The Secret Man (1917)

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    Plot Summary
    Cheyenne Harry (Carey) escapes from prison and while escaping
    comes upon the body of a young girl (Janes) that was thrown by a runaway horse.
    He picks her up and is proceeding on his way when his horse is frightened
    and bolts down a steep hillside. Harry, realizing the danger the girl is in,
    gives himself up so that she can receive care.
    Her mother Molly (Sterling) has secretly married Harry Beaufort (Foster)
    and it is her mother's brother who arrests Harry.
    The mother has been told that her little girl is dead and she loses her reason.
    At a church bazaar the girl is to be auctioned off to the highest bidder.
    Mother and daughter recognize each other and the mother's mind is restored.
    Through the assistance of Harry, the mother and her husband are reunited.
    The sheriff is happy to find that the girl Annabelle
    is his niece and in appreciation of Harry's kindness allows him to go free.

    Harry Carey ... Cheyenne Harry
    Edythe Sterling ... Molly - the Sheriff's Sister (as Edith Sterling)
    J. Morris Foster ... Henry Beaufort (as Morris Foster)
    Elizabeth Janes ... Elizabeth - Henry's Child
    Vester Pegg ... Bill - Molly's Brother
    William Steele ... The Foreman (as Bill Gettinger)
    Steve Clemente ... Pedro (as Steve Clement)
    Hoot Gibson ... Chuck Fadden

    John Ford ... (as Jack Ford)

    Writing Credits
    John Ford ... (scenario) (as Jack Ford)
    George Hively ... (story)

    Ben F. Reynolds

    Two reels from this film are housed at the Library of Congress, Washington D.C.

    Best Wishes
    London- England

    Edited 13 times, last by ethanedwards ().

  • The Secret Man is a 1917 American silent Western film, directed by John Ford
    and featuring Harry Carey.

    Two of the five reels of the film survive at the Library of Congress film archive.

    User Review

    36 Stars
    17 June 2004 | by Single-Black-Male (London, England)

    John Ford seems to have a habit of getting the best out of his actors,

    particularly Harry Carey and John Wayne. With Harry Carey, he used him consistently as the character Cheyenne Henry in films like this one. Everything else that Carey appeared in that was directed by someone else was mediocre. Because there was no dialogue at this stage in film-making, John Ford learned the technique of using the camera as a character to probe the story and get beneath a character. He had something to say at the American west between 1857 and 1876 when the Union only had 36 stars,
    and he uses his camera almost like Hitchcock does to give insights into character.