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This is a lovely little film, another Mary Pickford film that has been long available to cherish as an artifact from a long forgotten era beautifully preserved by the Mary Pickford Institute. Most silent fans would perhaps think of Pollyanna, Rebecca or Sparrows as being her best work but I would put this one in there too, not only for her acting but also the production.

She plays Stella Maris - a cripple who has been completely and tenderly shielded from The World by her Uncle and Aunt, so has a few shocks when she's finally able to walk and process information for herself. She convincingly plays Stella Maris complete with pretty curls glistening in soft focus and dripping elegance. She also convincingly plays orphan girl Unity Blake adopted by the man she loves, the more elderly looking and well-chiselled John Risco (Conway Tearle). The problem was of course that rich Risco had previously married a "commoner" with a drink problem – like many in the original cinema audiences perhaps – one of the peripheral familiar messages here being that when the working class is teetotal they're likely to be as faithful as dogs to their masters and mistresses. Even to the death. For the plain girl Unity she plastered her hair with Vaseline and walked lopsided as though she had had to carry children for years – so well that her mother visiting the film set was worried that she was turning into Unity, and also had to tell a worried Adolph Zukor that the character died early in the picture. In fact, these are 2 of Mary's finest performances ever, and in the one film. There's some nice languid photography, sometimes pretty inventive with great tinting throughout, overall engrossing stuff for 1917, and augmented in the Milestone Films release with a fantastic orchestral music score by Phillip Carli.

The 84 minutes are well plotted (even with a couple of large implausibilities, the largest being just how fast and hard the Law dealt with Mrs Risco for her violence) never drag and are additionally clean and decent – would that it could still be the same for these speedier earthier techno times! If you really like silent melodrama you must see this fine romance.

The early silent film "Stella Maris" provides a double dose of Mary Pickford for her fans as she plays both the title role of Stella Maris and that of another young girl, Unity. Ms. Pickford skillfully differentiates the two characters and is convincing as both young women. Stella Maris is a rich, bedridden young woman who has been shielded from the reality of life by her parents, and Mary Pickford plays her as the quintessential Pickford heroine in lacy frills, long curls, and winsome glances. However, Mary loses herself in the part of Unity, who is an orphan that has been buffeted by events and hardened by life. In this second role, Pickford appears without makeup, with her hair straight and tightly pulled back, and dressed in plain cotton dresses, and she excels in creating a character that is entirely different from her usual screen image. In fact, if the viewer were not told in the inter-titles who was playing the role, she would be nearly unrecognizable. The film cuts between the lives of the two girls until they intersect, and the few shots that show Mary playing a scene with herself are quite effective when the age of the film is considered. Production values throughout are at a high standard for the time as befitting a Mary Pickford vehicle, and the acting for the most part is more naturalistic than many silents of that era, although at least one actress does emote in the grand style. Conway Tearle, however, appears too old and stodgy for modern tastes to be a convincing object of young women's affections, although 90 years ago he may have been a matinée idol since tastes do change over time. "Stella Maris" is a sentimental tale and seems targeted at a young female audience in a simpler, more naive period. However, film history buffs will enjoy what is an excellent Mary Pickford showcase and a fine example of first-class film-making from the post World War I era.

Mary Pickford, that gamine of silent movie cinema is showcased in what might have been her best performance. Being nary a fan of her performance, I think this high praise indeed. I believe if there were the Academy Awards in those early days of cinema, she clearly would have worn it. She did win one in 1929 for Coquette which is just terrible, at least from a modern perspective- static camera movements and broadway like staging undermine any goodwill. Like much of today's actresses who win Oscars eg Charlize Theron and Nicole Kidman, the make up artist deserves high praise. The dsiparity between Unity and Stella is so convincing that when using technology of the time, they are placed in the same shot together, it is startling to wonder how it was acheived. The story is a classic melodrama about a man with a slightly crazy,evil and alcoholic wife who is bewedded to. There is Stella, a cripple whom the horrors of the world is shielded from and there is Unity, an orphan who has experienced the worst of the world and is almost bitten to death by the crazy wife, sending her to jail and making her husband in a case of pity and symphathy, Unity's guardian. Stella learns to walk after an operation and lives her sheltered enclosure to experience the hubris of life, learning about poverty, murders and other human evils. This shatters her. She and Unity are both in love with the kindly and gentle man. Lest to say for love to survive and conquer all, certain sacrifices are made. This is obviously a first rate production with grand art direction and gorgeous cinematography setting the mood but there are aspects that derail the movie including the inefficient rationalization of Stella's awakening. It is handled rather patly and not psycologically probing. I also found the the man character rather bland and boring as effused. The director's symbolism is rather thick especially the use of the cat and a dog to express the disharmony in the world. All in all, a dynamic performance by Pickford as Unity and a fairly rousing Victorian denouemwnt and resolution make it a see. It might help if you knew it was a huge box office smash surprising studio bosses.

