WorldCat Identities

Irving, Mary Jane 1914-

Works: 5 works in 8 publications in 1 language and 62 library holdings
Genres: Drama  Silent films  Short films  Melodramas (Motion pictures)  Western films  History  B films  Social problem films  Anthology films  Nonfiction films 
Roles: Actor, Author
Publication Timeline
Most widely held works by Mary Jane Irving
Treasures III : social issues in American film, 1900-1934( Visual )

4 editions published in 2007 in English and held by 59 WorldCat member libraries worldwide

The third program in a series of 48 movies that helped change America. During the first decades of the 20th century no issue was too controversial for movies ... from prohibition to abortion, unions, atheism, the vote for women, worker safety, juvenile justice, homelessness and immigration, these films became the catalyst for social change
The square deal man( Visual )

1 edition published in 2004 in English and held by 2 WorldCat member libraries worldwide

Gambler Jack Diamond wins the deed to a ranch in a poker game during which the original owner is shot. Diamond finds himself blamed for the killing. He puts the ranch in order, hands it over to the dead man's daughter, and clears himself of the murder charge
Mary Jane Irving papers by Mary Jane Irving( )

in English and held by 1 WorldCat member library worldwide

The Mary Jane Irving Papers contain photographs, including stills from some of Irving's motion pictures, portraits, and a number of candid shots. There are snapshots from Tahiti, where Irving was shooting "Lost and Found" in 1922. There is also publicity material, including a scrapbook of press clippings. Also included are letters from friends and fans (1919-1932) and letters from Robert Carson to Mary Jane Irving Carson (1930s-1940s)
Unidentified Atkinson No39: Drama( Visual )

1 edition published in 1922 and held by 0 WorldCat member libraries worldwide

The godless girl by Cecil B DeMille( Visual )

1 edition published in 1972 in English and held by 0 WorldCat member libraries worldwide

