Fifty-Fifty (1916) Fine Arts/Triangle. Directed by Allan Dwan. Scenario by Robert Shirley. Cast: Norma Talmadge, J.W. Johnston, Marie Chambers, Ruth Darling, H.S. Northrup, Frank Currier, Dodson Mitchell, W.P. Richmond. 5 reels. A copy of this is located at the George Eastman House film (28 mm., not projectable, and 35mm.). MOMA returned nitrate reels 2-4 to the Finnish Film Archive as too damaged for preservation.

Review from Variety, October 20, 1916, p. 26

"Fifty-Fifty" by the Fine Arts (Triangle) might be said to be a screen throw-back of that class of court-room drama that hit Broadway early this season. The story by Robert Shirley is brightened by the clever work of Norma Talmadge ably seconded by Marie Chambers and J.W. Johnston. It begins at an affair given by Louise O'Malley (Ruth Darling) to her Bohemian artist friends, among whom is Naomi (Miss Talmadge), known as the "Nut," and Helen Carew (Miss Chambers), who is a woman with a past. To the party comes Frederic Harmon (Mr. Johnston), a broker who is seeking diversion. He falls desperately in love with Naomi, who, regardless of her surroundings, is unsophisticated, and the couple are married. The day when the baby arrives the emotions of the expectant father are rather minutely gone into. Naomi becomes completely wrapped up in her child which leads Harmon to feel neglected and he strays again into Bohemian life, incidentally falling for the vampire, Helen Carew. The time comes when the latter demands her "rights," and when Naomi is unwilling to divorce Harmon, she is "framed" and that evidence produced at the divorce trial. Naomi becomes resigned to losing her husband but when he asks for the child, she testifies on the stand that he is not the father. The judge (Frank Currier) suspects there is a conspiracy and succeeds in bringing Naomi and her husband together in his chambers. Harmon begging forgiveness when he discovers that Helen has been responsible for sending one man to jail and finding that man in her rooms. Mr. Shirley's story presents a rather different angle to the domestic "triangle" but it is hard to believe that a young father will desert a beautiful wife and baby for the bright lights on so flimsy a pretext. The situation of a mother declaring on the witness stand that her child is illegitimate so that it may not be taken away from her by legal process has been developed in the spoken drama and it is interesting to note that it is not nearly so effective in pictures. The direction by Allan Dawn [i.e. Dwan] is good and the photography is effective. All in all "Fifty-Fifty" measures up to the Triangle standard, though a more descriptive title might have been selected.

Norma Talmadge in "Fifty-Fifty." Fine Arts. A Triangle Play with Norma Talmadge as the star is sure to be a success, and this latest picture is no exception. Based on the "sauce for the goose is sauce for the gander" idea and the necessity for compromise in a happy marriage, this play is not a preachment. It moves along swiftly with a rapid-fire, deeply engrossing action that will appeal to every person who is married--or ever intends to be.

Review from the New York Dramatic Mirror, October 28, 1916

FIFTY-FIFTY

A Five-Part Original Drama by Robert Shirley Featuring Norma Talmadge. Produced by Fine Arts Under the Direction of Allan Dwan for Release by Triangle.

A simple domestic tragedy, dramatic, intense, and superbly enacted warrants "Fifty-Fifty" being characterized as one of the best offerings of the month. Interpolated between the pathos are numerous light touches of human interest, most of which are supplied by the fascinating baby. Norma Talmadge is the loving mother and her portrayal is one of the best that we have seen in some time. Appealing, sympathetic and at times even flighty, her work is most convincing. J.W. Johnston's characterization of the lonely husband is forceful and full of suppressed strength. The remainder of the cast appears to have been selected with great care, as the players fit and act their roles perfectly. Marie Chambers is a splendid type of an intellectual vampire.

The story progresses with an even tempo and dramatic situations follow in rapid succession. A girl living in the atmosphere of "Little Bohemia" marries a wealthy business man, but when their child is born she almost forgets him. Too late she finds that he is enamored of another woman, but a kindly judge prevents a divorce and brings about a reconciliation.

The picture shows the usual masterful direction of Allan Dwan and its staging and photography are up to the Triangle standard.

The picture is one that will appeal to all high-class audiences, and exhibitors should have little trouble in packing their houses on its merits

Review from Moving Picture World, October 28, 1916

Triangle Film Corp.

FIFTY-FIFTY. (Fine Arts-Five Parts--Oct. 22). The cast: Naomi (Norma Talmadge); Frederic Harmon (J.W. Johnston); Helen Carew (Marie Chambers); Louise O'Mally (Ruth Darling); The Man from Sing Sing (H. S. Northrup); The Judge (Frank Currier); The Detective (Dodson Mitchell); The Man About Town (W.P. Richmond). Directed by Allan Dwan.

Naomi, a girl of the studios in New York's artist quarter, is possessed of a superabundance of vitality and a desire for continuous frolic and adventure. One night, at a gay party, one of the men is deceived by Naomi's effervescent spirits into thinking that she is a much more unconventional girl than she herself has any idea of being. He is told by his companions that Naomi is not the sort of girl he thinks her to be, but insists that he can prove that she is, and even makes a wager to that effect. Naomi, really quite unsophisticated, is tricked by the man into accompanying him into a hotel of questionable repute, where the two, innocent of any wrong doing, are captured in a police raid, and Naomi has an unpleasant experience in the night court. Friends come to her aid and she is released.

Not long after this, Frederic Harmon, a broker, comes into the girl's life. The two fall in love and are married. The birth of a baby completes the transformation of the girl's character and she cares only for her home, her husband and her child. The husband, however, does not settle down to home life. He is still much inclined to the gayeties of the set in which he had become acquainted with Naomi, and when she refuses to take further part in the revels of the Bohemian crowd, he fares forth by himself. It is not long before he meets with Helen Carew, a woman with a past and without a conscience, who fascinates him partly for her amusement and partly for mercenary reasons.

Eventually Harmon's infatuation for the other woman becomes known to Naomi. She is heartbroken, particularly when Harmon goes so far as to ask her to divorce him in order that he may marry Helen. This she refuses to do. Helen, anxious to get the man entirely into her clutches, enters into a plot with a crooked detective whereby Naomi is to be caught in a compromising situation, thus giving her husband grounds for divorce from her. The detective picks up a convict just out of Sing Sing and by means of a decoy message Naomi is induced to go to a hotel room when the man from Sing Sing is waiting for her. One the two are in the room together it is raided by newspaper reporters and a photographer and a flashlight of Naomi in the arms of the convict is obtained.

The husband brings suit for divorce, offering as evidence the stories of the witnesses at the raid and the flashlight photograph. He also asks custody of the child. Naomi startles the judge and spectators when she declares that she should be allowed to keep the child, because Harmon is not its father. The judge, however, suspects that Naomi is sacrificing her reputation in order to keep her baby, and, calling the girl into his private office, he gets the truth from her.

Meantime there has been an unexpected development in the affairs of Helen. The man from Sing Sing had been her lover before he went to prison, and she is unpleasantly surprised when the detective's use of him brings him again into her life. The ex-convict is in Helen's rooms, trying to renew their old association when Harmon comes to see her. Helen hastily hides the jail-bird, but while she is talking to Harmon the convict comes out and tells Harmon of the woman's past and his connection with it.

Horrified at the revelation of Helen's true character, Harmon goes out of her life at once and forever, but in the course of time succeeds in winning his way back into his home.

Last revised, August 17, 2005