STELLA MARIS has got to be one of the great silent films. Superstar Mary Pickford plays two roles in this seemingly sentimental tale (but it's not). She plays the lovely but crippled Stella Maris, whose family works hard to hide the ugliness of life from. She is shielded from the world because she is crippled. But of course her family doesn't do her any real favors. Eventually Stella is able to walk, and she discovers the horrors of war and crime and poverty by herself.

Pickford also plays Unity Blake, a homely and misshapen orphan who is taken from the orphanage by a cruel and drunken woman (Marcia Manon) who eventually beats her and goes to jail. Sent back to the orphanage, Unity is "hired" by the cruel woman's husband (Conway Tearle), but he is enamored of beautiful Stella Maris.

Pickford is just plain brilliant in playing these two women (and yes they share a few scenes together). Stella is pretty much standard fare for Pickford: golden curls, white frilly dresses, etc. Unity is a marvel of invention with her crooked body, crooked smile, and long dark hair. It's hard to believe this is Mary Pickford.

The film itself uses the iris shot beautifully to show what characters are thinking. The fade outs are well done. The scenes where the two Pickford characters appear together are flawless. Of special note is a gorgeous shot of Unity approaching the camera for a closeup, but in the end only her eyes show up in a deep purple tinted scene.

The ending is haunting. Superb work.

To bad silent films are not appreciated in our modern world (except by a few fans of silent films). This film could stand up well to many romance dramas made today. Mary Pickford does a wonderful job of playing 2 very different roles in this film, and to her credit does a fine job of both.

The story is about a crippled girl, Stella Maris who is completely sheltered from all things bad and ugly about life. Also played by Pickford is Unity who is a poor orphaned girl. Unity is adopted by John Riskas wife to basically be her housekeeper. Well Johns wife beats Unity severely and is sent to prison for almost killing her. In the meantime John adopts Unity out of pity and shows her the only kindness she has ever known. Meanwhile doctors perform a procedure on Stella and she is able to walk and learns that the world is not as nice as people told her it was. John really falls in love with Stella but is married and does not tell Stella about his wife. Stella finds out one day when she pays a visit to his house and her view of John is shattered and she does not wish to see him anymore.

The movie has high production values and has some nice tricks for its time like showing Mary Pickford playing 2 roles at the same time in the same frame. The film has a few minor flaws such as the heavy handed symbolism of the dogs drama.

overall a very good film I give it a B+

Lovely, crippled STELLA MARIS lives like a princess, sheltered from all of the world's unpleasantness. Orphan Unity Blake, on the other hand, suffers under life's harsh hand. These two young women are fated to be brought together with tragic, unforeseen consequences...

America's Sweetheart, Mary Pickford, even though a tremendous movie star, had always been bothered by the fact that show business had kept her from acquiring a normal education. She asked her dear friend, screenwriter Frances Marion, to tutor her. One of the books they read together was "Stella Maris" by William J. Locke. Mary quickly saw the novel's cinematic possibilities.

What startled the studio bosses was Mary's determination to play the parts of both Stella and Unity. She was sure this could be achieved convincingly. For the role of Unity, Pickford wore makeup that negated her pretty features, learned to stand & walk awkwardly & even insisted that she be photographed mostly using her right, less photogenic, profile. The effect was most believable.

The result was a triumph, professionally, artistically & at the box office. Mary tugged at the viewer's heartstrings, but never crossed the line into cheap mugging or maudlin histrionics. She earned her accolades with genuine, sincere emotion & pathos.

