One of Many (1917) User Reviews

The impression of being hurried and unfinished

[deickemeyer · 7 February 2015]

The five-reel photoplay, "One of Many," presented by Arthur James and released on the Metro program, is designated on the press sheet relating to it as "A Moral Pantomime." The term has the advantage of novelty and comes well within the borders of fact. If the product of the author had equaled his intent, all would have been well. Unfortunately several errors of construction and the employment of a "punch" finish that has happened on the stage and screen with greater frequency than in real life, mars a picture that is susceptible of being made an average good photoplay. Shirley Bryson, the part played by Frances Nelson, is a young manicurist who makes the mistake of sacrificing herself that she may secure the money needed to properly take care of her invalid mother. Later, she is married to the son of the man to whom she sold herself. When the husband learns the truth he turns from her, but they are reconciled at the end of the last reel. The use of isolated cases to emphasize a great truth is of little value, especially when the hoped-for "punch" degenerates into a shock. The principal error in construction is in having Shirley's future husband call upon her three times the same evening. It is a well- founded rule of the drama that repeating a situation will raise a laugh, and repeating a serious situation brings the same result. A lack of diversity in the scenes of action, unexplained points of plot, too frequent use of close-ups and too devout a tone to the subtitles are other artistic failings. The story was written and directed by William Christy Cabanne. His work, in both branches of screen endeavor, gives the impression of being hurried and unfinished. Frances Nelson's natural endowment for the character of Shirley Bryson meets every demand. A firmer technical efficiency is needed to bring out the lull possibilities of her impersonation. Niles Welch, Mary Mersch, Caroline Harris. Harold Entwhistle, Richard Dix, Walter Worden and Adella Barker are satisfactory in their respective roles. – The Moving Picture World, February 24, 1917