A Florida Enchantment (1914)

[donnie]

Well, as I mentioned elsewhere, this is a film I’ve been interested in seeing for a long time, and now that I have, courtesy of Dustin at Harpodeon, I’ll say I was definitely not disappointed. What a delightful and interesting comedy!

My comments:

► Show Spoiler

First off I’ll get some comments out of way concerning things that may be offensive on some level for today’s audiences. Obviously the blackface and racial stereotyping haven’t aged well. And for the plot’s gender reversals in light of today’s cultural shifts—I’m not sure what might be perceived as objectionable, or in fact supportive. At any rate, it might certainly would make for some interesting discussion. I’d be interested to hear some others’ thoughts on this.

The highlight of this film by far was the splendid acting of Edith Storey. Her performance after the “transformation” was hilarious and thoroughly charming. I was fascinated by how she changed the whole demeanor of the character, not only the personality, but the whole general walk, posture, and nuances of mannerism. I had not realized she was this gifted of a comedic actress. Her interactions with Ethel Lloyd as the maid-turned-valet added a lot to the fun, also.

I enjoyed all of the supporting roles. It’s always a treat to see Sidney Drew—though here his Cassadene seems a little old for Lillian.

Another thing I enjoyed were the Florida settings, the outdoor scenery, as well as the interiors and costumes. It's interesting to see what Florida looked like in 1914. And the beautifully sharp print of the first parts showed everything to best advantage. The tints were also marvelous. It’s too bad we don’t have that quality all through, but I’m just thankful we have the film in its entirety.

One criticism in terms of the story: I found some of the character motivations a little hard to follow later in the film. And in the second half, the story seemed to get increasingly splintered up into separate pieces, to some extent, losing some of the earlier focus. Also, I think Edith’s character and acting were more colorful before she completed the transformation into “Lawrence Talbot”. However, I guess the increasing wackiness of the storyline was intentional as a lead up to the “it was only a dream after all” trope. (I‘ll have to admit I didn’t see that coming. )

One question regarding the plot: I wonder why the film was divided into this many parts? (Was it maybe set up to be shown as a serial optionally?)

The musical score was just thoroughly outstanding. Thank you, Dustin, for using all your resources and talent to assemble such an effective and fitting one. The score of a silent is really vital to me, and I can’t imagine a better one for this film.

[Kitty]

I really liked this film, and though it's a full length film, it sure doesn't feel like it!

► Show Spoiler

First off I’ll get some comments out of way concerning things that may be offensive on some level for today’s audiences. Obviously the blackface and racial stereotyping haven’t aged well.

I think that whole thing could have been handled differently. Why did her part have to be full of violence?

By the way, when we caught a glimpse of the driver at one point when they hop into the carriage, I think that was an actual black person in the driver's seat. I've noticed how sometimes they'd give black people parts as extras, but when it came to starring roles they'd do blackface.

And for the plot’s gender reversals in light of today’s cultural shifts—I’m not sure what might be perceived as objectionable, or in fact supportive. At any rate, it might certainly would make for some interesting discussion. I’d be interested to hear some others’ thoughts on this.

I was really enjoying Edith's depiction of gender change, and I was pretty disappointed when I began to realize that they weren't going to close the film with her as a man. The depiction of her older boyfriend as a woman was much too outlandish (especially in the beginning of his transformation), as that actor seems to think that all grown women act like 5 year olds and skip around. (See also: Uncle Miltie)

The highlight of this film by far was the splendid acting of Edith Storey. Her performance after the “transformation” was hilarious and thoroughly charming. I was fascinated by how she changed the whole demeanor of the character, not only the personality, but the whole general walk, posture, and nuances of mannerism. I had not realized she was this gifted of a comedic actress. Her interactions with Ethel Lloyd as the maid-turned-valet added a lot to the fun, also.

I'd love to see more of Edith. You said it all.

Another thing I enjoyed were the Florida settings, the outdoor scenery, as well as the interiors and costumes. It's interesting to see what Florida looked like in 1914. And the beautifully sharp print of the first parts showed everything to best advantage. The tints were also marvelous.