Frances Marion's screenplay allowed both of Mary's characters to share some screen time. Double exposure would produce a special effect that puzzled & delighted contemporary audiences.

Although Mary dominates the film, mention should be made of Conway Tearle who ably plays the strong, sensitive man who loves Stella; Marcia Manon is very effective as his brutal, alcoholic wife; and Josephine Crowell scores in another of her matronly roles.

After years of neglect, STELLA MARIS is available on video to enchant whole new generations of Pickford fans.

If you have never seen a Pickford film, this Artcraft Production is a perfect introduction to the star's versatile talents. In her dual roles as Stella and Unity she displays a range and depth of emotions hardly seen in films of this era.

Pickford was drawn to this story immediately after screenwriter Frances Marion suggested she read the novel. Pickford's labor of love in getting this book to the screen is evident in every scene. Art Direction and sets are superb--subtle yet surprising and stylish, even smartly humorous at times. It's a fine production throughout and, astonishingly, even the special effects hold up well today.

Stella Maris, played by Mary Pickford, is a paralysed teenage girl who lives a sheltered life, unaware of the fact that things like hunger, disease and suffering in general exist. She is in love with a friend of the family, John Risca (Conway Tearle), whose violent and alcoholic wife gets a girl from am orphanage to help in the household. This girl, Unity, also played by Pickford, likewise falls in love with Risca. What follows is a complicated and highly sentimental drama that ends in murder, suicide and, for some, in happiness. The plot may be convoluted and in part creaky, but 'Stella Maris' is still an impressive film. It is nicely photographed, and director Marshall Neilan had a number of attractive ideas. The dog, for example, works well as symbol of fidelity. However, what makes the picture memorable is Pickford, for whom it is the perfect vehicle to demonstrates her amazing acting abilities. Talking of 'abilities' does not really do her justice. 'Genius' is nearer the mark. Like two years later in 'Suds', she plays a wizened, almost hunchbacked girl (Unity) with pinched face, and if you did not know better you would believe that is what she regularly looked like. At the same she also plays another role: That of a young sheltered beauty (Stella Maris), and again you might think this is her. In both roles, her character develops and changes in the course of the film. Unity has for the first time the chance to experience love and begins to educate herself, while Stella Maris gains some experience of what the world is really like and looses her overprotected naivety. The other actors in the picture are far less remarkable; it is because of Pickford that the film is worth watching.

Mary Pickford would likely have won that year. If you didn't know that Stella Maris and Unity Blake were played by the same actress, you probably would not guess that they were. Stella Maris has been paralyzed her entire life. Fortunately, her family is wealthy so they can give her the best of care. However, she is still bedridden. Her relatives feel so sorry for her that they keep all bad news from her, and with her only seeing the beauty of nature visible from the spectacular view of her bedroom window, and with her only encountering the kind souls that enter the world that is her room, she has grown to young womanhood knowing nothing of the ugliness of life.

In contrast, Unity Blake is an orphan at an orphanage and is a very plain girl on top of everything. Louisa Risca, a drunken woman with a drug habit to boot, adopts Unity as a servant girl who won't/can't complain about her habits. It's quite touching when Unity first thinks she's getting a mother and instead realizes that instead she is just a servant, and an indentured one at that. The common thread between Unity's and Stella's very different worlds is John Risca (Conway Tearle), husband of Louisa and frequent visitor of Stella Maris. At the insistence of Stella's aunt and uncle, John has never told Stella that his wife is an addict or that he is even married for that matter.

One day, in a drunken rage, Louise beats Unity to the brink of death over a mistake the girl has made in doing the marketing. Not even John's connections can save Louise from doing three years in prison for this deed. Meanwhile, a prominent European surgeon restores Stella's ability to walk and she is now able to explore the world - the whole world - with all of its ugliness as well as its beauty. John Risca makes Unity his ward to compensate in his own way for what his wife has done. Thus Unity, for the first time, gets to see some of the beauty in life. Thus the worlds of these two girls collide with very interesting and powerful results - I'll let you watch and see what happens.

