The Mary MacLane Project

Mary MacLane's Silent Film Men Who Have Made Love to Me

Mary MacLane, according to her own account written during production of her one and only silent film, was a very early movie fan and scouted information on actors at a time when studios did not feature or give out names. Research has shown that MacLane has a far more substantial relationship to film than was previously suspected, with a major 1924 parody by famed comic Harold Lloyd, an abortive feature film in 1998, a documentary in process as of the mid-2010s, a humorous recreation of her film in 2010, a 7-minute art piece by director Tim Blue made 1997-c. 2006, and a 31-minute cinematic piece, Between My Flesh and the World's Fingers, from late 2018 by director Talena Sanders. Still, her primary connection to and importance in film history is the silent movie she was involved in almost all aspects of: Men Who Have Made Love to Me.

Filmed by Essanay Studios in late 1917 with early 1918 release, produced by silent-film pioneer George K. Spoor and directed by the well-regarded Arthur Berthelet, MacLane served - for the first time in cinematic history - as author, narrator, subject, and star. (Strictly speaking, she occupied a fifth-role as well - adaptor/scenarist from an original story; uncomfirmed listings have Edward T. Lowe, Jr. possibly sharing this credit.) This page will primarily organize information on MacLane's 1918 film; for information on other films, click here. A collection of still photos from the movie is below.

Synopsis

The movie begins with MacLane alone, wreathed in smoke-tendrils from her cigarette, directly addressing the audience. She states that for them to truly know her, she will retell six love affairs with men classified - in an inversion of classical masculine practice - by type: The Callow Youth, The Literary Man, The Younger Son, The Prize-Fighter, The Bank Clerk, and The Husband of Another. None of the relationships lasts, each for a specific reason, and in each MacLane emerges on top and essentially unmoved, though in an epilogu whistfully asks her newly-married French maid, Pargrim, if love is real at all. Recreations of the affairs, presented in series and largely independently of one another, are interspersed with MacLane addressing the camera while smoking and talking contemplatively with Pargrim.

Source Text and Adaptation

The film is based very closely on MacLane's 1910 newspaper feature article Men Who Have Made Love to Me, which was nationally syndicated in 1911. (Click here for the article's full text.) Two characters in the source text - The Absinthe Drinker and ">The Middle-Aged Gambler - were cut from the movie, and the order of remaining characters in the article - Callow Youth, Literary Man, Bank Clerk, Prize-Fighter, Younger Son, Husband of Another in the article - is changed, possibly to heighten contrast, for the film: Callow Youth, Literary Man, Younger Son, Prize Fighter, Bank Clerk, Husband of Another. The character of Pargrim, MacLane's maid, was invented for the film. Actress Margaret A. Wiggin played a presently-unknown role.

Cast

Mary MacLane as Herself
Ralph Graves as The Callow Youth
Paul Harvey as The Literary Man (as R. Paul Harvey)
Cliff Worman as The Younger Son
Alador Prince as The Prize Fighter (this otherwise-unknown actor may have used a pseudonym)
Clarence Derwent as The Bank Clerk
Fred Tiden as The Husband of Another
Unknown actress as Pargrim, MacLane's recently-married French maid
Margaret A. Wiggin as an unknown character

Crew

George K. Spoor - producer and presenter
Arthur Berthelet - director
Alla Ripley - gowns by

Subtitles

"So that you may know me, I, Mary MacLane, will tell you of of six piquant love episodes in my life - all of them damnably real."
"Yet God has made many things less plausible than me. He has made sharks in the ocean, and people who hire children to work in their mills and mines, and poison ivy and zebras."
"By Jove, you're just like me."
"The Literary Man - the coldest and most brutal of them all."
"[The Bank Clerk was] ungainly, with rare ideals regarding love and marriage."
"[The Husband of Another was] unscrupulous and daring."

MacLane's Comments

"This picture deals with nothing other than the problem of woman's ultimate happiness but does not solve this problem. It should strike the hearts of thousands of other women aho have loved in vain."
"It would be a sad world if made up of vampires only. There wouldn't be much home life if it were. The 'chicken' or 'squab' type make the best wives and the best housekeepers. I, myself, prefer to vamp. But I don't do it as others do. I haven't even black eyes. Mine are distinctly green. And I do not fascinate by dash and vivacity, but rather as the wily serpent fascinated Eve, by the steady gaze and the quiet watchfulness, by waiting to which everyone must sometime respond."

Selected Scholarship

2018 - David Bordwell - blog entry on Harold Lloyd's 1924 film Girl Shy
2013 - Julie Buck - web page as part of Women Film Pioneers Project
1990 - Kevin Brownlow - book section in Behind the Mask of Innocence: Sex, Violence and Crime - Films of Social Conscience in the Silent Era. Alfred A. Knopf, New York, 1990, pp 30-33, 514-515.

