Exhibitors Herald (Dec 1919)

Mary Miles Minter in ANNE OF GREEN GABLES Six-part comedy-drama; Realart. Directed by William D. Taylor. Published in November. OPINION: There is no such thing as an '"average" small town picture. Unlike any other class of film story, the narrative which is laid in the small town or village must be very, very good or it will be judged very, very poor by those who seek in it entertainment. "Anne of Green Gables" wins a place in the former classification by a wide margin. That strong human appeal which is essential to the small town story, if it is to entertain and not to bore, is a dominant feature of Mary Miles Minter's first production for Realart. It would be hard to say whether the star or the story is chiefly responsible for this fact. But it is, happily, unnecessary to place the responsibility. The fact suffices. L. M. Montgomery's book, from which the play and the title have been taken, was exceptionally successful both as to comment and to circulation when placed upon the book stands. Reliable report is to the effect that it is still a good seller and that library copies in any and all sections of the United States burden their shelves for an amazingly short period at a time. It is certain, therefore, that the opening day of the picture's engagement at practically any theatre is bound to be a big one from the box-office view point. And what is more important, the second and following days, by reason of the play's entertainment qualities, will be equally or more successful. Every precaution has been taken to make the picture translation a veracious one. Expense has been disregarded. A splendid cast has been assembled for the supporting roles. Locations have been painstakingly selected. And the technical phases of production are of high order. Whether the star has done better work, of course, is a matter of individual opinion. But it is safe to say that she never produced a picture which will enjoy greater popularity, or popularity with better cause. SYNOPSIS: Anne Shirley, whose orphan career has been a lively one by reason of her natural mischieviousness, is sent, by mistake, to the home of Marilla and Matthew Cuthbert, brother and sister, who have decided to adopt a boy to relieve their loneliness. When the mistake is discovered, however, they decide to allow the girl to remain. Her early youth is composed largely of a series of misfortunes, "scrapes," as they are called in the vernacular of the young. The important event of this period, for story purposes, is the meeting with Gilbert Blythe, and the beginning of their love affair. When Anne has graduated from high school and looks happily forward to college Matthew dies and Marilla is stricken blind. Anne goes into the village school as teacher. Gilbert has taken up MARY MILES MINTER Is a pathetic little figure in the opening scenes of "Anne of the Green Gables,'' her first Realart production. medicine meanwhile. Despite her ill luck, which continues to follow her, Anne succeeds in paying for an operation which restores Manila's vision. Then she and Gilbert are married. H. B. Warner in A FUGITIVE FROM MATRIMONY Five-part comedy-drama; Jesse D. Hampton. Directed by Henry King. Published by Robertson-Cole. OPINION : H. B. Warner is not readily imagined as a light comedy star. His recent dramas of Oriental flavoring have left him, the more so because of their success, something of a "marked man." All of which the producers may have taken into consideration when they selected "A Fugitive From Matrimony" for his efforts. There is a rather pleasant surprise in store for H. B. Warner's screen acquaintances when this picture is exhibited to them. The star proves his versatility to the satisfaction of all. His portrayal of a typical Wallace Reid role is wholly satisfying. The appreciation of dramatic values which has been so plainly evidenced in his heavier productions stands him in good stead. He is as at home in the frivolous circumstances here provided for him as in "The Man Who Turned White." Seena Owen, a lady whose capabilities raise a well founded wonder as to the reason for her presence in support rather than as star in her own right, plays an understanding and well-toned opposite. Christine Mayo, Walter Perry and John Gough are other prominent members of the cast. There are certain familiar incidents in the story. But the incidental "business," as is the case in all plays of the type, is the important amusement source. It is well mannered, refreshing and competently executed. Yes — there is a surprise in store for Warner followers. A pleasant one. SYNOPSIS : Stephen Van Courtland, a gentleman and a man in spite of his wealth, assists an escaping convict by the simple device of changing clothes with him and then secrets himself in the basement of the Riggs home. Mrs. Riggs, whose eyes have long been centered upon the Van Courtland fortune, has secretly resolved to marry her daughter to the eligible Stephen. His discovery in her basement, in convict's attire, wrings from him an admission of his identity. Mrs. Riggs seizes the advantage and that evening sees the announcement of her daughter's engagement to the gentleman of wealth. Both parties to the engagement immediately decide, despite a certain mutual attraction, that they would rather do almostanything than go through with the plans that have thus been laid. But love, as they say in the story books, will have its way. In this case it does. Edith Roberts and Frank Mayo in- LASCA Six-part drama; Universal. Directed by Norman Dawn. Published in' December. OPINION : Picturization of poems have been comparatively rare events in film history to date. There is good reason for that condition. Poems are not, and for some years have not been, popular reading. And the people that read poems are not the people that make up the bulk of the motion picture audience. "Lasca," however, has the advantage of countless vaudeville recitations and a wide club room reading table circulation. Add that it is poetry of the rugged, Robert W. Service style and ample justification for its filming is established. As the story has been produced by Universal, with Edith Roberts and Frank Mayo in the leading roles, it is a good evening's entertainment for those who are not hide-bound in their preferences. It is the sort of picture that the poem is a poem. It follows none of the established rules laid down by custom for the makers of Western melodrama. It aims to tell a story rather than to provide an expectant audience with the sort of thing that is expected. "Lasca," the girl, whose untrammeled character was the inspiration of the poem, is well delineated by Edith Roberts. Frank Mayo, as the man she loved to the point of giving her life for him, gives a believable and natural characterization. The Western atmosphere is well represented and the continuity and direction are of the Universal standard. SYNOPSIS: Lasca, a girl who has known not the training of careful parents and yields readily and often to her violent temper, loves and is beloved of Anthony Moreland, who condones her shortcomings. Into their section of the West come Clara Vane and John Davis. 79