This is very sophisticated story-telling and acting for a 1918 film. If you are disappointed at all, please remember this film was made just three or so years out from a time when comedy mainly consisted of pants kicking fests and drama of maidens being tied to railroad tracks. Of course the greatness of this film lies not only in Mary Pickford's convincing portrayal of two very different people, but in Frances Marion's adapted screenplay, Ms. Marion being one of the great writers for the screen in the silent and early sound eras.

This is a fine old silent melodrama with an outstanding dual performance by Mary Pickford, certainly one of her greatest accomplishments. The story itself is quite good, and the rest of the cast is solid as well, but it is Pickford who holds your attention from start to finish with a wonderful portrayal of two very different characters.

Both of her characters are wonderful creations, and Pickford's portrayals bring both of them to life convincingly and memorably. Stella and Unity have vastly different appearances, life experiences, and personalities, and Pickford even gives them distinctive mannerisms and expressions. This allows the story to bring them together seamlessly in a plot that itself offers good, thoughtful drama and some good comic moments as well. You quickly come to care for both Stella and Unity in different ways, and feel for them as they learn some often difficult lessons about life.

While probably little-known today, "Stella Maris" is a terrific movie, one of the best of its era. If you enjoy silent films, you'll probably find it well worth the trouble to track down.

Stella maris is a paraplegic girl living carefree and Unity is an orphan that has never known any kindness. While not complete opposites, they do represent many polarities.

John is a broken man keeping it together for the sake of stella maris and people around him even if it means lying and faking it.

It might be this fake strength that stella maris falls for. Regardless, all characters and the overall story are well written and acted with ms.pickford showcasing one of her best performances with way less exaggeration than i expected.

If i had to nitpick, it would be with louisa (john's wife). Shes just an evil alcoholic for no apparent reason. Maybe the reason shes like this is because johns a failure as a husband or because the sick world has turned her sick or any other reason. True, theyd be excuses but having such a one dimensional character stands out .

As stella maris learns the truth about life. Her beautiful surroundings slowly turn dark. Her shinning room with a lovely view of the garden is replaced by a dark room when she reads about the crimes reported in the newspaper after which she leaves the room, entering her beautiful garden to see the trees and bushes hiding the march of soldiers going to war.

The scenary starts shining again as she falls in love with john with an amazing scene where stella maris and john admit their love cross-cutting with unity looking in the mirror.

Since this is stella maris story, this visual reflection of the story only exists when she's on the screen and not all the of scenes have this amount of attention but overall, its pretty great and the constranst certainly helps the highlights of the film.

The ending can easily be interpreted as sending the wrong messages and i personally didnt care for it. But the quality of the film is so high that the ending doesnt matter as much and as stella maris learned, the world isnt perfect and people arent angels.

We get two quite contrasting doses of Mary Pickford in this touching drama about two girls. One is a cosseted lass, who cannot walk and is shielded by her wealthy, well meaning, family. The other a bit of an urchin - able bodied but living the harshest of lives in an orphanage. When the latter is adopted, she is optimistic - but that soon fades as her new "mother" turns out to be a wrong un' (and is imprisoned after violently beating her). The rather weak-willed, prosperous, husband "Risca" (Conway Tearle) is not quite so objectionable, though, and he is soon as drawn to "Unity" as he has been for quite a while to the invalid "Stella". When a surgeon manages to get "Stella" walking, she sets about entering a world full of war, pain, anguish - and love - and the story takes off with Pickford in her element. She plays both characters with aplomb and distinction. In "Stella" we have a more typically beautiful, breezy performance; in "Unity" a much grittier, earthier, frankly uglier, one - and she pulls them both off superbly. Though both roles target our sympathy glands, neither drag us into the cheesy world of sentiment nor of too much melodrama. Tearle is strong in his role as the would-be suitor, as is Marcia Manon as the truly odious "Louisa". I wasn't hugely impressed by the ending - but I'm equally unsure how I would have liked it to conclude. The photography borders on the insightful - the use of close ups almost seems to let us see into their minds, to tell us what they are thinking. Certainly one of Pickford's best.

