Casey at the Bat is a lost 1916 American silent sports drama film produced by Fine Arts Studios in Hollywood, directed by Lloyd Ingraham, and starring DeWolf Hopper with principal support from Marguerite Marsh, Frank Bennett, and Kate Toncray.

She is the daughter of the local judge, is cordial to Casey whenever she sees him at the general store or elsewhere in public, but she is in love with Bert Collins (Frank Bennett), a handsome "college man" she hopes to marry.

"[4] A change in the film's leadership was made soon after the Los Angeles newspaper's announcement, for the trade journal Motion Picture News soon reported that the production "is now in the hands of Director Lloyd Ingraham".

[7] For many years the towering 6-foot-5-inch actor, singer and comedy star of vaudeville and musical theater had become inextricably linked to Thayer's poem, which by 1916 he had recited on many occasions on stage and at special events across the country.

Early in production, Grace Kingsley of the Los Angeles Times reported, "Hopper's makeup as Casey is said to be attracting a great deal of attention and admiration at the Fine Arts studio.

[14] In newspaper interviews about the production, DeWolf Hopper described the baseball location's setup: "We rented a little ball park out in Lankershim and the local folks turned out in force to fill the grandstand and bleachers.

[16] Prior to the projection of his new film in New York, DeWolf Hopper in California recited Thayer's poem to the ball players by telephone, using a long-distant connection from a private dining room located at the Alexandria Hotel in Los Angeles.

[18] Motion Picture News was one of several trade publications that even in May, before the film's release, circulated the same lure, "The punch of this story for the screen, which was prepared by William E. Wing, reveals the cause of missing the flying sphere, which is indeed a great sacrifice.

Oscar Cooper, writing for Motion Picture News, praised the scenarist's and director's success "in putting a lot of excellent small-town stuff on the screen, as well as in working up the three baseball games in a really dramatic way.

In its June 23 edition, Variety not only finds fault with DeWolf Hopper's performance and with his physical appearance on screen, but it also insists that Wing's script and the film's presentation as a drama were ill-conceived:...this Triangle-Fine Arts feature is just another example of a good idea gone wrong.

It should have made a corking subject for a comedy picture, but William Everett Wing, who adapted the scenario, saw fit to make a cheap mushy heart thriller of the story and the result was that the tale, coupled with Mr. Hopper, who failed utterly to look the part, and who acted it extremely badly, did not turn out at all in the manner that one assumed it would from the title.

[2] Stills from the production, in addition to those depicted on this page, do survive as illustrations in reviews and news items in 1916 trade publications and provide a visual record of the general content of some scenes in the film.