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The World and the Woman (1916)

THE WORLD AND THE WOMAN is historically important as the screen debut of legendary actress Jeanne Eagels. The role of a prostitute turned faith healer is suitably challenging for the star. ... See full summary »


Martin G. Cohn (titles), Philip Lonergan | 2 more credits »


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Based on the classic Wilkie Collins novel The Woman In White.

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Cast overview:
Jeanne Eagels ... A Woman of the Streets
Boyd Marshall Boyd Marshall ... The Man
Thomas A. Curran Thomas A. Curran ... James Palmer
Grace DeCarlton Grace DeCarlton ... Mrs. Jim Rollins
Wayne Arey Wayne Arey ... Jim Rollins
Carey L. Hastings ... Anna Graham
Ethelmary Oakland Ethelmary Oakland ... Sunny


THE WORLD AND THE WOMAN is historically important as the screen debut of legendary actress Jeanne Eagels. The role of a prostitute turned faith healer is suitably challenging for the star. Edwin Thanhouser began phasing down production at the studio in early 1917, so this is a very late Thanhouser film. THE WORLD AND THE WOMAN demonstrates many important advances of the previous few years such as feature length, editing techniques (for instance, watch here for camera-position changes in the middle of action), and more complex, expressive, and thoughtful story development. Part of the story is based on one of Eagels' stage successes, THE OUTCAST. Locations, a strength of Thanhouser pictures, included Manhattan and the Adirondack mountains in addition to studio interiors. THE WORLD AND THE WOMAN was released as a "Pathé Gold Rooster Play," in accordance with Thanhouser's releasing contract with the Pathé Exchange.

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Plot Keywords:

faith healing | prostitution | See All (2) »


A woman stumbling blindly towards the pit! See more »









Release Date:

19 November 1916 (USA) See more »

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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User Reviews

27 June 2005 | by CineanalystSee all my reviews

In "The World and the Woman", Jeanne Eagels plays a prostitute (which is only implied by her walking the streets and, at one point, being harassed by a policeman). Later in the film, Eagels's walk ends with her regeneration. She walks the path to church and to God. She becomes a faith healer, while the drama is in whether her past will catch up with her.

Eagles looks very different when she's high on faith rather than when she's downtrodden. The rest of the acting and direction of it is unimpressive. The positioning of actors for the camera results in awkward, ponderous close-ups. The posturing of the actors, rather than theatrical, was an attempt to appear reverent. This was how religious characters were usually portrayed then, and it's offsetting in its awkwardness and artificiality. The movie is most noticeably theatrical in its missing walls, which was also typical.

Furthermore, there are too many intertitles. Some of the title cards--with the Broadway, city picture backgrounds--seem like they were put in for a later re-release of the film; although, 1916 was around the time when filmmakers began to jazz up the titles. The yappy, all-seeing, all-knowing narrator's running commentary fills many of the titles. That "The World and the Woman" is a religious film promoting the healing power of faith is OK, I guess, but it seems to teeter on outright prejudice against the handicapped. The characters, besides the one representing Satan, want to become "worthwhile"; the film fails to be.

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