Mary Pickford (as Stella Maris) is a beautiful, but bedridden, paraplegic; she "has been tenderly shielded from all the sordidness and misery of life." Ms. Pickford (as Unity Blake) is, also, "another little prisoner of fate, 'The Ugly Duckling' of a London orphanage." Pickford's "Stella" lives luxuriously, with Aunt Ida Waterman (as Lady Blount) and Uncle Herbert Standing (as Sir Oliver Blount). Dashing cousin Conway Tearle (as John Risca) is a gentleman caller, and future love interest. Mr. Tearle is rather unfortunately married, however, to alcoholic Marcia Manon (as Louisa Risca). Ms. Manon visits the London orphanage, and espies Pickford's "Unity". Apparently, she has arranged to adopt "Unity" as a servant (should the waif be able to find her way to Manon's home). Upon arrival, "Unity" is treated as a slave; and, after nearly beating "Unity" to death, Manon lands herself in the pokey. Soon, Tearle is left responsible for "Stella" and "Unity"; and, both of Pickford's crippled women fall in love with him. Who will he choose?

The predictable "Stella Maris" story is somewhat poorly told. The events, and time frames given, make for an incredibly disjointed storyline. If only events were more fully explained; for instance, how is it that "Unity" is adopted (or, re-adopted?), hidden from her lovely lookalike's open portals for so long, and gets romantic with her adopted father? And, he, remember, is still married, and courting his cousin? Perhaps, the confusion could be ended with a re-fashioning of the film's title cards. Small details, like the spelling of characters' names, are likewise inconsistent. It's odd that an otherwise obviously fine production should suffer from more than a few distractions.

"Stella Maris" is, however, redeemed by its incredible performances; particularly those essayed by Pickford and Manon. Pickford's "Unity Blake" is utterly riveting; and her "Stella Maris" is no slouch, either. The contrasting roles, directed by Marshall Neilan, really allow Pickford to show her incredible prowess as an actress, rather than as a personified "star". It may be true that Pickford was able to play "Unity" without repercussion, because audiences could also have her lovely, curled "Stella". She is so good that an unenlightened viewer (who misses an occasional title card) may not believe Pickford was playing both roles. Pickford delivered many fine performances, but "Stella Maris" may be THE one to show a Pickford detractor. Certainly, Mary Pickford was a 1918 "Best Actress", for her dual role; and Marcia Manon's addicted, sadistic wife was the year's "Best Supporting Actress".

********* Stella Maris (1/21/18) Marshall Neilan ~ Mary Pickford, Conway Tearle, Marcia Manon, Ida Waterman

If you are not familiar with silent films, and not likely to see many of them, see this. It is one of the best.

I have the following reasons for putting this film on my top ten silent films: 1. Mary Pickford plays two completely different characters, both excellent performances. 2. Coming out in 1918, at the time of WWI, this film has the poignant subject matter of a girl sheltered from awareness of the cruelty of the world, who later discovers the truth about war and poverty and violence.

In less than an hour and a half, we see the joy of love and the pain of human existence. An existential nutshell... Enjoy....

STELLA MARIS (1918) is the story of two very different girls, set in early 20th century London. The title character is a bedridden invalid who has been shielded from the harsh realities of life by her well-meaning aunt and uncle, and believes the world to be a beautiful place. The other girl, Unity Blake, is a Cockney orphan who knows the harsh realities of life all too well, especially after her servitude under the abusive Louise Risca. Their lives converge in an unexpected way, and both of them change forever…

SCRIPT: The script balances the stories of the two main characters well. This is definitely a melodrama, but not as sentimental or as pretentious as many others of the time. The story shows how Stella Maris eventually discovers the realities of life and realistically depicts how this change affects her. The movie moves along briskly, though being a melodrama, there are some rather implausible events, especially towards the end. Some may have issues with the end (I won't spoil it), but it does pack a punch. SCORE: 9/10

ACTING: The acting is, with one slight exception, of a high caliber that can be easily appreciated today. The restrained naturalism of the performances helped to counteract some of the more florid aspects of the story and keeps it from descending into bathos. Mary Pickford plays the roles of Stella and Unity, and is compelling in both performances. She is rightly credited for ushering in a restrained and realistic acting style (in contrast to the florid, melodramatic mannerisms of contemporary theater acting) that continues to influence actors today. Pickford is charming and sweet as Stella without being cloying, and is impish and haggard as Unity. Her appearance as the two characters clearly emphasizes their difference in personality and circumstances. I also enjoyed Conway Teale's turn as John Risca, the writer who loves Stella but has to contend with an alcoholic wife. He was also quite naturalistic and very believable. The one performance I did have an issue with was Marcia Manon's turn as the villainous Louise Risca. She wasn't quite as overwrought as some other performers were at that time, but her occasional histrionics stuck out like a sore thumb in comparison to the restraint of the other cast members. Still, when she chooses to be more restrained she is quite effective. SCORE: 9/10