Selected Reviews

Wid's Daily, January 17, 1918, p 873
"Mary Some Little Jane In Seven Parts But Certainly Is Cold"
DIRECTOR: Arthur Berthelet - AUTHOR: Mary McLane
AS A WHOLE ... Love story of a cynical woman with no real heart-throbs makes fair average feature; will go best with men - STORY ... Mary has six lovers of different kinds but arrives at no serious decision about getting married ... DIRECTION ... Excellent - PHOTOGRAPHY ... Great - LIGHTINGS ... Beautiful - CAMERA WORK ... Fine - STAR ... A real actress - SUPPORT ... Great cast throughout - EXTERIORS ... Splendid - INTERIORS ... Best ever - DETAIL ... Not a thing missing - CHARACTER OF STORY ... Good for high-class houses; not a pop story, because heart interest lacking - TIME ... Ninety minutes (7 parts)
Mary certainly had a swell little experience, according to her own story, which here is reconstructed for screen purposes. The only trouble is that after it was all over she didn't arrive at any very striking decision about love and matrimony. The net result is her conclusion that men will never stand for certain things in the women they love that they consider harmless in women they don't love. This, you will agree, is no very big punch.
On the other hand, the six episodes that form the screen version of Mary's experience, are interesting in themselves because of her skillful characterizations of the men concerned and the beautiful production given by Essanay.
The big difficulty that stands in the way of making this a popular feature, is the point of view from which it is treated. It is absolutely cold. Mary regards the men with whom she comes into contact as just so many biological specimens to be stuck on pins and examined under the microscope. She draws them as they doubtless were in real life, making them convincing in every respect, but she has no outstanding sympathy with any of them. The total impression, therefore, becomes that of a worldly woman who has no illusions left, revealing a soul that is by no means remarkable for its human sympathy. This leaves its chief emotional appeal in the direction of a satirical humor that is rather light for popular taste.
This may seem like splitting hairs; but it is the one explanation of why one cannot warm to this picture in spite of its magnificent handling from the producer's end. If you are running a house that appeals to a high-class crowd, you ought to please your patrons much with this, altho it isn't a picture that will draw S.R.O. thru reputation. A good thing about it is, however, that it has a peach of a title for arousing curiosity and anticipation.
Mary's book created a sensation with the reading public when it was issued some time ago, and doubtless the reading public will remember it with pleasure. She dissected men there with a pen quite as merciless as that she has used to write the present scenario, and every sob-sister writing for the newspaper syndicates took occasion to give her views publicly. Unfortunately, that publicity is over now, but there still is some magic in Mary's name. The public that read Mary's book, however, is not as well represented as might be in the clienteles of "pop" houses.
In every case during the action where Mary turns a man down, she really has good reasons for doing it; but they generally will seem rather tame to the shopgirl who thinks any man makes a good husband who gives her a roof over her head and three square meals a day. You get the point. As a feature it won't be over people's heads, but the story seems rather thin, reasons and all taken into consideration, looking back at it.
Mary's adventures start with a callow youth who is young mentally as well as physically. He is just beginning to bore Mary when his sweetheart comes and claims him. Number Two is a literary man who is too darned selfish to live. Three is a gentleman on the surface, with an evil mind. Four is a cave-man she falls for hard, but has to give up because he doesn't belong to her world and he has a girl with more claim on him. Five is a bank clerk who wants to have a baby and a cottage for two, but who can't stand Mary smoking cigarettes and drinking cocktails. Sixth is "the husband of another," who gives her a thrill one night by breaking down her bedroom door, but spoiled the ecstasy by having stale liquor on his breath.
C. Gardner Sullivan wrote a clever story of the same general type for Bessie Barriscale some time ago, called "Hater of Men." That had more elements of popularity in it, but it had the same general delicacy that handicaps this. If you remember "Hater of Men" it will give you some line on this.
The cast is so excellent that one suspects that Miss MacLane had a hand in selecting the players. They certainly put the story across in fine shape. Even the bit parts are admirably played. Miss MacLane herself is a capable actress who has personality and screens well. R. Paul Harvey, as the writer, and Alador Prince, as the cave-man, are best among her assortment of leading men. Others in the cast are Ralph Graves, Clif Worman, Clarence Derwent and Fred Tiden. Only one case of over-acting was noted - a white-haired waiter in a grill-room scene who forgot his place. But even he was good.
The Box Office Angel
The title wil go far toward selling this picture. Play for high-class trade where possible. For cheaper audiences, play for women on the angle of "What kind of man is the best to marry?" The book stores should come through in great shape with displays of the Mary MacLane book "I, Mary MacLane," placed in their windows around announcements of the attraction. They may also be willing to share on advertising. For a distinctive lobby sign, place a picture of Mary MacLane in a circle with portraits of six men around her and with the above-mentioned question as legend.

