The Dancer's Peril (1917) [NR]

Featuring:
Alice Brady, Philip Hahn, Harry Benham

Written by:
Harriet Morris

Directed by:
Travers Vale


Release Date:
March 12, 1917

Original Title:
The Dancer's Peril

Genres:
Romance

Production Companies:
World Film

Production Countries:
United States of America

Ratings / Certifications:
US: NR 

Runtime: 50

The Grand Duke Alexis has been happy with his wife, Lola, formerly the queen of the St. Petersburg ballet, and their baby daughter, Vasta. But the lowering cloud that has always hung over them through the refusal of the Russian Court to recognize their marriage breaks when the Duke learns there is an intrigue against his wife's life.

The Grand Duke Alexis has been happy with his wife, Lola, formerly the queen of the St. Petersburg ballet, and their baby daughter, Vasta. But the lowering cloud that has always hung over them through the refusal of the Russian Court to recognize their marriage breaks when the Duke learns there is an intrigue against his wife's life. She makes her escape at midnight and, powerless to do anything, Alexis is forced to see his wife pass out of his life. The baby is given to Marta Antonovitch, in charge of the girls at the Imperial Ballet School. Years later Vasta is the most apt pupil at the school. Her father comes to see her often and is deeply affected by her resemblance to her mother. The relationship is kept secret, but when he is ordered to the south for his health he gives last instructions that she be well cared for. Michael Pavloff, the impresario for the Russian Ballet, who has discovered the duke's secret, goes to the school to choose the dancers to be sent by the government to Paris. He takes a liking to Vasta, but Marta refuses to allow the girl to go when he chooses her for deportation. The girl frets over the refusal, disguises herself as a boy and changes places with a youth who had not wanted to go. In Paris Lola, despite the sorrow of the changing years, holds sway over men's hearts. Pavloff is an ardent admirer of hers, but lately he has been thinking more of Vasta. Richard Moraino, a young artist commissioned to paint the portraits of the Russian Ballet, is attracted by Vasta. Their courtship progresses and one afternoon while they are having tea together, Lola and Pavloff are seated at the next table. Both women feel an interest in the other and Lola is startled when Pavloff tells her he has discovered she is the daughter of the Grand Duke Alexis and that he intends to get her for his own. One night during the performance the electrician is killed and the stage darkened. When the lights are turned on again they discover Vasta has disappeared. Pavloff has taken the girl and locks her in his apartment. To divert suspicion he gives a dinner party. During the revelry Lola, who is a member of the party hears a half-smothered cry and, guided by it cornea to the locked door behind which Vasta is concealed. She stays until the last guest has departed and then appeals to the liquor-dazed Pavloff, She secures the key to the room and hurries back, cautioning Vasta to make haste, but Pavloff comes upon them and seizes Vasta in his arms. Lola then shoots him. Then Lola reveals her identity. Alexis, who is passing through Paris, stops to see Pavloff. He discovers Lola and the dead man and accuses her of having been his mistress, but when Vasta comes forward and tells all, Alexis begs her forgiveness. He says he will take the responsibility of the killing knowing he will be vindicated when he says it was to save the honor of his wife. Richard and Vasta are once more brought together and Alexis asks his wife if she is willing to brave the Russian Court with him after all these years. Her happy smile is sufficient answer.

Additional information:

The Search Form


Rankings and Honors

The Dancer's Peril (1917) on IMDb
Internet Movie Database 7.7/10

Director:
Travers Vale

Director of Photography:
Max Schneider

Story:
Harriet Morris

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.