CINEMATOGRAPHY/PRODUCTION: STELLA MARIS benefits from the sensitive and skillful direction of Marshall Neilan. I had never heard of him before this movie, but this fine film makes me want to investigate more of his work. The camera doesn't move that much, but the varied use of medium shots and close-ups, as well as the well-paced editing, make up for it. No shot feels like it is on the screen for too long. Walter Stradling displays considerable skill as a cameraman. The lighting, tinting, and composition show Mary Pickford's luminous blonde beauty to great effect. The movie uses tinting to differentiate not only between day and night, but also to establish moods (the sunny yellowish tint of Pickford's scenes as the happy Stella Maris contrast with the black and white, untinted shots of Unity Blake's drab existence at the orphanage and with Louise Risca). Flashbacks and thoughts in the characters' minds are conveyed by double exposures superimposed on the frame, which was more effective than the then-contemporary device of fading out from the scene, then showing the flashback, then fading back in (which DW Griffith was still using in 1920's THE LOVE FLOWER). Superb work overall. SCORE: 10/10

SUMMARY: STELLA MARIS is a superb showcase for Mary Pickford's acting talents. The story is melodramatic and at times implausible, but it is told briskly and in a fairly well balanced fashion. The performances, for the most part, hold up beautifully today and help to counteract some of the story's more florid moments. The cinematography and production of the film are top-notch. This movie definitely merits viewing today. SCORE: 10/10

Countless many things could be said of the silent era, but perhaps its greatest magic lay in being able to tell stories without any need for sound or verbal dialogue, let alone other technological developments of the years to follow. There's no denying the relative simplicity of the film-making techniques or the storytelling, but the core strengths of the medium were as robust in 1918 as they are over a century later. Deft employment of light, shadow, and framing; skillful application of makeup, nevermind hair and costume design; elegant, detailed sets and props; rich, mindful intertitles - all these facets are plainly represented even in the earliest days of cinema, and specifically, in 'Stella Maris.' Likewise, though acting of the time was often characterized by more exaggerated expressions and body language, even before the advent of talkies movies were gradually and irregularly shifting toward more natural, nuanced performances, and I think we see glimmers of that here, too, not least with Conway Tearle in a major supporting part. Above all, given dual roles as the title character and as unfortunate Unity, screen icon Mary Pickford demonstrates her range and dexterity, and the possibilities of what actors can achieve; slight affections in her comportment utterly changes how we perceive her, while her smile can light up a room. For all this alone, observing strong craftsmanship and acting, this picture holds up splendidly well and is very much worth checking out.

Don't let fleeting mention diminish the accomplishments of those behind the scenes, for well and truly, everything here is terrifically well done, and moreover this is a title that has been wonderfully well preserved. The sets are as gorgeous as the filming locations, and I can't overstate how lovely the hair, makeup, and costume design are. The cast are swell across the board, and Marshall Neilan's direction firm and practiced, in bringing the story to life. Prolific screenwriter Frances Marion, adapting William John Locke's novel, brings us real, believable characters with scene writing of earnest substance. These build a sturdy, compelling narrative with significant themes, and enduring relevance: abuse and neglect, even when colored with good intentions or a false veneer thereof; love, responsibility, and lies of every variety; the evils of the world as seen through fresh, innocent eyes; and so on. The plot of an orphan and a girl of good circumstances, both plagued by ill fortune of one nature or another, is filled with potential, not least as one man is prominent in the lives of both. For that matter, there are familiar strains in the tale that we might recognize from other works, and one can easily imagine how this might look if it were made in subsequent decades. With the unembellished sincerity of silent cinema, however, the story is allowed to blossom with gratifying honesty and heart, and without need or desire for those touches that would reflect more modern sensibilities. The feature is firmly absorbing and satisfying, on its own merits.

