Summary
An orphan’s telegram lands like a guillotine in two stately Boston parlors: Sylvia Lacey, penniless progeny of a watercolor dreamer who died penniless, is arriving tomorrow. Her aunt and her judicial uncle—former lovers now sparring in the dusk of middle age—pass the buck like a hot coal until the formidable Miss Martha finally boards the train while the Judge dispatches his earnest partner, John Dunham, as surrogate. In the hush of a hotel salon, Martha’s acid candor—‘charity is a millstone’—spills out just as Sylvia, already present, overhears. Pride flares; the girl rejects the clan, but Dunham secretly slips her the Judge’s own cash, an act that will ricochet through every shuttered heart in the story. Exiled to the pine-scented coast of Maine, Sylvia meets ‘Thinkright’—a white-maned cousin who once loved her dead mother—guardian of the spectral Tide Mill whose blind windows gape like grief itself. She vows that only love will pry those planks apart. On nearby Hawk Island, golden heiress Edna Derwent glimmers with yacht-club ease, stirring the orphan’s envy until Thinkright’s Socratic jabs reroute her compass. A winter in Boston under Edna’s patronage hones Sylvia’s gift for pigment and perspective; spring’s return finds the mill blazing with light, its upper floor transformed into a cathedral of easels and northern windows. Dunham reappears, deed in hand: the shutters have opened; the bride is chosen.
Synopsis
When the story opens Sylvia Lacey has been left an orphan. Her shiftless father, Sam Lacey, of artistic, but weak nature, left her without money. Her mother had died ten years before. The girl writes to her only remaining relatives, an aunt, Miss Martha Lacey, and her mother's brother. In his youth the Judge, Calvin Trent, wanted to marry Miss Martha, but they quarreled. When Sylvia's letter arrives, announcing that she will be in Boston the next day, both uncle and aunt are nonplussed. Neither wants the responsibility. Miss Martha finally decides to go and the Judge sends his young partner, John Dunham, in his place. Miss Martha waits with the young lawyer in the hotel parlor. Plainly she speaks her mind to John about the inconveniences of the girl's coming. Sylvia is already in the room and hears. She promptly refuses any aid from either relatives. Miss Martha is sorry, but it is too late. Dunham, however, goes back to the girl and forces her to accept a loan (of judge's money.) Back in the village, Miss Martha and the Judge both remember a cousin of the Judge's who manages the Judge's main farm. "Thinkright" is sent for and his white hair and kindly eyes soon win the girl to visit him. "Thinkright" once loved Sylvia's mother and is naturally drawn toward the girl. As she and "Thinkright" reach the Mill Farm near Portland, she sees the deserted old Tide Mill with all its shutters closed. Imaginative, she says then and always after, that the old mill is sorrowing and only love can open the shutters. Edna Derwent, a rich Boston girl, who owns a cottage on a nearby island, is a friend and disciple of "Thinkright's." He has taught her to be patient with the false social life which means so much to her mother. Each summer she comes to Hawk Island with Miss Lacey as chaperon. Sylvia becomes jealous of Edna and all her beauty, charm and wealth. "Thinkright" stops this trend of thought in the girl and after several severe tussles, turns her thoughts into the right road. She struggles bravely. Her uncle, penitent, arrives and promptly falls in love with this niece he has never seen before. She forgives him. The next day Miss Lacey arrives at Hawk Island with Edna. This forgiveness is harder, but Sylvia, strong in her new right thinking, manages it. She is invited to the Derwent cottage for a visit. John Dunham, an old friend of Edna's, comes for a visit and his fancy is quickly taken with the imaginative Sylvia whom he rescued in Boston the month before. Sylvia has a strong talent for painting. She has done some things with pencil, but longs for paint. She has no money and is too proud to ask any of her relatives. In her heart she adores John Dunham, but has held herself coldly toward him because she thought that he and Edna were engaged. Suddenly she discovers that he loves her. In her embarrassment she drops her book of sketches and "Thinkright'' finds pieces of brown paper covered with drawings, all showing much power and talent. Edna leagues Judge Trent in a plan, and Sylvia learns that she is to have lessons in painting. The winter passes. Sylvia is making rapid strides in her profession under Edna's special wing in Boston. Summer comes and she goes to the Mill Farm again for a visit. Walking alone on the edge of the basin, she sees the shutters of the Tide Mill have opened and the windows are gleaming brightly. Just then John Dunham appears and asks her to go with him to the Tide Mill. It is open. The first floor is vacant and so is the second. He asks her to go clear to the top and there she finds a luxuriantly appointed artist's studio. "Love opened the shutters," says John, "I bought the Mill and furnished this for my bride." The old story is told and the shutters of life open wide for the girl who learned to think right.
Review Excerpt
"
Imagine, if you will, a world where windows refuse light until the precise instant the soul learns clemency. That is the cosmos The Opened Shutters conjures in flickering, nitrate whispers. Directed by the trail-blazing Lois Weber from a serialized Clara Louise Burnham novel, the 1914 feature is less a film than a séance: grief, pigment, and stubborn New England pride swirl together until the screen itself seems to breathe.
A Plot That Opens Like a Paper Fan
The curtain rises on Sylvia Lacey..."
