As described in the film magazine Exhibitors Herald, little Marie Farrell, through the carelessness of her nurse, is lost and believed drowned. She has wandered upon the ship of the smuggler Captain Flagg, who finds her and brings her up as his own. Her parents adopt a boy to help them forget their grief. The girl grows up with no memory of her former life. The adopted boy moves in the smart set in Mayport, and his parents try to make a match between him and a society girl. Marie is brought to her adopted father's sister, as the old captain believes she should have the care of a loving woman. She meets young Richard Farrell and the two come to love each other. The Farrells do everything they can to break up the couple, but with the help of the captain a marriage is accomplished. There is a stormy meeting between the bridal pair and the parents, during which the captain sees a portrait of Marie as a baby and, realizing the truth, tells the story of her life. The family is reunited and Mary and Richard spend their honeymoon on the captain's ship.
Cast
Grace Darmond... Marie
Niles Welch... Richard Farrell
Herbert Fortier... Robert Farrell
Violet Axzelle... Marie, as a child
Charles Brandt... Captain Flagg
Joseph Dailey ... Cook
George De Carlton... Dutch
Caroline Harris... Mrs. Farrell
Virginia Lee ... Millicent Dunston
Louis Montjoy
J. Noa ... Pete
Production
The Gulf Between was filmed on location in Jacksonville, Florida in 1917 by the Technicolor Motion Picture Corporation, using its two-color "System 1", in which, by means of a prismbeam splitter, two consecutive frames of a single strip of black-and-white film were photographed simultaneously, one behind a red filter and the other behind a green filter.
Release
After private trade showings in Boston on September 13, 1917, and at Aeolian Hall in New York City on September 21, 1917, it was released on February 25, 1918 to play one-week engagements on a tour of a few major Eastern cities, accompanied by the special two-aperture, two-lens, two-filter projector required to exhibit it. Because of the technical problems in keeping the red and green images aligned by prism during projection, it was the only motion picture made in Technicolor's System 1. Technicolor abandoned the additive color process of System 1, and began work on subtractive color processes that did not require a special projector.
Critical reception
Photoplay magazine complained that all colors were reduced into terms of reds and greens, and that "the story is dull, trite, and drawn out interminably."