The film was based on the story by F. McGrew Willis and scenarized by Maie B. Havey and Fred Myton.

The movie features Dorothy Davenport and Emory Johnson and employed the same cast seen in other Red Feather films, e.g., Barriers of Society, Black Friday.

When Mason falls in Love with another woman named Beverly Hope, he tries to end the affair with Doria.

A revengeful Doria tells her husband Mason tried to seduce her and wants John to ruin Van Horton financially.

An incensed John Manners arranges for one of Mason's central banks to go bankrupt but discovers his wife making Love to Prince Vandloup.

Satan has added his last touches to the mortal and feels the "Man" is ready to navigate the road of life.

With Manner's business acumen, it doesn't take long for him to bankrupt Van Horton's bank.

During the confusion in the other room, Mason and John Manners are in the library discussing business when a guest hurries in and tells them about the drops of blood.

Manners heads downstairs and explains to his bewildered guests that Doria was behind the collapse of the Van Horton bank.

[6] There was a recurring claim that Carl Laemmle was the longest-running studio chief resisting the production of feature films.

[16] Carleton arrived with impeccable credentials, having directed some 60 films for the likes of Thanhouser, Lubin, Fox, and Selig.

[17] Between March and December 1916, 44-year-old Lloyd Carleton directed 16 movies for Universal, starting with The Yaqui and ending with The Morals of Hilda.

Carleton was given the task by Carl Laemmle to determine if the Davenport-Johnson duo had the desired on-screen chemistry.

However, as stated in the Moving Picture Weekly cast list, Myton was responsible for the prologue and epilogue that made up the allegory book.

In 1914, after experiencing a brief stage career with various traveling companies, he became a freelance screenwriter focusing on scenarios for short films.

After he joined Universal, one of Woods's most significant projects was writing 20 two-reel episodes for the serial movie Graft.

[33] On March 15, 1915,[34] Laemmle opened the world's largest motion picture production facility, Universal City Studios.

Copyright Office on November 10, 1916,[31] and entered into the record as shown:[d] In 1916, "Red Feather" movies were always released on Mondays.

[1] By bringing paying customers to the theater, advertising plays a critical role in ensuring the success of a movie.

A successful marketing campaign generates excitement among potential stakeholders by sharing plotlines, actors, release dates, and other essential information.

Theater owners gained knowledge that helped them make better booking choices in a competitive market.

Alongside a movie's advertising campaign, Carl Laemmle introduced an added feature to aid potential stakeholders in choosing to watch or lease the film.

Universal pioneered the classification of feature films by production cost in 1916, making it the first Hollywood studio to do so.

[e] Universal's trade journal, The Moving Picture Weekly, features an advertising section called "PUTTING IT OVER."

It would be very effective to have a regular operatic Mephistopheles in red clothes, a short cape, pointed shoes, and a cap with a standing feather, dragging a handsomely dressed woman chained by the wrists to him.

This could be used as a lobby tableau vivant or posed on the stage in front of your screen while the lights in the house are up, with appropriate placards giving the release date.

In the November 25, 1916 issue of the Motion Picture News, Peter Milne writes:[42] One is led to believe that too many scenario writers spoiled " The Devil's Bondwoman."

Adele Farrington is an unconvincing vampire and over-acts so strenuously that one can never take her appearances seriously.In the November 22, 1916 issue of The New York Clipper, the staff critic opines:[43] A conventional, rather uninteresting "movie" with the usual plot ingredients.

There is not enough body to the story proper to warrant the filming of five reels, and the introduction of the allegorical scenes showing glimpses of Hades adds nothing to the tale, Taken all in all.

this picture falls far below the standard set for meritorious features of the present day.Many silent-era films did not survive for reasons as explained on this Wikipedia page.