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Her Double Life | |
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![]() Lobby card for the film featuring Holmes and Bara | |
Directed by | J. Gordon Edwards |
Written by | Mary Murillo (scenario) |
Based on | The New Magdalen by Mary Murillo |
Starring | Theda Bara Franklyn Hanna |
Cinematography | Phil Rosen |
Distributed by | Fox Film Corporation |
Release date |
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Running time | 60 minutes |
Country | United States |
Language | Silent (English intertitles) |
Her Double Life is a 1916 American silent drama film directed by J. Gordon Edwards and starring Theda Bara. It is based on the Mary Murillo's story The New Magdalen, who also wrote the scenario. The film is now considered lost.[1]
Mary Doone (Theda Bara) is a poor British girl who runs away from her adopted family because the father made a pass at her. She lives at a parish house, and at the outbreak of World War I, she becomes a Red Cross nurse. At the front she meets war correspondent Lloyd Stanley (Stuart Holmes). Stanley tries to have his way with her but she is saved when the hospital tent is bombed.
To get away from Stanley, she takes on the clothes and identity of an (apparently) dead girl, Ethel Wardley (Madeleine Le Nard). Ethel was on her way to live with Lady Clifford (Lucia Moore), an aunt she has never seen. So that's where Mary goes.
There she meets and falls in love with Ethel's cousin Elliott (A.H. Van Buren). They become engaged. But Ethel is not dead and she recovers from her wounds. She and Stanley head to the Clifford estate to blow Mary's cover. It doesn't matter, however, because Mary has already admitted the ruse, and the family has forgiven and accepted her anyhow.
Her Double Life was released in Brazil with the title Traição on September 25, 1916[2] at Cinema Iris, situated on Rua da Carioca 49-51, Rio de Janeiro. The film was in theaters at Cinema Iris, Avenida (which screened US silent films exclusively), Cine Ideal, and Palais for about seven weeks. Cinema Iris was an enterprise from J. Cruz Junior and the building was close to Cine Ideal at the same street. Cine Ideal belonged to the group Severiano Ribeiro, which still holds in its storehouse old silent films.
From the magazine American Cinematography: