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Florence LaBadie Movies

Florence LaBadie's sweetly feminine presence enhanced many dozens of films made by the Thanhouser Studios, where she was one of the main stars. She was best known for the two serials she made for the company, the excellent Million Dollar Mystery (1914-1915) and the not-as-successful Zudora (1914). According to Thanhouser historian Q. David Bowers, LaBadie was born Florence Russ on April 27, 1888, and was adopted by the LaBadie family. After receiving a convent education in Montreal she modeled for illustrator Penrhyn Stanlaws, who later became a film director. Like many other girls back then (and now), she went from modeling to acting. From 1908 through 1910, she toured in a variety of stage productions. In the summer of 1909, LaBadie went to the Biograph Studios to visit her friend, actress Mary Pickford, who was performing in a D.W. Griffith-directed picture Getting Even. LaBadie was cast in a small role and she also appeared a few months later in In the Window Recess. Within a year she signed on at Biograph as a regular, but switched over to Thanhouser in 1911. LaBadie gained prominence as Thanhouser's leading lady. Like many of the stars of her day she did her own stunts, and when it came to serials, some of them were pretty risky. She stayed with the company up until its demise in 1917. Sadly, the actress died not long after she left the studio. She was out on a drive with her fiancé, scenarist Daniel Carson Goodman, when the brakes failed and the car careened down a hill. Goodman survived his injuries, which were mostly minor, but LaBadie, who was thrown from the car, received a compound fracture of the pelvis. Over a period of weeks, infection set in and she died on October 13, 1917, at the age of 29. ~ Janiss Garza, Rovi
1917  
 
Produced by Thanhouser, this first full-length adaptation of Edward Everett Hale's classic story The Man Without a Country starred H.E. Herbert as the luckless Philip Nolan, though nominal heroine Florence LaBadie was contractually awarded top billing. Accused of treason because of his loyalty to renegade Aaron Burr, Nolan spitefully cries out "Damn the United States! I wish I could never hear of her again." In the spirit of letting the punishment fit the crime, Nolan is sentenced to spend the rest of his life on an American warship, with the sailors given explicit instructions never to mention the United States in his presence. During the next fifty-five years, the repentant Nolan becomes America's most loyal citizen, secretly charting the country's expansion and sewing new stars on the flag he has squirreled away in his quarters. As Nolan breathes his last, a mere hundred feet or so from American shores, it is resolved by one and all that "No man loved his country more, and no man deserved less at her hands." As was the case in most film versions of The Man Without a Country, a romantic subplot is woven into the proceedings; and in keeping with the tempo of the times (America had just entered WWI), the film was fitted out with a modern "framing story," wherein a young doughboy's patriotism is fired up by a reading of the original Hale novella. ~ Hal Erickson, Rovi

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1911  
 
D.W. Griffith's The Two Paths is frequently written off as a "potboiler," but, in 1911 at least, any one of Griffith's potboilers was worth three of anyone else's films. This cautionary drama charts the lives of two sisters, one frivolous, the other sensible. The frivolous one heads off to the Big City, where she becomes the mistress of a callous millionaire; the sensible one marries for love, settling down happily as the wife of a hard-working carpenter. Guess which one of these romances ends in tragedy? In his book on Griffith's Biograph films, Robert Henderson has noted that The Two Paths contains many of the director's trademarks-to-me, including one scene illuminated solely by the light of a fireplace. ~ Hal Erickson, Rovi

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1910  
 
By 1910, D.W. Griffith was far too busy to personally direct all of Biograph's films, thus he legislated authority to such assistants as Frank Powell, Dell Henderson and Mack Sennett. One of the studio's Griffith-less efforts of 1910 was the one-reel comedy A Gold Necklace. It all starts when two young men fall in love with two young ladies. One of the young Romeos purchases a gold necklace for his "Juliet." Alas, the necklace is delivered to the wrong woman, causing no end of trouble for all four protagonists. The trade magazine Variety took the film to task for showing one of the virginal heroines entering a restaurant without an escort (Horrors!) ~ Hal Erickson, Rovi

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