Instead there are endless writhings and rushings about, done with a deal of skill, but destructive of the last remnants of Ibsen.
Up past the point of the clutching hand this film is the prime example for study for the person who would know once for all the differences between the photoplays and the stage dramas.

Along with it might be classed Mrs.Fiske's decorative moving picture Tess, in which there is every determination to convey the original Mrs.Fiske illusion without her voice and breathing presence.

To people who know her well it is a surprisingly good tintype of our beloved friend, for the family album.
The relentless Thomas Hardy is nowhere to be found.

There are two moments of dramatic life set among many of delicious pictorial quality: when Tess baptizes her child, and when she smooths its little grave with a wavering hand.

But in the stage-version the dramatic poignancy begins with the going up of the curtain, and lasts till it descends.
The prime example of complete failure is Sarah Bernhardt's Camille.