This is a very impressive, pro-feminist film. The "woman" of the title is Judith (Florence Vidor), the only member of her family who has the courage to stand up to her domineering, narrow-minded zealot of a father (Theodore Roberts). Judith is accustomed to being held accountable for every evil that has ever existed in the world, since she was born - gasp! - female. Her brother David (Lloyd Hughes) doesn't have it much better; he isn't viewed as the embodiment of sin, but their father has taken it for granted that David will do whatever he is told.
When it is revealed that David secretly married Nan (Madge Bellamy), a local woman, and that Nan is now pregnant, their father Oliver buys off Nan's father (Tully Marshall) with a check for a thousand dollars. Rather than face the entire town while she is pregnant - and the marriage certificate now destroyed - Nan leaves for the big city.
Judith is also accused of wrongdoing, having been seen associating with a poet, of all things, and smoking a cigarette. She, too, leaves for the city; not out of shame, but because she simply can't stand living with her father any longer, and who can blame her?
There is a marvelously touching scene between Judith and Nan, whom she finds in the city one Christmas. I'm not a fan of Madge Bellamy, who was extremely bland, but she really gives a fine performance here. The scene is also photographed beautifully, and is very emotional.
Eventually, of course, Judith returns home, and Oliver is given a taste of his own medicine. 1921, folks.
When it is revealed that David secretly married Nan (Madge Bellamy), a local woman, and that Nan is now pregnant, their father Oliver buys off Nan's father (Tully Marshall) with a check for a thousand dollars. Rather than face the entire town while she is pregnant - and the marriage certificate now destroyed - Nan leaves for the big city.
Judith is also accused of wrongdoing, having been seen associating with a poet, of all things, and smoking a cigarette. She, too, leaves for the city; not out of shame, but because she simply can't stand living with her father any longer, and who can blame her?
There is a marvelously touching scene between Judith and Nan, whom she finds in the city one Christmas. I'm not a fan of Madge Bellamy, who was extremely bland, but she really gives a fine performance here. The scene is also photographed beautifully, and is very emotional.
Eventually, of course, Judith returns home, and Oliver is given a taste of his own medicine. 1921, folks.
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