I can understand why older movies don't appeal to all comers; I'd have said the same myself, once. Yet while some works carry distinctive traits certain to limit the engagement from modern viewers, this isn't true in every case, and I think 'Stella Maris' is free of the most critical such qualities (weak production values, print deterioration, overly exaggerated acting, illustration of old-fashioned norms and values). Indeed, though this may not stand toe to toe with the very best of all the era had to offer, I'm inclined to believe the film-making and storytelling are so superb all around, and lastingly engrossing, that it may even help to bridge the gap for those in the twenty-first century who generally have little love for fare of one hundred years past. It's not wholly striking in any one particular way, but for the sheer excellence of every component part, and the tremendous care poured into it, its strength builds over the course of these 80 minutes to the point that it ultimately does belong among some of the very best of company. If I have any critique to offer it's that the plot resolves a tad too neatly for its own good, leaving a faint imperfection on the viewing experience overall, but even that is hardly a fault exclusive to this piece. When all is said and done it may not be an absolute must-see, but whether one is an emphatic devotee of the silent era or just broadly looking for a good movie, 'Stella Maris' remains an indelible treasure that's worth checking out if one has the chance.

Mary Pickford's popularity was off the charts in the year of 1918. Every movie fan loved her image of the innocent curly-haired girl/woman whose roles made her the sympathetic heroine. But the actress longed to branch out to tackle some meatier portrayals of personalities going against the grain of her likeability. The golden opportunity came when her associated scriptwriter Francis Marion came up with the idea to adapt William John Locke's 1913 "Stella Maris" into a movie.

The story about two girls, one wealthy, pretty, much loved but paralyzed in bed, and the other, orphaned, poor, homely and loathed by many her entire life, presented Pickford with the perfect opportunity to play an "ugly duckling" while still retaining her cutesy image. Through the advancement of film technology, Pickford became the first major movie star to play two roles simultaneously, with both characters in the same frame in January 1918's "Stella Maris."

Director Marshall Neilan and his tech crew were able to pull off scenes of the two Mary's sharing seamless split-screens, giving viewers a realist look of the two polar opposites of the Mary's interacting with one another.

Pickford's performance(s) in "Stella Maris," especially playing the poor girl named Unity, has been cited as one of her most dramatic and convincing roles in her long, storied film career. Even Paramount Studio's president, Adolph Zukor, who was horrified at his prized actress appearing in such a sorry state as Unity, called her performance "the most remarkable thing which Mary Pickford has ever done for the screen." Even though her Stella Maris character is adorable in the movie, she lives in a world of naivete, whose sheltered life gives her an unrealistic, pastel view of everyday life. When she meets the tough but downtrodden girl Unity, Stella has a tough time understanding the incredible burdens and beatings the orphan has experienced. The transformation the actress Pickford gives Unity in appearance, the drab clothes, the pulled back hair, the curved-spined back hobble in her step, is unlike anything the actress had performed before. And to contrast Unity's sad sack manifestation against the Pickford image in Stella in the same frame is a contrast unique in cinema. Movie goers were so impressed by the film that "Stella Maris" was the year's number two box office hit.

Pickford claimed Neilan was the best director she had ever worked with, better than even the legendary D. W. Griffith. The two worked in five straight films, all hits, beginning with late 1917's "Rebecca of Sunnybrook Farm." Their fourth film together, March 1918's "Amarilly of Clothes-Line Alley," was Pickford tackling another dual role, this time as a poor woman who becomes romantically linked with a rich man. Her uneasiness of being elevated to the upper strata is shown visually by director Neilan in such scenes where he frames her several times in the doorway or sitting on windowsills, straddling the two worlds.

The comedy recognizes there are two different customs of behavior between the rich and the not-so-rich. The Pygmalion lessons she has to learn to enter such a monied society is one Pickford tackles with aplomb. With Neilan's direction, just as he crafted in "Stella Marie," his new visual style of fluid editing, naturalist forms of acting and incorporation of symbolic sequences introduced Hollywood to an ever-sophisticated method of movie-making, showcased with the premiers of these two very important motion pictures.