The Fatal Wedding is a play by Theodore Kremer and a 1911 Australian silent film directed by Raymond Longford based on the melodrama, which he and Lottie Lyell toured around Australia.

Cora gets a man called Curtis to pretend to be in love with Mabel and engineers a situation where Howard walks in on them and gets the wrong impression.

[17] Higgins said £2,000[18] Shooting took place largely in an artist's studio in Bondi with a roof taken off and six-foot reflectors used to improve the lighting.

The Sydney Morning Herald wrote that The acting throughout is of a very high standard and all the great features and powerful scenes of the drama are most vividly and clearly portrayed.

The film itself is unusually good the objectionable flicker being reduced to a minimum and all the figures and background standing out with great clearness and definition.

[23]The critic from the Sydney Sunday Times said that: Although the play is American, Mr. C. Spencer is justified in presenting the [movie]... as an example of Australian art.

A company which was formed in Sydney acted the melodrama for Mr. Spencer's operators, and one may recognise Bondi in the outdoor scenes – notably in the episode of the cliff house and the escape of the little heroine... After a cinematograph series of 'Australian Bushrangers,' it is a relief to see bright-faced and happy-hearted children representing the better, even if the poorer, side of life in this part of the world... Jessie, the little mother' with the Tin Can Band of youngsters, made The Fatal Wedding a success when it was first played here at the Criterion Theatre.

In the 'children's party' scene of the third act one song is cleverly counterfeited by a child behind the screen and 'hidden noises' lend an air of realism when the juvenile band shouts with joy or rattles the tin cans.

[19]The Perth Sunday Times said that " The lady who plays the she-villain... is without doubt the woodenest dolt that ever spoilt good celluloid.

[27] It then played Melbourne and the rest of Australia and was very popular, launching the cinema careers of Longford and Lyell, as well as enabling producer Cosens Spencer to establish a film studio at Rushcutter's Bay in Sydney.