“Pearl and Adelaide Abel possessed a father stern and not overfond of young men suitors. Abel was a bachelor, lived with his two daughters in a cabin close to Deadwood and went occasionally to the country store. One day, in company with the two girls, he made his monthly trip. The girls waited outside for him and there met John and Will. It was pretty nearly love at first sight and the courtship progressed nicely until old Abel emerged with his arms full of parcels. He showed them the butt of his gun and court- ship ceased. But the boys found opportunity to see the girls in spite of that, until old Abel found them one day, each with the girl of his choice closely wrapped in his arms. He threatened to shoot and the boys fled precipitately. Once again they saw the girls, and exchanged kisses and other things through an open window, because old Abel had securely fastened the door. There came a time when opportunity beckoned. The boys had a mother, a widow, and still youthful in heart. She called on old Abel. They found each other excellent company, until the girls in mock anger drove her from the house. She rushed into the forest, screaming for help on another occasion, and while Abel tried to rescue her, the young lovers saw each other. As time wore on, the old couple became more fond of each other, and then, one day, the two young couples found to their surprise that their troubles were over, for out on a bench beneath the trees Father and Mother were planning a future of their own.” - The Moving Picture World, Volume XII, April – June 1912, p. 960 Note: In the “Film Stories” section of the same issue the old father character’s name is Bob Langfall while the young men are named are Jim and Charley.
The NL Filmmuseum holds the only known print of this title.
Acting Styles in “Cupid Through Padlocks” - Vik Zhou, FAMSTW 151, September 2021 The early 1910s was a period of exploration of both film technology and styles. As the Flying A began its journey in the west, many actors were transitioning from performing on stage to facing the camera. Therefore, the acting styles were influenced heavily by classical acting with an emphasis on controlled body expressions. "Cupid Through Padlocks", produced in 1912, is an example of the intermingling acting style of both exaggeration and naturalism. In the one-reel western comedy, the widow, played by Louise Lester, a former stage actress, utilizes body movements extensively to drive the passionate nature of the character. In particular, the scene of her hugging the two young men excitedly and tilting them over the fence is an exaggerated action done purposefully. In this scene, her acting style conveys the joy of the character at the same time bringing a comedic quality to the film. Similarly, the old father figure played by George E. Periolat also embodies dramatic expressions. He exaggerates his facial expressions and aggressiveness in his motions to display the stubborn characteristic and establish the power dynamics between the characters. On the other hand, the younger characters seem to be presented through a more naturalistic style. The actors' body movements do not exaggerate as much while the movements of the characters are more romanticized than humourized to focus on the romantic nature of the story subject. The emphasis of different acting styles corresponding to the tones of narrative in "Cupid Through Padlocks" continues as a pattern of Flying A's later works and established the foundation of acting techniques on the modern screen.