User Reviews

This film starred actor/director Harry Pollard (as John Douglas) with his wife Margarita Fischer (as Nai). Mr. Pollard plays a bored millionaire who receives his desire to "get away from it all" by becoming the only survivor of a South Seas shipwreck. On an island, he meets a tribe who, several hundred years ago, survived similar circumstances - thus, explaining why they are light-skinned. Pollard falls in love with pretty Ms. Fischer - and the feeling is mutual. However, tribal chief Joseph E. Singleton (as Neto) wants his daughter to marry robust Robyn Adair (as Kaura). After lightning strikes, they work out the problems. Pollard and Fischer are coupled. Searchers eventually rescue Pollard, but retuning to civilization with Fisher portends tragedy…

You're not likely to see "The Quest" in this lifetime. Reportedly, a print was found with such advanced nitrate deterioration, a restoration was not possible; although, enough was discernible to identify it as a deteriorating copy of American's Mutual Master motion picture. In early 1915, Fischer was a big attraction; this feature was expected to extend and elevate her popularity, but did not meet most expectations. The feeling, at the time, was that Pollard and Fischer may have lost momentum (to D.W. Griffith and Mary Pickford) as the studio withheld releasing "The Quest" for some time. "Motion Picture Magazine" (May 1915) writer Tarleton Winchester mentioned the long delay, then briefly praised the film's location scenes and twist ending.

**** The Quest (3/22/15) Harry Pollard ~ Harry Pollard, Margarita Fischer, Joseph Singleton, Robyn Adair

I always used to watch this when i was a kid. I really enjoyed it. I recommend it to people who have the time to watch it. It is very unique and interesting. It is not horrible nor the best movie ever, but it is a watchable movie, something to discuss over a meeting because of its uniqueness. Rent it if you can get a hold of it.

In the five reels of this production there is much that is beautiful, as well as much that is crude. The scene where the feminine ideal of his imagination comes gliding over the water toward the rapt young man on shore, is as fine a piece of double exposure work as one could wish to see; the scene is, in itself, a gem. Had the film been cut to four reels the illusion might not have been destroyed, but the adding of reel number five brings with it a double climax and also a taint of confusion. The photography displayed in the production cannot be too highly praised. The players, too, are worthy of much commendation, and Marguerite Fisher is a delight; likewise Harry Pollard's work is exceedingly good. - The Moving Picture World, March 27, 1915