It was sugar-sweet.

It was called: What the Daisy Said.

If these productions had conformed to their titles sincerely, with the highest photoplay art we would have had two more examples for this chapter.
Why do the people love Mary?
Not on account of the Daniel Frohman style of handling her appearances.

He presents her to us in what are almost the old-fashioned stage terms: the productions energetic and full of painstaking detail but dominated by a dream that is a theatrical hybrid.
It is neither good moving picture nor good stage play.

Yet Mary could be cast as a cloudy Olympian or a church angel if her managers wanted her to be such.