Henry Lehrman showed up one day and told D.W. Griffith that he had been directing for Pathe Freres in Paris, but now he wanted to work for Griffith. If this story is true, it's not known how long anyone believed him, but by the time he co-directed this split reel comedy, it was his fourth. Unfortunately, it's not funny.
The plot, such as it is, is that Edward Dillon and Blanche Sweet are engaged to be married, but Joseph Graybill convinces her that he is a drunkard. Eventually this dastardly plot is revealed and love triumphs.
Unfortunately, except for a bit of overplaying that would be unnoticed at other studios, there is no sign of anything humorous. Graybill does twirl his thick mustache a couple of times, but that's about it.
While it is true that co-director Mack Sennett's comedy at Biograph was a lot more restrained than it would quickly become at Keystone, he still managed some interesting situational comedy. this one is just boring.
The plot, such as it is, is that Edward Dillon and Blanche Sweet are engaged to be married, but Joseph Graybill convinces her that he is a drunkard. Eventually this dastardly plot is revealed and love triumphs.
Unfortunately, except for a bit of overplaying that would be unnoticed at other studios, there is no sign of anything humorous. Graybill does twirl his thick mustache a couple of times, but that's about it.
While it is true that co-director Mack Sennett's comedy at Biograph was a lot more restrained than it would quickly become at Keystone, he still managed some interesting situational comedy. this one is just boring.
