Her button face still instantly recognisable nearly half a century later in her cameo in John Ford's 'Donovan's Reef' (1963), Mae Marsh as 'Hoodoo Ann' also boasts long luxuriant hair in the first half of this film as a vulnerable young orphan, which she ties back in her mature persona two years later, when the film effectively starts all over again with a new plot.
In the first half she's thrown into panic by accidentally pulling the leg off another orphan's doll; in part two she thinks she's surpassed this early folly by now having accidentally shot someone! But all ends well with her in the arms of Bobby Harron (who curiously no other revewer has mentioned died in a genuine shooting accident just four years later)!
The maturity of post-Griffith mise en scene is in 1916 demonstrated by default by the parody western, "Mustang Charley's Revenge" the two young lovebirds go to see at the cinema, which - perhaps deliberately - is by comparison with the rest of 'Hoodoo Ann' (including the shots of the audience) framed with much more sophistication than the naively made western which resembles a film made nearly ten years earlier.
In the first half she's thrown into panic by accidentally pulling the leg off another orphan's doll; in part two she thinks she's surpassed this early folly by now having accidentally shot someone! But all ends well with her in the arms of Bobby Harron (who curiously no other revewer has mentioned died in a genuine shooting accident just four years later)!
The maturity of post-Griffith mise en scene is in 1916 demonstrated by default by the parody western, "Mustang Charley's Revenge" the two young lovebirds go to see at the cinema, which - perhaps deliberately - is by comparison with the rest of 'Hoodoo Ann' (including the shots of the audience) framed with much more sophistication than the naively made western which resembles a film made nearly ten years earlier.