A Mormon Maid

Plot

In the 1840s during the westward migration of Mormons, Dora and her family are rescued from an Indian attack by a passing Mormon wagon train bound for Utah. Grateful for their salvation, the family joins the caravan, where Dora finds herself pursued by two very different men: Tom, a recent convert who genuinely loves her, and Elder Darius Burr, a powerful Mormon leader with multiple wives who seeks to add Dora to his harem. The situation becomes increasingly tense as Burr's advances grow more aggressive, and Dora's mother, horrified by the practice of polygamy she witnesses in the community, takes her own life in despair. Now orphaned and facing pressure to become Burr's plural wife, Dora must choose between her growing attraction to the sincere Tom and the dangerous path of resistance against the powerful elder who will stop at nothing to possess her. The film culminates in a dramatic confrontation where Dora's fate hangs in the balance, ultimately choosing true love over religious obligation.

Historical Background

Released in April 1917, just one month before the United States entered World War I, 'A Mormon Maid' emerged during a period of intense social change and religious questioning in America. The film reflected ongoing tensions between mainstream Protestant America and minority religious groups, particularly Mormons who had only recently abandoned the practice of polygamy in 1890. The early 1910s saw a surge of films exploring religious themes and moral questions, as cinema began to establish itself as a serious artistic medium. The film's release also coincided with the height of the Progressive Era, when social reform movements were challenging traditional institutions including organized religion. Additionally, the film tapped into America's enduring fascination with westward expansion and the settling of the American West, which remained a popular subject for films during this period.

Making Of

The production of 'A Mormon Maid' was marked by both artistic ambition and controversy. Director Robert Z. Leonard, attempting to create what he considered a balanced examination of Mormonism, researched extensively by reading Mormon texts and visiting Mormon communities. However, the final product skewed heavily toward sensationalism. Mae Murray, known as 'The Girl with the Bee-Stung Lips,' was at the height of her fame and insisted on elaborate costumes despite the film's frontier setting, leading to some historical inaccuracies in wardrobe. The relationship between Murray and Leonard on set was reportedly tense, as Leonard wanted more realistic performances while Murray preferred her trademark dramatic style. The Indian attack sequence was particularly challenging to film, requiring careful coordination between hundreds of extras, horses, and primitive special effects. The suicide scene of Dora's mother was considered shocking for 1917 audiences and had to be carefully choreographed to appease censors while maintaining emotional impact.

Visual Style

The cinematography, credited to John W. Arnold and William F. Haddock, was ambitious for its time, particularly in the location sequences shot in the Sierra Nevada mountains. The film utilized natural lighting extensively for the outdoor scenes, giving the wagon train sequences an authentic, documentary-like quality that was unusual for 1917. The camera work during the Indian attack sequence employed innovative tracking shots that followed the action across a wide landscape, creating a sense of scale and movement that impressed contemporary reviewers. Interior scenes used the more typical static camera setups of the era, but benefited from Universal's new lighting equipment that allowed for more subtle gradations of shadow and light. The film's visual style balanced the romantic soft focus techniques popular for female stars with the stark realism of the frontier locations.

Innovations

While not groundbreaking in technical innovation, 'A Mormon Maid' demonstrated several notable achievements for 1917 production standards. The film's use of actual locations rather than studio sets for the majority of its running time was unusual and expensive for the period. The production employed what was then considered an unusually large number of extras (over 200) for the wagon train sequences, requiring complex logistics and crowd control. The film also utilized early forms of process photography for some background elements, though these were limited by the technology of the time. The special effects used in the Indian attack sequence, including smoke effects and simulated gunshots, were considered advanced for their era. The preservation of the film itself represents a technical achievement, as it was one of the early Universal films transferred to safety stock in the 1950s, saving it from the nitrate deterioration that destroyed many films of this period.

Music

As a silent film, 'A Mormon Maid' would have been accompanied by live musical performance during its theatrical run. The original cue sheet, preserved in the Universal archives, suggests a mix of classical pieces and popular songs of the era. Notable selections included Wagner's 'Ride of the Valkyries' during the Indian attack, Mendelssohn's 'Wedding March' for romantic scenes, and several hymn-like pieces for religious moments. The score was designed to heighten the melodramatic elements while providing emotional cues for the audience. Modern restorations have been accompanied by newly composed scores that attempt to balance historical authenticity with contemporary sensibilities, most notably a 2015 restoration featuring an original score by composer Rodney Sauer.

Memorable Scenes

• The dramatic Indian attack sequence where Dora's family is saved by the Mormon wagon train, featuring spectacular stunt work and large-scale action
• The tense confrontation scene where Elder Burr reveals his intention to make Dora his plural wife, showcasing the film's central conflict
• The emotional suicide scene of Dora's mother, considered shocking for 1917 audiences and demonstrating the film's willingness to tackle dark themes
• The climactic chase scene through the mountain pass where Tom attempts to rescue Dora from Burr's followers, utilizing the landscape for dramatic effect
• The final wedding scene where Dora must choose between her religious duty and her love for Tom, representing the film's thematic resolution

What Critics Said

Contemporary critical reception was mixed but generally positive from mainstream publications. The Motion Picture News praised the film's 'spectacular wagon train scenes' and Mae Murray's 'emotional depth,' while Variety noted its 'powerful narrative despite questionable historical accuracy.' However, religious publications were divided: Protestant journals often praised the film's moral stance against polygamy, while Catholic publications questioned its sensationalism. Modern critics view the film quite differently, with the American Film Institute catalog describing it as 'a prime example of early Hollywood's problematic treatment of minority religions.' Film historians today generally consider it valuable more as a cultural document than as artistic achievement, though some praise its technical achievements in location filming and its role in Mae Murray's career development.

What Audiences Thought

Audience reception in 1917 was generally strong outside of Mormon communities. The film's melodramatic elements and romantic storyline appealed to mainstream moviegoers of the era, and it performed well in major urban markets. However, in areas with significant Mormon populations, particularly Utah and parts of Idaho, the film was either boycotted or outright banned by local authorities. Some contemporary accounts report that Mormon groups organized protests outside theaters showing the film. Despite the controversy, the film's commercial success encouraged Universal to produce similar religious-themed melodramas throughout the late 1910s. Modern audiences viewing the film at revival screenings and film festivals often express shock at its blatant anti-Mormon propaganda, though many appreciate its value as a window into early 20th century attitudes.

You Might Also Like