Mary Pickford got her start in pictures in 1909 at the Biograph studio, where she worked for legendary director D.W. Griffith in dozens of short films, in all kinds of roles. When this comedy 'Wilful Peggy' was made in 1910, Pickford's name was still unknown to the general public. She was just another up-and-coming actress, not a star, and had not yet developed a familiar screen persona or settled on favorite themes for her vehicles. And yet, looking back with hindsight, we can find in this short some of the key ingredients that would contribute to Mary's phenomenal popularity, and become familiar motifs in her great feature-length vehicles.
Wilful Peggy is set in 18th century Ireland, and from the first scene it is plain that this was a place and time when social distinctions were of crucial importance. Henry Walthall is the Lord of the Manor, a middle-aged and unmarried aristocrat, perhaps a widower. He finds Peggy (Mary Pickford), a lower-class barmaid, asleep before the tavern where she works, awakens her gruffly and demands service. But instead of deferring to him she is angry and uncooperative, that is, until he doffs his hat and is polite to her. After that she's all smiles, and the Lord is plainly smitten with this attractive "rough diamond." Later, when a young man from the village tries to kiss Peggy, she gives him a brisk beating. The Lord witnesses this from a concealed place, and is thoroughly won over. He proposes marriage. Peggy's mother is delighted, but her daughter is startled and dismayed by this turn of events, in part because of the age difference between herself and her suitor, but more importantly because of their sharply dissimilar social status. Nonetheless she gives in, and they are wed.
Soon we find that "the peasant bride" must struggle to adjust to her new position in society. She's uncomfortable wearing finery, and when the Lord's servants bow to her she's embarrassed. Peggy's unhappiness reaches a peak at a posh garden party when she falls over while attempting to curtsy, provoking mean-spirited laughter from her husband's friends. She stomps out in a huff. At this point she's approached by the Lord's nephew, who fancies her. He proposes that she don male attire and accompany him to an inn for some carousing, and, "in the spirit of deviltry," she agrees to go. Once they're alone at the inn, he attacks her. Her husband, meanwhile, rides to the rescue, but arrives to find that Peggy can take care of herself; in fact, she has given his lecherous nephew a furious thrashing!
As the plot summary may suggest, Wilful Peggy is a light-hearted comedy, and yet in the course of its brief running time it touches upon some serious themes. From Peggy's point of view, acute discomfort with her new husband's exalted station in life is no laughing matter, nor is her humiliation at the garden party. The Lord is amused at her audacity and finds the trait attractive, but his attitude is somewhat patronizing, and we have to wonder how happy or healthy such a marriage could ever be. However, this short was created only to entertain, not to provoke any troubling thoughts about class distinctions. Mary is adorable, and it's easy to see why she quickly became an audience favorite. Like the Lord of the Manor, we admire her for her pluck, and for the fact that she does not kowtow to her social superiors. In the prime of her career Pickford would explore culture clash issues in several of her great feature films, such as Amarilly of Clothes-Line Alley, Stella Maris, and Little Lord Fauntleroy. This short comedy plays like an early, abbreviated edition of the material she would develop to perfection in later years. It also serves as a reminder of how succinctly and clearly director D. W. Griffith and his crew at Biograph could tell their stories, as they adeptly convey a great deal of information in a few quick shots. Wilful Peggy is miles ahead of most other films of its period, and still entertaining today.
Wilful Peggy is set in 18th century Ireland, and from the first scene it is plain that this was a place and time when social distinctions were of crucial importance. Henry Walthall is the Lord of the Manor, a middle-aged and unmarried aristocrat, perhaps a widower. He finds Peggy (Mary Pickford), a lower-class barmaid, asleep before the tavern where she works, awakens her gruffly and demands service. But instead of deferring to him she is angry and uncooperative, that is, until he doffs his hat and is polite to her. After that she's all smiles, and the Lord is plainly smitten with this attractive "rough diamond." Later, when a young man from the village tries to kiss Peggy, she gives him a brisk beating. The Lord witnesses this from a concealed place, and is thoroughly won over. He proposes marriage. Peggy's mother is delighted, but her daughter is startled and dismayed by this turn of events, in part because of the age difference between herself and her suitor, but more importantly because of their sharply dissimilar social status. Nonetheless she gives in, and they are wed.
Soon we find that "the peasant bride" must struggle to adjust to her new position in society. She's uncomfortable wearing finery, and when the Lord's servants bow to her she's embarrassed. Peggy's unhappiness reaches a peak at a posh garden party when she falls over while attempting to curtsy, provoking mean-spirited laughter from her husband's friends. She stomps out in a huff. At this point she's approached by the Lord's nephew, who fancies her. He proposes that she don male attire and accompany him to an inn for some carousing, and, "in the spirit of deviltry," she agrees to go. Once they're alone at the inn, he attacks her. Her husband, meanwhile, rides to the rescue, but arrives to find that Peggy can take care of herself; in fact, she has given his lecherous nephew a furious thrashing!
As the plot summary may suggest, Wilful Peggy is a light-hearted comedy, and yet in the course of its brief running time it touches upon some serious themes. From Peggy's point of view, acute discomfort with her new husband's exalted station in life is no laughing matter, nor is her humiliation at the garden party. The Lord is amused at her audacity and finds the trait attractive, but his attitude is somewhat patronizing, and we have to wonder how happy or healthy such a marriage could ever be. However, this short was created only to entertain, not to provoke any troubling thoughts about class distinctions. Mary is adorable, and it's easy to see why she quickly became an audience favorite. Like the Lord of the Manor, we admire her for her pluck, and for the fact that she does not kowtow to her social superiors. In the prime of her career Pickford would explore culture clash issues in several of her great feature films, such as Amarilly of Clothes-Line Alley, Stella Maris, and Little Lord Fauntleroy. This short comedy plays like an early, abbreviated edition of the material she would develop to perfection in later years. It also serves as a reminder of how succinctly and clearly director D. W. Griffith and his crew at Biograph could tell their stories, as they adeptly convey a great deal of information in a few quick shots. Wilful Peggy is miles ahead of most other films of its period, and still entertaining today.