The Moving Picture World, January 26, 1918, p 525
"Men Who Have Made Love To Me" - Mary MacLane, America's Much Discussed Woman Writer Plays the Leading Figure in Six Piquant Love Episodes of Her Life, Written By Herself and Produced By Essanny.
Reviewed by James S. McQuade.
My first impulse in writing about "Men Who Have Made Love to Me" is to acknowledge the gripping hold which the screened stories had on me and of the pleasure which their novelty created. It is the first time in my remembrance that I have seen on the screen author and actress concentrated in the same person, and that person acting over again love scenes in her own life with a matter-of-fact realism, which either affect the spectator by their pathos or stir his sensibilities by their humor or excite him to fear by their tragedy. And through it all I can vouch that nothing objectionable to refined taste can be fairly claimed although it required skillful directorship to avoid offense in the final scene between Mary MacLane and the husband of another.
Mary MacLane has never laid claim to being an actress, and never before risked an appearance before the moving picture camera, yet in my opinion no other woman could take her place in these episodes for the simple reason that the author appears as her very self, being undisturbed by self-consciousness and always governed by the natural demands of the moment and of the scene. True, Mary has no fine stage airs, where she might conveniently employ them, and her stage walk shows perceptibly at times an inclination to what might be termed a waddle, yet we welcome these seeming defects because they are really part of herself.
Mary MacLane appears in six of her love episodes, these and the introduction requiring seven reels of film for their production. The callow youth, the literary man, the prize fighter, the bank clerk, and the husband of another are the types of men who aspire to Mary's hand and heart. Each love experience is filmed in the order given, the men parts being ably sustained by Ralph Graves, R. Paul Harvey, Clif Worman, Alador Prince, Clarence Derwent and Fred Tiden.
Excessive praise can scarce be given Director Berthelet for his direction of the players and for the numerous fine interiors of the production. In artistic keeping with the sumptuous settings are the numerous and exquisite gowns, becomingly and gracefully worn by Mary MacLane. The photography throughout is excellent.
Release will be made through the George Kleine System some time near the close of January or around Feb. 1.

Variety - 1 February 1918
Reviewed by "Swing"
It is one of those things that never should have been. I, Mary came out of the west - from Butte - and when she struck Chicago, the newshounds leaped to the assignment, and Mary got publicity. Her book was the reason. It was of the frank, soul-revealing type, and quotes from it made good copy for the newspapers. It is apparent that Miss MacLane wasn't gobbled up by Essanay because of her film-acting abilities. The ostensible reason was a desire to cash in on the large publicity. It is not probably that there will be much of a cash-in. The picture was presented at Orchestra Hall at a range of prices from 25 cents to $1. Its showing demonstrated it as a highly unsatisfactory, rather anemic vehicle for a lady who may know how to write but who knows nothing of acting. The Butte brand of vampire is nix. The picture is replete with radical and ultra subtle subtle subtitles, which smack of Mary's authorship. There is very little story. It appears that several men fell in love with Miss MacLane, and became imbued with a desire to possess her. Smoking cigarettes the while, she she briefly plays with each and hands out the fare-the-well at the finish. However true to life this may be, it was not brought out strikingly or entertainingly in the picture. Miss MacLane's supporting cast does well with what it has been given it to do. No possible criticism can be made of the photography. It is excellent. Arthur Berthelet did the directing. Before production of the picture, there were press rumors Censor Funkhouser was going to delete certain lurid phases of the picture. It developed that Funkhouser didn't have to cut much. "Men Who Have Made Love to Me" may do well in Butte.