"Judith Craig, the daughter of an atheist, forms a club called the Godless Society in her high school and begins to recruit members. Bob Hathaway, a stalwart Christian lad, incites the students to attack the atheists, and there is a riot. Grace is killed as a direct consequence of this disturbance, and Bob and Judith are sent to the state reformatory. Bob and Judith are badly treated by the head guard, and Bob, attacking the grocery man, escapes with Judith in his wagon. They are quickly recaptured and locked in cells. A fire breaks out, and Bob rescues both Judith and the head guard. As a result of this selfless bravery, Bob and Judith are returned to freedom, facing life with a renewed faith in Divine Providence"--AFI catalog, 1921-1930. "Cecil B. DeMille's The godless girl is too sprawling an epic to rest with one social issue. It takes on atheism in high schools and then juvenile reformatories before bringing it all down in one of the most convincing conflagrations ever filmed. Those who know DeMille only from his sound-era historical movies are often shocked by the verve and dynamism of his silents. For The godless girl, the last of his more than 50 feature-length silent films, he pulled out all the stops, including a prowling camera and crisp editing in the service of an engagingly strange story line. Working at his own independent studio, he shot a remarkable 408,000 feet of negative for the 10,600-foot finished film. DeMille's biggest silent-era commercial disaster (costing $722,000 and taking in only $489,000 at the box office) holds up today as one of his most immediately compelling films. Following the release of his life-of-Jesus King of kings in April, 1927, DeMille had found one inspiration for a new film, whose working title becamse The atheist, in a local news item. The Los Angeles times front page of June 10, 1927, reported, 'Leaflets inviting students to a meeting of the Junior Atheist League this afternoon were found scattered about the grounds of Hollywood High School. ... These state that the purpose is to "combat the disgusting and evil influences of religion in public schools."' The next day's article ('Atheist move ends in fiasco') reported on the meeting, held 'in a dingy office in Spring Street.' A group of religious high school students confronted the Junior Atheist League leader, a 'girl lecturer, who owns, edited, and publishes an atheistic magazine, ' demanding that she quit trying to 'shake the faith of a Christ-loving school.' DeMille and his regular scenarist, Jeanie MacPherson drew closely on all of this for The godless girl's opening and then heightened the 'fiasco' of the confrontation, set now in 'a shabby hall, on a squalid street ... where little rebels blow spit-balls at the Rock of Ages.' It's worth remembering that the institution of the high school, as a routine adolescent rite of passage for Americans, was new. Before the twentieth century, high schools were attended only by those preparing for college or professional schools. The 1920s was the first decade in which high school was a relatively common experience. (Enrollment had nearly tripled in the 15 years before this film, but still only about half of high-school-age adolescents attended.) The twenties was also the decade when high schools began sponsoring the extracurricular social clubs common today. Then as now, there was worry over exposure of teenagers to dangerous ideas outside the home. Parents are completely missing from The godless girl (it's an early 'teen flick) and no one seeing it at its release in August, 1928, would have forgotten the most publicized trial of the decade three summers earlier, which had also grown from a battle about the place of religion in high schools. Biology teacher John Scopes had been charged with violating a new Tennessee law making it a crime 'to teach any theory that denies ... the Divine Creation of man as taught in the Bible.' Clarence Darrow's defense and Willing Jennings Bryan's prosecution highlighted this first court case to be broadcast on national radio. (To most listeners, Darrow clearly bested the aging Bryan, but the Tennessee jury took just eight minutes to convict Scopes.) The case was widely labeled 'the Monkey Trial' (first by journalist H.L. Mencken) in reference to the Darwinian evolutionary theory at its center, and hence the wonderfully staged scene in The godless girl in which the newest inductee among the high-school atheists (Eddie Quillan, star of Mack Sennett comedy shorts) swears uncertain allegiance on the head of a restless monkey. One would expect DeMille to be harshly critical of the atheists, and certainly that was the expectation of an organization known as the Four A's, the American Association for the Advancement of Atheism, whose president wrote him before production that 'your proposed film ... would inevitably lead multitudes, especially the young, to associate irreligion with immorality.' But DeMille had a point when he wrote back that 'the subject of my next picture will be high schools and reform schools, ' and that it 'is in no way to be considered an attack upon atheism.' The opening of the film is indeed less interested in damning atheists than in attacking religious extremism generally, as embodied in both 'godless girl' Judy (Lisa Basquette, who described her character as 'the Joan of Arc of atheism') and her antagonist, student-body president 'Bob, son of Gospel' (George Duryea, in his first lead role and credited under his real name; he took the names 'Tom Keene' and 'Richard Powers' for hsi long career in low-budget sound films). After the DeMille-size melee at the young atheists meeting ends in an accidental death, our three high schoolers are sentenced to a juvenile reformatory, where boys and girls are separated by an electric fence. The grim prison complex looks like a real location but was created by master designer Mitchell Leisen on the back lot of DeMille's Culver City studio. The penal conditions draw from facts authenticated by DeMille's researchers, who spent six months in 1927 collecting data and interviews. (Electrified fences were found at juvenile reformatories in Nebraska, and bloodhounds still tracked juvenile escapees in four states.) If 'the incidents of this story are true, ' as the opening of part 2 asserts, they are staged with an outrageous relish that carries over to such settings as 'the girls' meat house.' The electrified fence, through which Judy and Bob briefly touch, brings results too outlandish to spoil here! Sympathetic journalists compared the reformatory sequences to Dickens and to the exposés of Sing Sing warden Thomas Mott Osborne, but Photoplay's review came closer to the mark: 'If it sticks a knife into existing abuses, that's just an extra.' Most reviewers were uneasy about the 'brutality' depicted, and exploited. The Los Angeles times found it 'far from a pleasant picture, but it is a stirring one.' It also reported that committed unbelievers had obtained tickets to the premiere and 'insisted on applauding whenever anything favoring atheism was shown.' With a certain cruelty the Times also commented, 'Incidentally, we might pause to wonder how many years it has been since Miss Basquette finished high school.' Lina Basquette was familiar as a child film star and ballerina but was still just 20 when The godless girl was shot, from January through March, 1928, and she was also a recent widow. Her 40-year-old husband, Sam Warner, had died suddenly on October 5, 1927, the day before the premiere of The jazz singer, whose experiment with synchronized sound he had backed more enthusiastically than had the other Warner brothers. By 1928, silent filmmaking was nearing its end in Hollywood, and DeMille's decision to shoot The godless girl silent was no doubt one factor in its box-office performance. For a 1929 rerelease, DeMille allowed another director to quickly shoot and cut in two sound sequences, which Variety found 'palpably unnecessary' and the New York times declared to 'serve no appreciable purpose.' Although not a hit in the United States, The godless girl found curious success abroad. From Austria, Lina Basquette got a note from a film fan whose name didn't mean anything to her until he later invited her to Germany: Adolf Hitler. On his 1931 visit to the Soviet Union, DeMille was surprised to find The godless girl his most popular film, because after a little reediting and retitling in Russian, it had become an indictment of the way young atheists could expect to be treated by the brutal American system"--Treasures III brochure notes by Scott Simmon
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Audience level: 0.37 (from 0.36 for Treasures ... to 1.00 for Unidentifi ...)

Alternative Names
Irving, Mary Jane, b. 1914

Mary Jane Irving actrice américaine

Mary Jane Irving actriz estadounidense

Mary Jane Irving actriz estauxunidense (1913–1983)

Mary Jane Irving Amerikaans actrice (1913-1983)

Mary Jane Irving amerikansk skådespelare

Mary Jane Irving amerikansk skodespelar

Mary Jane Irving amerikansk skuespiller

Mary Jane Irving US-amerikanische Schauspielerin

Мэри Джейн Ирвинг

ماري جين إرفينغ ممثلة من الولايات المتحدة الأمريكية

ماری جین ایروینگ بازیگر آمریکایی