A Theft in the Dark (1915)
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Marc McDermott | Miriam Nesbitt | Charles Brabin (Director)
Rest of cast:
Viola Dana | Edward Earle | Harry Linson | Yale Benner
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“A Theft in the Dark”
Three-reel Edison of consistent and delightful artistry.
Reviewed by Louis Reeves Harrison.
Cast.
Lord Stranleigh… Marc MacDermott
Lady Sinclair… Miriam Nesbitt
Lady Genevieve, her sister… Viola Dana
Ralph Vernon… Edward Earle
Butler… Harry Linson
Pomby… Yale Bonner [Yale Benner]
Dainty romance in its presentation, an exquisitely tinted miniature on ivory. A Theft in the Dark has symmetry of form, swiftness of action and not a little of the tingling vitality of intense drama. Its whole atmosphere has the fascination of once-upon-a-time stories, the kind we used to read long after we should have been in bed, the kind that holds us with a charm all their own when we sit in the half-shadows of picture shows and watch the illuminated screen. A very large part of this effect is due to careful treatment by Charles Brabin — he always beautifies his subject and rarely jars us with inconsistencies.
A delicately affectionate understanding exists between wandering Lord Stranleigh and Lady Sinclair, one of purest friendship, verging on the warmer sentiment but restrained by a philosophical attitude on the part of Her Ladyship — she fears that His Lordship has been pampered by good fortune until he lacks real nobility of character, the kind that is capable of self-sacrifice. She does not exact that he shall put his love to any violent test, but that he shall demonstrate true manhood when the occasion demands. Occasions are rare, but at last one comes that is worth while.
During a costume ball on New Year’s Eve — this is an unusually fine ensemble — lights are dimmed on the stroke of the hour, and a pretty maid emerges from the overhead clock to scatter roses of the New Year, bright hopes, over the assembled guests. Lady Sinclair discovers later on that her pearl necklace is missing. Lord Stranleigh takes it up on himself to discover which one of the guests, there being no servants present at the moment of the theft, has taken the jewels. He sends for detectives and prepares for a general search, but decides to make a personal investigation meanwhile. He conceals himself in a suit of armor that stands in the hall, where he can discover any attempted escape from the house, and thus learns that Ralph Vernon is the thief and about to elope with Lady Genevieve.
Stranleigh’s attitude is one of both dignity and generosity. He prevents the elopement and hushes up a scandal, but he becomes involved in difficulty himself as a consequence. He shields Lady Genevieve when her sister finds them together under peculiar circumstances and accepts dismissal from the house rather than save himself by revelation of truth that might compromise the young girl. The latter clears Stranleigh in time to prevent a permanent rupture between him and Lady Sinclair, and all ends happily for the manly lordling and his doubting lady.
MacDermott and Miss Nesbitt are beyond criticism in their flawless interpretation, but they do not carry all the honors — Edward Earle also intensifies interest by intelligent work.
Scene from A Theft in the Dark (Edison).