Motion Picture News, February 2, 1918, pp 734-735
Reviewed by Peter Milne
"I, Mary MacLane," by Mary MacLane, has been made into a picture by Essanay under the title, "Men Who Have Made Love to Me," and the star is none other than Mary MacLane. "So that you may know me," says she into the lens of the camera between puffs on her cigarette, "I, Mary MacLane, will tell you of six piquant love episodes in my life - all of them damnably real." And then is pictured much of the contents of her book, a book which, by the way, has created more than one sensation, and her affairs with a callow youth, a literary man, a younger son, a prize fighter, a bank clerk, and a husband of another are unfolded one after another. Each of these passages as narrated by Miss MacLane seems to bring out her own egoism more than anything else. Her own life, her own existence is omni-potent, her affairs always interesting but unfathomable. When finally she is through with the "husband of another," she questions her maid as to whether true love exists. And the maid, having just been married, answers "oui m'amselle." The maid's one affair has not been piquant, it has been highly successful from her point of view. But, being an egoist, Miss MacLane is still inclined to doubt the existence of a perfect love. It is something of a pity she was - and is - so cynically self-centered, an attitude which naturally tends to distort love and forbid it its right of trespass.
How the affairs of this modern George Sand will impress their beholders is a question of the mooted variety. They have interested many already on the printed page, they will attract more and interest more in divers ways. "The stripping naked of a woman's soul" is bound to contain interesting material at least. And exciting? At times, yes. And a little aggravating also, and finally disappointing to a certain extent. Aggravating because it is always I, Mary MacLane, and because the impression is conveyed that she is an egotist as well as an egoist. The lofty heights from which she seems to regard her six lovers, from which point she dissects them bit by bit, generating the idea that she must have a male Mary MacLane, if she finally select a life mate, seem to grate on the nerves of the common'males and females that go through the world less analytical, less cynical and more contented with things as they come along. And, unlike a play of the same type, for instance, the "Madame Sand," which New York has only just seen, the various episodes bear a certain sameness in their development and termination. Offset by a dialogue of brilliant wit, such as was the play, the "Men Who Have Made Love to Me" of Mary MacLane's might have proven as entertaining as the "Madame Sand" of Mrs. Fiske's.
All this when considered as bearing upon the manner in which the photoplay will be accepted leads to a certain definite conclusion. It is to be expected that with all the advertising Mary MacLane has had in the past - with all that Essinay is giving her in the present, that there will be a public eagerly awaiting the picture. And so it should have successful runs - from the box-office standpoint. The audiences will, in all probability, accept it as more or less of a curiosity - to be discussed, analyzed, criticised, favorably and unfavorably, much as she of the six love affairs discusses, analyzes and criticises each of them.
Miss MacLane's personality registers as wierd and mystic on the screen. Her eyes express her struggle to understand. Her whole attitude is one of aloofness, cynicism - she anticipates the conclusion of each affair - seems rather bored about it. The six actors who one after another play the six men of the title are competent and selected with a fine regard to type.
Arthur Berthelet has given the picture a good setting and the photography is to be commended.
The Story and Players
The callow youth (Ralph Graves) fascinated by Mary MacLane makes her his confidant, but soon bores her, and she is glad to send him back to his sweetheart. The literary man (R. Paul Harvey) is too dominating, and the break comes soon. The younger son (Clif Worman) proves rather nasty in a roadhouse, and she is rescued from him by the prize fighter (Alador Prince). She gives him up because of an appeal made by his sweetheart, and an idealistic bank clerk (Clarence Derwent) is next. He paints rosy pictures of marriage, but it is all at an end when he discovers that she smokes and drinks. The husband of another (Fred Tiden) proves altogether impossible when he breaks into her room and attacks her.

The Moving Picture World, February 2, 1918, p 722
Essanay Presents the Famous Author, Mary MacLane in a Startling Drama of Her Own Life as Written and Played By Herself.
Most persons recall the sensation the first confessions of Mary MacLane made when they were published. For her newest revelation she turns to the screen for her audience, and she tells the story of six lovers, with the addenda: "There were more - may there be others. One's loves are so real while they last." But the bank clerk lasted only nine days, and none of them were stayers.
For the Program: Mary MacLane's very human document. If all were as frank as Mary MacLane what a turmoil there would be.
Advertising Phrases: "Down the line with Mary and Dan Cupid." Six sweethearts in ninety minutes. Going some!
Picture This Player: Center your publicity upon the star.
Screen Stunts: Your stores may have some of the MacLane books. Display them with a card: "Mary MacLane's books are frank, but see her screen story at (house and date) and you'll understand her books better." For a teaser line before showing use "Girls, have you the nerve of Mary MacLane?" and "How many sweethearts have you had?" For mail work issue invitations to meet Mary MacLane at your house and date. For the lobby use the introduction to her story: "Six piquant love episodes in my life - all of them damnably real."
Advertising Aids: One, three, six, and 24 sheets in six colors. Lobby displays 11x14 and 22x28. Black and white stills. Portrait photos. Announcement slides. Three one-column and one two-column mats. Two each one and two column cuts. Press sheet.
Released in February.

Selected News Coverage

Motography - February 2, 1918
"Pick MacLane Cast with Care"
A contrasting group of players supports Mary MacLane, the famous writer, in her first and only photoplay, "Men Who Have Made Love to Me," produced by George K. Spoor.
Considerable thought was given to the selection of the six characters, ranging from that of a prize fighter of crude though honest heart, to a literary man of disdainful and fearless disposition.
Each of the six is designed to represent a different type of suitor and are cast as: The Callow Youth, played by Ralph Graves; the Literary Man, by R. Paul Harvey; The Younger Son, by Cliff Worman; The Prize Fighter, by Aladar Prince; The Bank Clerk, by Clarence Derwent, and The Husband of Another, by Fred Tiden.
Miss MacLane, by reason of her remarkable literary mind, created her own material for the picture, drawn largely from her intimate knowledge of human nature. The six types of suitors are each exact and distinctive.
The release date of "Men Who Have Made Love to Me" will be announced later.