I’m more than a little bit awed right now by just how good this movie is. I was expecting a heavy-handed morality lesson couched as melodrama, and instead got an artful, thought-provoking, emotional rollercoaster ride, filled with delightful visual effects.
I must suggest that you leave your politics at the door when you watch this film, which touches on a number of subjects that are as controversial in 2023 as they were in 1916. If you can’t do that, then odds are you will be angered by some aspect of this film, which deals with abortion, eugenics, and birth control in a very unflinching manner.
Abortion is an issue on which the two sides simply cannot agree, and any discussion or depiction of the topic often leads directly to rage. It’s also a subject that, at least in art and media, tends to be only shown from one point of view, so it was incredibly interesting, and refreshing, to me to see the subject analyzed from multiple sides in this film. Again, if you can’t divorce yourself from your own politics, your mileage may vary, but I have no issue doing that. I don’t care at all if a film offers an opinion completely opposite to my own, as long as it does it in an interesting, entertaining, or artful way, so please don’t take my admiration of this film as an endorsement of any of its points of view.
The film concludes with the most haunting final scene to any movie I’ve watched so far for this podcast, and honestly, among the most devastating closing scenes of any film I’ve ever seen. I’ll give a spoiler warning for those listening who want to watch this without knowing what’s coming, but as usual I’m going to narrate a blow-by-blow description of the film. Remember— this podcast exists so I can remember what I watch. I’m glad my readership is along for the ride, but I’m not going to stray from my mission and omit spoilers. Listen at your own risk. Better yet, watch the film on YouTube, which is where I watched it, before you continue reading or listening. The video is linked below, with spoilers to follow.
What did you think? Didn’t that ending tear your heart out? It did mine!
The film starts with a trial, where Richard Walton, a district attorney, played by Tyrone Power Sr., is prosecuting Dr. Homer, who had been spreading literature concerning birth control. Dr. Homer makes his case for legalizing contraception by recounting three events he has witnessed, each shown in a brief flashback: an alcoholic parent abusing his children; a family too poor to provide medical care for their sick children; and a single mother who committed suicide, taking her infant with her.
When we see Richard at home later, we learn that he has no children, a situation that deeply saddens him. His wife, played by Tyrone Powers real life wife, on the other hand, seems content with her pet dogs, and spends her days socializing with other married, but childless, women. They are childless by choice, we find out, as Mrs. Walton knows of a doctor, with the fitting name of Dr. Malfit, who performs clandestine abortions, and sends her friends to them as needed.
Throughout the film, when a woman realizes she is pregnant, we see her sitting as a little cherub appears by her shoulder, interacting with her. It’s a very adorable, effective way to share such information. We also see, a few times throughout the film, these cherubs flying in and out of the gate of heaven, their path and destination varying depending upon their fate. It’s all quite clever and alternately amusing and gripping.
Mrs. Walton’s brother comes to visit, and immediately reveals himself to be a cad. He tries to seduce the maid, but she rebukes him. Not long after, he meets a girl who lives next door. She’s not as worldly as the maid, and falls prey to his seduction. When she becomes pregnant, he casts her aside, leaving her sad and desperate. Mrs. Walton finds out and sends her off to see Dr. Malfit. Complications arise, and she dies after the abortion.
This thrusts Dr. Malfit into the spotlight, and he ends up on trial, prosecuted by Walton. He’s sent to jail, but before he is taken away he gives Walton his appointment book, and tells him he should focus more on his own household and less on other people’s affairs. Sure enough, as he goes through the book he sees not only the names of many of his wife’s friends, but learns that his own wife had three abortions. Devastated, he returns home to confront her.
As these events were transpiring, we’d learned that Mrs. Walton had experienced a change of heart. Seeing her husband playing with her sister’s children, as well as various kids in the neighborhood, she realized how important being a father was to him, and had decided to have children after all. She lets him know this, but it’s too late. The repeated abortions have left her unable to have children. The film closes with the haunting scene I alluded to earlier. The Waltons are sitting morosely by the fireplace as the ghostly figures of what would have been their three children play on the floor. Future movie star Tyrone Power Jr. makes his uncredited film debut as the baby in this scene. The scene shifts as the couple are now quite old, still seated by the fire, as what would have been their now-adult children come into view. My own views on abortion aside, those images are intense, and give an already well-made, and emotional, film an incredibly powerful ending.
Next I’m watching The Innocence of Ruth [1916], directed by John H. Collins.
Where Are My Children? (Jan. 16, 1916)