I thought the lighting and tints were gorgeous, especially in the curiosity shop. Some scenes in the movie looked fairy-like.

One criticism in terms of the story: I found some of the character motivations a little hard to follow later in the film. And in the second half, the story seemed to get increasingly splintered up into separate pieces, to some extent, losing some of the earlier focus.

Which is just too bad! It's almost as if they had multiple directors or something.

.....However, I guess the increasing wackiness of the storyline was intentional as a lead up to the “it was only a dream after all” trope.

I hate that they copped out and wrote themselves out of the corner that way!

One question regarding the plot: I wonder why the film was divided into this many parts? (Was it maybe set up to be shown as a serial optionally?)

I just assumed it was in 5 reels, and those were the ends of each reel.

[donnie]

Glad you liked it.

► Show Spoiler

By the way, when we caught a glimpse of the driver at one point when they hop into the carriage, I think that was an actual black person in the driver's seat. I've noticed how sometimes they'd give black people parts as extras, but when it came to starring roles they'd do blackface.

Yes, it was surprising and refreshing to see an actual black person.

I was really enjoying Edith's depiction of gender change, and I was pretty disappointed when I began to realize that they weren't going to close the film with her as a man.

I was actually hoping she would revert, but with a new awareness or understanding of things. (Though I don't exactly what that would entail or how it would be portrayed.)

I thought the lighting and tints were gorgeous, especially in the curiosity shop. Some scenes in the movie looked fairy-like.

I thought about you when I saw that curiosity shop. That looks like your kind of place. It also looked like something from an earlier era, especially from the outside. But I guess there were actually curio shops that looked that way in 1914.

One thing concerning the interiors I forgot to mention: the large room where the dance was being held was very impressive. I wonder if that was on location—could that have been in the Ponce de Leon in St. Augustine?

I just assumed it was in 5 reels, and those were the ends of each reel.

You're right, it would have been about 5 reels. That would have given the projectionist an easy way to change the spool.

[Kitty]

Glad you liked it.

I thought the lighting and tints were gorgeous, especially in the curiosity shop. Some scenes in the movie looked fairy-like.

I thought about you when I saw that curiosity shop. That looks like your kind of place. It also looked like something from an earlier era, especially from the outside. But I guess there were actually curio shops that looked that way in 1914.

I wondered if that was a real curio shop. I also wondered if they called them antique shops... Is that was a curiosity shop actually is? It's funny, I really longed to explore that place, even with that short scene.

[donnie]

I wondered if that was a real curio shop.

It sure is! It is (or was?) in St. Augustine. Below is a link to a photo of the exterior from the 1930's.

I tried using Google Maps / Street view on this address, but couldn't tell much of anything. Presumably the building is still there, as this is a historic district, but I'm in doubts about its being a curiosity shop anymore (?)

As to the name, I guess they overlap (curio/antique), though maybe the former would have also things that are rarities or oddities, but not necessarily old. I'm guessing on that, too.

https://www.loc.gov/resource/csas.00365/

And by the way, on the dance location, looking at the scene more closely, I see the grand ballroom is mostly a painted backdrop.

[BettyLouSpence]

I just finished watching A Florida Enchantment. I really enjoyed this gender bending romp!

► Show Spoiler

Getting my criticisms out of the way... I have to say I was pretty let down by the ending, which hit like a (disappointing) ton of bricks when I realized they were gonna write everything off as just a dream. I think the story line kinda screwed itself over, actually, the more convoluted it became with the murder mystery, the maid (and later Fred) transforming, etc. And then it was all just a dream? I thought the characters of Lillian and Fred were going to learn something new about themselves and each other by the time the film wrapped up. I loved this film but the story really frayed like a rope by the end.

Now I'm no screenwriter, so I don't know how that could've been reworked - and I think it's important to keep in mind that the writers may have had their hands tied by censorship; not necessarily an actual censor at the studio reading the script and saying no, but self-censorship if they were worried about distribution issues, etc. I doubt any documentation of that sort of stuff has survived the years, but if it did I'd be interested to read about that.

