Dot Farley as Actress and Woman (1911) 🇺🇸

Is it not true that fame is more often won on merit of talent rather than on merit of character? Only once in a while when accidentally some one fluent with the pen happens to touch upon the outer edges of the halo, and peering through the glamour of a name sees the inward beauty of the polished gem — the character of the individual — do we realize the true meaning of the words of the poet, “A man’s a man for a’ that.”

by Margaret I. MacDonald

Miss Dot Farley, of the St. Louis Motion Picture Co., is one of those individuals whose beautiful traits of character have been found by those who know her most intimately, and in fact even casual acquaintances, to be equal in brilliancy to her talents. Miss Farley is a very gifted actress, who, up to three and a half years ago, followed theatrical life. Since then she has been with the Essanay Co., the American Film Manufacturing Co., and the St. Louis Motion Picture Co., where she is to-day. In the Essanay she played character and comedienne roles, with the American she was leading woman in character and comedy roles. She is said to be most versatile and is quite as much at home in one part as in another. Being a magnificent horsewoman, she has made herself indispensable in plays requiring an exhibition of that art.

Miss Farley started out in her theatrical career in Little Lord Fauntleroy. She started with Noble Bros, and has had wide experience with different well-known companies. I will tell my readers some very interesting stories of the presence of mind and fearlessness which prevails in her nature, as well as incidents where self has been entirely obliterated from her mind by anxiety for other people.

One day since she has been in the employ of the St. Louis Motion Picture Co., a number of the stock were returning on horseback from Forest Park; Miss Farley, Miss Gray [Dorothea Grey?], and young Mr. Hamilton were riding ahead. Galloping three abreast something happened which caused Miss Gray’s horse to stumble, throwing itself against Miss Farley’s horse in such a way that her horse was tripped also. Miss Gray’s horse threw her, dragging her some twenty feet; she was rescued by young Mr. Hamilton [Gilbert P. Hamilton] who, dismounting, leaped rapidly to her aid. Miss Farley, however, during the accident performed rather a remarkable feat, showing with what wonderful presence of mind she is possessed — her horse fell, throwing her, but she actually pulled herself together and remounted again while the horse rose.

At another time she was riding a horse that was very much afraid of the camera. It was necessary for her to come straight for the camera in order that the proper view could be taken; the horse swerving, bolted under a tree twenty-five feet from the camera, whose limbs hung so low that it was expected by all who witnessed the scene that Miss Farley would be swept backward from the frightened horse’s back; as she neared the tree, however, and which, by the way, was done in an incredibly short time — scarce time enough to gather one’s wits — she swung backward laying flat to the horse’s back, and thereby avoiding accident to herself and inconvenience to the company. Eventually she conquered the animal.

The only time Miss Farley has been known to lose her nerve was in connection with an incident where the life of someone else was endangered, when she refused to stay by and witness a very severe test. Always sympathetic, thinking more of the comfort of others than of herself, she has won the love and admiration of all who have had the pleasure to be thrown in her company. In the Essanay Co. she was called “Mother”; if a finger was cut or bruised, it was to Miss Farley the victim ran, for she was ever ready to be helpful; if a button had inopportunely disappeared from the garment of one of the less handy male sex, it was the neat little hand of Miss Farley that hastened to make repairs. In the American Film Co. the same appellation was hers.

It has not always been necessary for Miss Farley to enter the great struggle for life of necessity, but she does it with just the same cheerfulness as though it had always been her lot. The gift of love which is hers is a great gift indeed — it comes to her because she attracts it.

It is good to be privileged to give a word of praise to a character so beautiful, for in this world of hurry and bustle so much is lost sight of that is good, and beautiful, and true.

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Impressions of “The Lady from the Sea”

Ibsen has a strong grip on the human heart. He understands situations which have been and always will be problematic to the masses. He paints a picture of human life such as only the painter’s brush can hope to approach in matter of coloring and animated detail.

Of his story of The Lady from the Sea, Thanhouser [Edwin Thanhouser | Gertrude Thanhouser] has made a very creditable reproduction — in fact, a beautiful reproduction. The opening scene where Ellida is reclining on the rocks by the sea, her beautiful, luxuriant hair blowing in the breeze, stays with one as a gem of motion picture photography — a little, refreshing, artistic bit, that in its beauty has a soothing effect on the senses. The psychological intention of the story is well brought out in the picture, and great credit reflects not only on the director for his beautiful and appropriate setting of the piece, and intelligent conception of the subject, but also on all of those who assisted in the production. The part of Ellida is splendidly portrayed — the struggle of the mental woman to release herself from the spell cast over her by the stronger mind of the man is made quite lucid. The self-assertion of the mental woman when she is thrown back upon herself to choose unhampered between the man whom she respects and the one for whom she can feel no respect, but whose spell is still upon her, is good.

This film is a fine psychological study, and worthy of exhibition throughout the land.

Collection: Moving Picture News, November 1911