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Eyes of Youth (1919)

A young woman at a crossroads is shown what her future would be like for each choice.

Director:

Albert Parker

Writers:

Max Marcin (play), Albert Parker (scenario) | 1 more credit »
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Cast

Cast overview:
Clara Kimball Young ... Gina Ashling
Gareth Hughes ... Kenneth Ashling
Pauline Starke ... Rita Ashling
Sam Sothern Sam Sothern ... Mr. Ashling
Edmund Lowe ... Peter Judson
Ralph Lewis ... Robert Goring
Milton Sills ... Louis Anthony
Vincent Serrano ... The Yogi
William Courtleigh ... Paolo Salvo
Norman Selby Norman Selby ... Dick Brownell
Rudolph Valentino ... Clarence Morgan (as Rudolfo Valentino)
Edward Kimball
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Storyline

A young woman, confronted by four options for proceeding in her life, is granted the ability to see what results would come from her choice of of the options. After she sees her future along three of the roads, she makes her choice. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Plot Keywords:

based on play | See All (1) »

Taglines:

THE STRANGE AND FASCINATING VISUALIZATION OF A YOUNG GIRL'S EXPERIENCES ON THE THRESHOLD OF LIFE (Print ad- Hudson Valley Times,((Stillwater, NY)) 20 April 1920) See more »

Genres:

Drama

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Details

Country:

USA

Language:

English

Release Date:

30 November 1919 (USA) See more »

Also Known As:

Ifjú szemek See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

Supposedly this film has a young Stanton Williams, who was a promising actor. Stanton was the elder brother of swimming and movie star Esther Williams. He died at age 16, when Esther was only eight. See more »

Quotes

Gina Ashling: Father, nothing ever came of doing the wrong thing - even to save others.
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Connections

Remade as The Love of Sunya (1927) See more »

Soundtracks

Eyes of Youth
Written by Irving Berlin, c. 1919
'selected by and dedicated to Clara Kimball Young in conjunction with the photo-play "Eyes of Youth" production distributed by Equity Pictures Corporation'
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User Reviews

 
Old fashioned but enjoyable morality tale
17 June 2005 | by poccaSee all my reviews

This film is chiefly known today for Rudolph Valentino's cameo role that caught the eye of legendary screenwriter June Mathis. Still, it is a fairly interesting work aside from this: extremely earnest yet somehow charming in the absurd way that only an early silent movie can be. The central character, Gina Ashling (Clara Kimball Young) has reached a serious crossroads in her life—should she follow the path of duty and sacrifice her own happiness for the sake of helping her recently impoverished family, the path of ambition and become a famous opera star or the path of wealth and marry a wealthy scoundrel? She is virtually paralyzed by these possible choices, but a convenient Hindu fortune teller (don't ask) comes along and kindly allows her to gaze into his crystal ball and see what will become of her in five years times in all three scenarios. In all cases the choice ends in impoverishment and/or disgrace (the worst perhaps being the one in which she ends up a prematurely aged school teacher trying to control a bratty class), so Gina decides to follow a fourth path—that of true, if impoverished, love and accepts a proposal from her engineer beau. The overwrought solemnity seems campy today, but Young makes it work relatively well, perhaps because even though she is meant to be a young woman she looks more as though she is on the cusp of middle age, making the need to make the right choice all the more urgent somehow—time and youth are no longer really on her side. The writers are also to be commended for not having Young decide to sacrifice her own happiness for the sake of everyone else's as often happened in silent films--as a title card cannily points out, other people are all too apt to be ungrateful for the sacrifices of others anyway.

And then there's Rudolph Valentino, inimitably billed as "Clarence Morgan, a cabaret parasite." Small as his part is, it is easy to see why a few years earlier he was everyone's favourite dancing partner at New York's Maxim restaurant and a few years later he became the twentieth century's first great sex symbol. With his gleaming, slicked back dark hair and bright white dress shirt, sinuous movements and suave treatment of Young (he is helping the rich heartless husband frame her for adultery), he is callous, seductive and easily steals the picture during his ten or so minutes of screen time.

All in all, worth a look if you get your hands on a copy of this hard to find film.


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