The rejected suitor of a
woman who is afterwards seen on the downward path seeks to relieve his
lonely existence by the adoption of a child. Because a certain little
girl in an orphan asylum bears a striking resemblance to the woman he
has loved and lost, he decides to adopt her. And he does; they are
seen leaving together, the child being turned over to its new guardian
in the most off-hand way imaginable. Of course, later, the child,
having grown to womanhood, falls in love with and marries her
guardian; but in real life how little chance there would be of a
foundling institution's giving one of its girl charges over to a young
bachelor in this informal manner, if, indeed, he were allowed to adopt
her at all. Of course, it is not always possible to say whether the
script for such a picture was the work of an outside writer or whether
it was written by the director himself. But it sometimes happens that
a picture _is_ produced _because_ it was written by the director
himself, whereas the same story, sent to the editor by an outside
writer, would be returned with a warning to avoid similar scenes or
situations in the future.
The difference between the photoplay and prose fiction, or even the
regular drama, is illustrated by the so-called problem plays and
novels.
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