A Cure for Pokeritis

Plot

A Cure for Pokeritis follows the domestic comedy of Mrs. Brown (Flora Finch), who becomes increasingly frustrated with her husband George's (John Bunny) weekly poker games that keep him away from home and drain their finances. When conventional methods fail to curb his gambling habit, Mrs. Brown devises an elaborate scheme with her cousin (Leah Baird) to stage a fake police raid during one of the poker nights. The cousin dresses as a police officer and dramatically interrupts the game, creating chaos and embarrassing George and his friends in front of their families. The humiliating experience proves effective, as George abandons his poker-playing ways and becomes a more attentive husband, much to his wife's delight and the relief of their household budget.

Historical Background

Released in 1912, A Cure for Pokeritis emerged during a pivotal period in American cinema history. This was the era when film was transitioning from novelty to legitimate art form, with longer narratives and more sophisticated storytelling becoming common. The year 1912 saw the founding of Universal Studios and Paramount Pictures, marking the beginning of Hollywood's dominance. Socially, the Progressive Era was in full swing, with movements for temperance and moral reform gaining momentum - themes reflected in the film's critique of gambling. The film also predates World War I and represents the relative innocence of pre-war American entertainment. Motion pictures were rapidly replacing vaudeville as the preferred entertainment for working and middle-class Americans, and stars like John Bunny were becoming household names.

Making Of

A Cure for Pokeritis was produced during the peak of the 'Bunnyfinch' partnership at Vitagraph Studios. John Bunny, a former theater actor, brought his substantial stage experience to the screen, while Flora Finch had been a Vitagraph regular since 1909. Director Laurence Trimble, who would later become famous for his work with animal actors, brought a light touch to the domestic comedy. The film was shot quickly, as was typical for one-reel productions of the era, often completed in just a few days. The poker game scenes required multiple takes to get the timing right for the comedic interruption. The cousin's police costume was likely created in Vitagraph's in-house costume department, which was known for its quick turnaround and resourcefulness.

Visual Style

The cinematography in A Cure for Pokeritis was typical of Vitagraph productions from 1912, utilizing static camera positions and medium shots that framed the action clearly for the audience. The film was likely shot on 35mm film with standard aspect ratio of the period. Lighting was naturalistic, using the available studio lighting to create clear visibility for the actors' expressions. The poker game scenes would have required careful composition to include multiple characters in the frame while maintaining visual clarity. The fake raid sequence would have used slightly more dynamic camera work to capture the chaos, though still within the technical limitations of the era.

Innovations

While not groundbreaking in technical terms, A Cure for Pokeritis represents the solid craftsmanship of Vitagraph Studios during this period. The film demonstrates effective use of cross-cutting between the poker game and the wife's preparations, a technique that was still being refined in 1912. The production made good use of limited sets to create the illusion of a complete domestic environment. The timing of the comedic interruption shows sophisticated understanding of rhythm and pacing in early film comedy. The film also demonstrates effective use of title cards to convey dialogue and advance the plot without disrupting the visual flow.

Music

As a silent film, A Cure for Pokeritis would have been accompanied by live music during its theatrical run. The typical score would have been provided by a house pianist or small orchestra in larger theaters. The music would have included popular songs of the era, classical pieces, and specially composed cues to match the on-screen action. For the comedic moments, lively ragtime pieces would have been appropriate, while more sentimental melodies would accompany the domestic scenes. The fake police raid would have been scored with dramatic, urgent music to heighten the tension and humor of the situation.

Memorable Scenes

• The climactic fake police raid where the cousin bursts into the poker game dressed as an officer, creating chaos among the gamblers and exposing their secret activities to their families

What Critics Said

Contemporary reviews in trade publications like The Moving Picture World praised the film's humor and the chemistry between Bunny and Finch. Critics noted John Bunny's natural screen presence and Flora Finch's comedic timing as particular strengths. The film was considered typical of the quality domestic comedies that Vitagraph was known for producing. Modern film historians view A Cure for Pokeritis as an important example of early American comedy and a showcase of John Bunny's significant contribution to film comedy before his untimely death. The film is often cited in studies of early cinema as representing the transition from theatrical to cinematic comedy styles.

What Audiences Thought

The film was well-received by contemporary audiences who were fans of the Bunnyfinch comedy series. John Bunny was one of the most popular film stars of his time, and any film featuring him was virtually guaranteed an audience. The domestic theme resonated with middle-class viewers who could relate to the marital dynamics depicted. The film's lighthearted approach to a serious social issue (gambling) made it accessible entertainment for family audiences. The Bunnyfinch films were particularly popular in urban areas where Vitagraph had strong distribution networks. Today, the film is appreciated by silent film enthusiasts and scholars as a representative example of early American comedy.

You Might Also Like