The film was directed by Lloyd B. Carleton, while F. McGrew Willis adapted the screenplay from Clyde Fitch's play.

The plot revolves around Beatrice Farley, who scandalizes her marriage to first-term Governor Walter Croyden by engaging in a harmless flirtation with an old acquaintance, John Nevill.

Sturton supports Walter Croydon, a rising young attorney, for the position of Governor of the State.

As the boat is ready to sail, Nevill sees Beatrice bid Croydon goodbye and then board the ship.

Nevill, realizing he has planted the seeds of suspicion, now implements the last phase of his plan to convince Croyden to leave his wife.

Before he steps out the door, he sees a copy of the newspaper article implying the child's father might not be Croydon but the man Beatrice spends so much of her time with.

Beatrice struggles fiercely to preserve her honor and finally, in desperation, grabs a sharp paper-knife and stabs him.

He picks up the knife with a trembling hand and tells them for Beatrice's love, and because she has repulsed him, he has attempted suicide.

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

[c] Carl Laemmle released 91 feature-length films in 1916, as stated in Clive Hirschhorn's book, The Universal Story.

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

[18] 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.

The story was based on the successful play by Clyde Fitch (1865–1909) first shown on the New York stage on November 4, 1901.

[31] The story was adapted to the screen by F. McGrew Willis (1891-1957)[32] In this film, there was extensive use of San Diego locations for exterior shots, as well as multiple interior scenes.. An item published in the February 26, 1916 issue of Motion Picture News announced: "The filming of the McGrew Willis adaptation of the Clyde Fitch play, 'The Way of the World,' was begun this week by Lloyd B Carlton.

This production will have a number of expensive settings, including interiors of clubs, Monte Carlo, the executive mansion, and a church.

"[33] An item in the April 1, 1916 issue of The Moving Picture World stated: "Lloyd Carlton is in San Diego making exterior and boat scenes in his production of F. McGrew Willis's film version of Clyde Fitch's drama of the speaking stage, 'The Way of the World.

On March 15, 1915,[35] Laemmle opened the world's largest motion picture production facility, Universal City Studios.

[36] While San Diego served as the setting for the exterior shots, news items show that the Universal City stages were used for a big scene.

The March 1916 editions of New York Clipper and Moving Picture World contain articles that mention a ballroom scene created for this movie.

"One of the biggest sets ever built at Universal City was made especially for this scene, in which one hundred and fifty people took part.

[39] An article in December 1916 issue of Photoplay points out: "HOBART BOSWORTH expects to collect $50,000 (equivalent to $1,400,000 in 2023) from Universal for an alleged violation of contract The suit is based upon the company's action in featuring Dorothy Davenport as the star in 'The Way of the World.'

[1] Advertising plays a vital role in ensuring a movie's success by bringing paying customers to the theater.

By providing details about plotlines, actors, release dates, and other key information, a successful marketing campaign boosts excitement among potential stakeholders.

This knowledge empowered theater owners to make smarter booking decisions in a competitive market.

In addition to an advertising campaign for a movie, Carl Laemmle added another wrinkle to assist potential stakeholders in deciding to view or book a new film.

[e] In 1916, Universal produced 91 branded feature films, consisting of 44 Bluebirds and 47 Red Feather productions.

In the June 24, 1916 issue of the Motion Picture News, movie critic Peter Milne reviewed the film:[48]"It makes the entertainment of the average sort.

The cropping out of the villainous characteristics in the final episodes hardly jibes correctly with the earlier impression gained from his acting."

An interrupted christening, in which the jealous husband claims another is the child's father, makes the chief scene.