First off I’ll get some comments out of way concerning things that may be offensive on some level for today’s audiences. Obviously the blackface and racial stereotyping haven’t aged well.

I think that whole thing could have been handled differently. Why did her part have to be full of violence?

By the way, when we caught a glimpse of the driver at one point when they hop into the carriage, I think that was an actual black person in the driver's seat. I've noticed how sometimes they'd give black people parts as extras, but when it came to starring roles they'd do blackface.

The weird sub-story about the maid/valet beating up that guy and stealing the cart didn't have to be there. I think the plot would've been less confusing with that bit of the fat trimmed away. I also noticed that guy playing a driver. Too bad they didn't cast actual black people in the major roles.

It really sucks about the racial stereotyping because I think a good chunk of people today would be genuinely surprised to see a film from over a century ago handling gender role reversals so brazenly for our own expectations of the time. This type of stuff would've been a big no-no twenty years later when the Code came about.

...And for the plot’s gender reversals in light of today’s cultural shifts—I’m not sure what might be perceived as objectionable, or in fact supportive. At any rate, it might certainly would make for some interesting discussion. I’d be interested to hear some others’ thoughts on this.

I touched a bit on this in the above paragraph. A Florida Enchantment is indeed considered an early depiction of LGBT themes in film, along with Different From The Others, Mädchen in Uniform, etc. Now obviously this distinction is pretty retroactive, and while I certainly can't claim to know what exactly the writers had in mind, the dream ending of A Florida Enchantment muddies it a bit, whereas a film like Different From The Others (for example) is much more explicit in that it's unmistakably a film about a gay man.

The highlight of this film by far was the splendid acting of Edith Storey. Her performance after the “transformation” was hilarious and thoroughly charming. I was fascinated by how she changed the whole demeanor of the character, not only the personality, but the whole general walk, posture, and nuances of mannerism. I had not realized she was this gifted of a comedic actress. Her interactions with Ethel Lloyd as the maid-turned-valet added a lot to the fun, also.

I'd love to see more of Edith. You said it all.

Edith Storey is amazing. She's part of the roster of silent stars that are even less widely known than their more iconic contemporaries, but they have a talent just as timeless.

Another thing I enjoyed were the Florida settings, the outdoor scenery, as well as the interiors and costumes. It's interesting to see what Florida looked like in 1914. And the beautifully sharp print of the first parts showed everything to best advantage. The tints were also marvelous.

I thought the lighting and tints were gorgeous, especially in the curiosity shop. Some scenes in the movie looked fairy-like.

Yes! The cinematography was one of the highlights of the film for me. That lighting in the curio shop I've said this before (I think about some scenes from A Fool There Was), but those sorts of indoor scenes where the light is provided by the sun streaming brightly in through a window has that ability to just transport me back to the era. It's so immersive that way.

The musical score was just thoroughly outstanding. Thank you, Dustin, for using all your resources and talent to assemble such an effective and fitting one. The score of a silent is really vital to me, and I can’t imagine a better one for this film.

Seconded!

Here's a screenshot I took of Edith holding the magic seeds. Gorgeous print.

AFE Edith and seeds.png (1.7 MiB) Viewed 1305 times

[Kitty]

I just finished watching A Florida Enchantment. I really enjoyed this gender bending romp!

I really enjoyed reading your thoughts on this film. I'm glad you liked it.

► Show Spoiler

.... whereas a film like Different From The Others (for example) is much more explicit in that it's unmistakably a film about a gay man.

I had not realized that silent film addressed a subject so head-on like that! How fascinating! I'd be very interested to see that film. And with Conrad Veidt, to boot!

[donnie]

I've said this before (I think about some scenes from A Fool There Was), but those sorts of indoor scenes where the light is provided by the sun streaming brightly in through a window has that ability to just transport me back to the era. It's so immersive that way.

Yes!!

Glad you enjoyed it. I like the screenshot of her contemplating the seeds.

Speaking of which...I wonder what happened to that fourth seed? Left for a sequel, maybe? (What if she woke up and discovered the dream was a dream, and the seeds were real, after all?)

