessel beyond the three-mile limit where the wedding will be valid. By morning, Spencer has new pursuits in mind, and abandons Hattie Lou ashore.
Two years later, destitute in New York, she reads that the Nanka has been lost with all hands and resolves to present herself and Spencer's child to his parents. She is warmly received, and tells them an imaginary story of Spencer's love and devotion, rather than his vile deception. A new, unselfish love springs up between her and Grant (John Bowers), the eldest son, an injured war veteran who felt he was a burden to all but who now finds a new reason to live. A brief shot of an island off the beaten track reveals that Spencer and Grace survive, foreshadowing the events to come. No sooner has Grant proposed to Hattie Lou and she accepted him than a telegram arrives that Spencer is on the way home.
Distraught, Hattie Lou is most concerned for the baby's legitimacy, still believing that the marriage was a sham. At first Spencer is surprised to see her, then after Grace reveals to Hattie Lou the truth of the marriage, decides she is once again conveniently at hand. Disgusted, Grace locks Hattie Lou's room to save her from Spencer.
As Moving Picture World noted, "The photography is at all times excellent. The climax of the picture is a fire scene, and it is here that the photographer, Max DuPont, has surpassed himself." Here was an "Ince punch" but one that was rather a deus ex machina to bring closure to the narrative. Scenarist Shumate justified the conclusion by noting its suspense. "At the time of the climax of the story, she has no way to turn, no possible means of solving the problems that have mounted until she is hemmed in. She is beset by insurmountable walls, lashed by the mad fury of conscience. She must make a decision for all time and yet any decision that she may make can only increase her peril and additionally arm her foes." Grant tries to break into her room but succumbs to the smoke. Family shame finally drives Spencer to rescue his brother and wife, but when after saving Grant, he returns to the flames for Hattie Lou, he is consumed by them. Hattie Lou lowers herself from a window with the baby, and the next spring she and Grant are happily united.
Shumate added, "To the director, William Seiter, credit must be given unreservedly for a clean cut handling of a story that could have been so easily overdone. Likely Mr. Seiter will make innumerable stories far better than this one, but he will never handle characters with greater dexterity and greater clearness of purpose." Highlights included some vivid prose and dynamic illustrations in the intertitles. As for the lead, in Shumate's words, "Bellamy is alluring, sympathetic and totally devoid of false mannerism. She might have been Hattie Lou come to life." Variety echoed that she "does splendid work in this feature in a role calling for constant emotional pyrotechnics and considerable versatility." However, Cooley's Spencer was so oily a rake as to resemble the serial caricature of a villain.