Happiness of Three Women (1917) User Reviews

Myrtle Stedman displays great physical charm and fine acting ability

[deickemeyer · 17 November 2014]

There are three heroes, as well as a trio of heroines, in the Oliver Morosco photoplay, "The Happiness of Three Women." The theme, for this reason, is unique, and Albert Payson Terhune, the author, has dovetailed the different interests together very deftly. In fact, the twists and turns of plot recall the workings of a French farce, and admiration for the neatness with which the dramatist gets his three sets of loving hearts in and out of trouble occasionally outweighs the human interest in the play. "The Happiness of Three Women" is not easy to classify. It starts off, apparently, as a comedy, an innocent enough motor ride taken by a married woman and a former sweetheart being the first complication. A note of real drama gets into it, however, when the husband of one of the other heroines is accused of robbing a bank, and the auto riders, who can prove an alibi for him, dare not speak for fear of compromising themselves. The result, which is never very much in doubt, admits of a number of clever complications before it is worked out to the satisfaction of all concerned and the three sets of loving hearts once more beat in happy unison. The success of the Terhune screen play depends largely upon the manner in which it is acted. This important point has been given due consideration by the producer. The air of good breeding and moral worth imparted to the characters played by House Peters, Myrtle Stedman, L.W. Steers and Daisy Robinson lend the right tone to the story, and Wm. Hutchinson and Lucille Ward as Judas, and Mary Fletcher are excellent as an amusing but highly respectable married couple. To refer again to the two featured players, Myrtle Stedman displays great physical charm and fine acting ability as Constance Barr, and House Peters as Billy Craig is the embodiment of a clean- limbed, quick-brained, well-bred American. Milton Brown leaves a good impression by his work as Monck. The production is in keeping with the demands for generous and expert settings for the scenes. – The Moving Picture World, January 27, 1917