Old Wives for New
"A story of the 'New Woman' and the 'Old Wife'—and the man between them."
Plot
Charles Murdock, a wealthy oil magnate, finds himself trapped in a stifling and loveless marriage to Sophy, who has become slovenly and indifferent to her appearance over their twenty years together. Seeking escape, Charles goes on a hunting trip with his son where he meets Juliet Raeburn, a sophisticated and beautiful boutique owner; the two fall in love after a chance encounter involving the same bear. Their budding romance is complicated when Charles's business partner is murdered by a jealous mistress, and Juliet is falsely implicated in the scandal. To protect Juliet's reputation, Charles takes the blame and flees to Paris with another woman, eventually securing a divorce from Sophy. The story concludes in Venice, where Charles and Juliet are finally reunited and find the happiness that had previously eluded them.
About the Production
The film was an adaptation of David Graham Phillips' 1908 novel. Cecil B. DeMille and his frequent collaborator Jeanie Macpherson used the project to explore the 'modern' dynamics of marriage and divorce, which were controversial topics at the time. The production was noted for its lavish art direction by Wilfred Buckland, who helped establish the 'DeMille style' of opulent interiors.
Historical Background
Released during the final year of World War I, the film arrived at a time when American social structures were undergoing rapid change. The 'New Woman' movement was gaining traction, and the traditional Victorian ideals of marriage were being questioned. DeMille tapped into this cultural anxiety, presenting divorce not as a tragedy, but as a path to personal liberation for the wealthy elite.
Why This Film Matters
This film is credited with helping to shift the focus of American cinema from Victorian morality plays to sophisticated 'society dramas.' It popularized the depiction of the upper class's domestic lives, complete with the luxury and 'sin' that audiences found fascinating. It also marked the beginning of DeMille's transition from historical epics to the bedroom comedies and marital dramas that would define his middle career.
Making Of
During production, DeMille focused heavily on the visual contrast between the 'old' and 'new' lifestyles. He worked closely with costume designer Alpharetta Hoffman to ensure that the clothing reflected the characters' moral and social standing. The hunting sequence, where the leads meet, was filmed on location to provide a sense of rugged realism that contrasted with the later, more decadent city scenes. DeMille's assistant directors on the project included Sam Wood, who would later become a major director in his own right.
Visual Style
Alvin Wyckoff utilized innovative lighting techniques to emphasize the emotional distance between Charles and Sophy. The use of close-ups on textures—such as messy breakfast trays versus elegant silk—served as a visual shorthand for the characters' internal states.
Innovations
The film is noted for its sophisticated use of 'Rembrandt lighting' and its detailed set designs by Wilfred Buckland, which moved away from flat theatrical backdrops toward three-dimensional, realistic environments.
Music
As a silent film, the original score would have been performed live by theater organists or orchestras. Modern restorations, such as the Image Entertainment release, feature a compiled vintage orchestral score by Eric Beheim.
Famous Quotes
Title Card: 'A warning to women: If you want to keep the home fires burning, don't get fat and lazy.'
Title Card: 'Trim your Votes for Women with a little lace and ribbon.'
Charles Murdock: 'I want a divorce. I want to live before I die.'
Memorable Scenes
- The opening sequence showing Sophy's messy bedroom and her indifference to her husband's presence.
- The hunting scene where Charles and Juliet both shoot the same bear, serving as a metaphor for their shared destiny.
- The dramatic nightclub shooting where the business partner is killed by his mistress.
- The final romantic reunion in Venice, showcasing the film's high-budget travelogue style.
Did You Know?
- The film features an uncredited appearance by a young William Boyd, who would later become famous as Hopalong Cassidy.
- Sylvia Ashton, who played the 'slovenly' wife Sophy, was praised by DeMille for her willingness to look 'wonderfully disgusting' on screen, a rarity for actresses of the era.
- The film's release was initially delayed because censors feared it advocated for divorce as a positive solution to marital problems.
- The opening title card explicitly warns women to keep themselves attractive for their husbands, reflecting the social attitudes DeMille was exploring.
- Future star Alice Terry appears in a small role as a saleslady, credited as Alice Taafe.
- The film is the first of DeMille's 'marriage trilogy,' followed by 'Don't Change Your Husband' and 'Why Change Your Wife?'.
- The Chicago Board of Censors issued an 'Adults Only' permit and demanded several cuts, including scenes of a woman shooting a man.
- Noah Beery appears in an uncredited role as a doctor.
What Critics Said
At the time of its release, critics were divided; some praised DeMille's 'absolute frankness' in treating social 'sores,' while others found the subject matter immoral. Modern critics often view it as a fascinating, if sexist, time capsule that showcases DeMille's evolving technical mastery and his penchant for provocative themes.
What Audiences Thought
The film was a significant commercial success, grossing over four times its budget. Audiences were drawn to the scandalous nature of the plot and the high-production values, making it one of the most talked-about films of 1918.
Awards & Recognition
- National Board of Review - Top Ten Films (1918)
Film Connections
Influenced By
- The novel 'Old Wives for New' by David Graham Phillips
- The growing suffrage movement
- European society dramas
This Film Influenced
- Don't Change Your Husband (1919)
- Why Change Your Wife? (1920)
- The Affairs of Anatol (1921)
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Film Restoration
The film is preserved. Complete prints are held by the Academy Film Archive and the George Eastman Museum. It has been released on DVD as part of the Cecil B. DeMille Classics Collection.