[dustin@harpodeon.com]

I’ll get some comments out of way concerning things that may be offensive on some level for today’s audiences. Obviously the blackface and racial stereotyping haven’t aged well.

Yes, that’s a detraction without some preparatory comment that we see the racism while white audience at the time were accustomed to it, and while black audiences did object, the white creators never heard them. Usually theatrical screenings include text or a spoken intro to that effect. There’s a whole book on the subject of race and queer identity in A Florida Enchantment called Queering the Color Line.

[about Edith Storey’s acting]

I am a big Edith Storey fan—have been since I first saw her in A Florida Enchantment. I’ve recently licensed A Regiment of Two, which is another Sidney Drew and Edith Storey collaboration, and also features a young Anita Stewart when she called Anna Stewart.

And as a male impersonator, I don’t think I’ve seen a better one on the silent screen. She was playing so against her Lillian character that you really believe she turned into a man. A great deal more believable than Gloria Swanson in Danger Girl.

[about Sidney Drew’s age]

He was more than twice the age of Storey’s co-star Jane Morrow, a.k.a. Lucille McVeh, when she and Sidney Drew married. And Storey was two years younger than Morrow

[about the quality]

Only the first, third, and fifth reels are complete, though only the fourth is missing a significant amount from the start. Strictly speaking the first and third aren’t entirely complete either as they are missing the main title card at the start and the third cuts off a bit too quickly on that last shot. Most screenings of the film just ignore it, which you can until the banker scene that doesn't make any sense if you're not already familiar with the story.

The musical score was just thoroughly outstanding. Thank you, Dustin, for using all your resources and talent to assemble such an effective and fitting one. The score of a silent is really vital to me, and I can’t imagine a better one for this film.

You’re very welcome. I have to say, though, that I can never listen to them without wanting to change things. I can’t remember, but I think the only cues I kept from 2008 were The Estudiantina Waltz and The Girl I Left Behind Me, which were both referenced in the book; and the oriental theme from first volume of Sam Fox Moving Picture Music, which I personally thought conveyed the scenes involving the magic seeds perfectly; and Handel’s Sarabanda in D-minor, because it’s a musical reference to Barry Lyndon’s duel theme and I found it funny.

[dustin@harpodeon.com]

I just assumed it was in 5 reels, and those were the ends of each reel.

You’re right, that was just the practice.

To do a seamless reel change-over requires two projectors and technical proficiency—not to mention split-second reaction time to not miss the cue and accidentally project a bit of the trailing leader. Not such a crime when films didn’t expect seamless change-overs and reels were broken at scene breaks.

In the big movie palaces, it might have been done, but in the 1910s, movie palaces were rather rare. Most people saw films in tiny storefront cinemas that usually only had one projector. There would necessarily be a pause when the reel ended while the projectionist (or, more likely, an unskilled owner and operator) threaded up the next. Continuing cards were a bit of a reassurance that there would be another reel and the audience wouldn’t leave thinking the film was over.

They’re left out of most modern presentations of films, but I figure they were generally expected at the time so they should be kept now. And one did exist on the Ohio nitrate print of A Florida Enchantment (the only surviving nitrate elements, and the ultimate source of every print I’ve seen). It was the continuing in part V card, which let me recreate the others.

[about the ballroom]

Yes, that was a set, on Vitagraph’s two-floor studio (number five, if I remember) in Brooklyn. You can see the same ballroom set in several films from 1914. That is the real interior of the Old Curiosity Shop, taken from just inside the door.

It sure is! It is (or was?) in St. Augustine. Below is a link to a photo of the exterior from the 1930's.

The building is still there, the exterior is the same and, from what I can tell just from looking at the walls and floor, the interior layout hasn’t been rearranged.

It was an art glass shop when I went there in 2008. It closed when COVID struck. The location’s lately reopened as a soft pretzel restaurant. At the time of filming, it was Dodge’s Old Curiosity Shop. All the names were either blocked out or altered for filming, though. The Spanish Quarter has been virtually unchanged since the eighteenth century, so it all looks the same as it did in the film. St. Augustine Art Glass