Motion Picture News (Apr - Jun 1914)

THE MOTION PICTURE NEWS 49 "NEPTUNE'S DAUGHTER" (Universal Special Features) REVIEWED BY A. DANSON MICHELL JUST as Thackeray is remembered by the world as the author of "Vanity Fair," so will Herbert Brenon be associated as the producer of this wonderful seven-reel masterpiece. Not that others did not contribute to its worth. Credit is certainly due Captain Leslie T. Peacocke for the scenario. Annette Kellcrmann and those supporting her for the acting, and Andre Barletier for the photography, but the principal praise belongs and must Vie ascribed to Herbert Brenon as director. ^Ir. Brenon has directed a number of features. Among 1 I 1 1 H ^^^^^^^^^^^^^^H^^T^v g.syfl ^ H ^ 1 ^^ ' {^^^H^^BF Wy/l Iw ■ ^ 1 -s^k^^ I i M [J ' / 1 .; . -4 ^ ANNETTE TO THE KINGS RESCUE them, might be mentioned "Aljsinthe" and "Iv;uilioe" as the most notable, but he has never attempted anything of the proportions of this. It is difficult to find words to describe its value to the world of motion-picture followers. Suffice to say nothing has ever been done of its kind that can equal it. The play, which is really an extravaganza, does not deal with "water stuff" exclusively. The plot concerns two kingdoms, that of Neptune beneath the sea, and that of King William, a mortal. Neptune's daughter, played by Annette Kellermann. acts as the go-between for the two. Miss Kellermann. in a recent interview, said she did not wish to go in for swimming and diving any longer. She wanted a play in which she could have a dramatic part so she might be judged for her histrionic merits. In this production she has proven her right to such consideration. The remainder of the cast are as follows: William E. Shay as King William, Edward Boring as an old man of the sea, William Welsh as Neptune, Edmund Mortimer as Duke Boris, Lewis Hooper as Count Rudolph, Francis Smith as the jailer, Leah Baird as Olga, Mrs. Allen Walker as the sea witch, Millie Listen as the mother, Katherine Lee as Angela and Herbert Brenon as the wolf. Probabh* the feature of the picture is the fight at the bottom of the ocean between Annette and the Wolf. The combatants are actually far under the water, struggling with one another, yet the water is so clear that they can be seen as though only the glass were between. Miss Kellermann performs a number of her aquatic feats. Her splendid figure, appearing to advantage in tights, drew murmurs of admiration. The photograph} is of excellence. The water scenes were particularly good. A number of tricks of double exposure and dissolving are of necessity resorted to with good efTects. The film is tinted in a number of places with color that bring Ciut the natural beauty of the surroundings. The caves at the bottom of the sea, the interiors, the fishing scenes are all fitting and supply the atmosphere so hard to obtain in a picture of this class. A word about the story itself: Annette, to avenge herself for the death of her sister by the fishermen's nets, becomes a mortal. She meets King William, dressed as a civilian, and a love match starts. Not knowing him to be the King, she goes to his court to kill him. Her charm is lost and she is unable to turn herself back to a mermaid. After saving the King from some assassins, they become reconciled, and she marries him. A large cast supported the actors. Katherine Lee, in the role of Annette's daughter, drew much praise for her beauty. "THROUGH DANTE'S FLAMES" (Ramo Features) REVIEWED BY MERRITT CRAWFORD THIS is by all odds the best offering which the Ramo Company has ever made. It bristles with novel and thrilling situations and sets a standard hitherto unattained by this popular concern. For consistency and rapidity of action, for clearness of plot and perfection of photography, throughout its four parts, it is quite in a class by itself. Stuart Holmes in the dual role of the artist and the artist's twin brother, the minister, registers a distinct success. It is said that Mr. Holmes actually painted the picture of the Madonna, on which he is seen at work on the screen, which is but another instance of his unusual versatility. Lois Howard, as Kate Clarke, the character around whom the plot of the piece is woven, portrays her somewhat difficult part in a fashion which will give satisfaction to the most fastidious. A number of cleverly executed double exposures also add much to the value of the piece. The story, which is of the kind that is different, deals with an accident which causes the heroine to undergo a complete transformation of character. Later by means of a train wreck, which is admirably shown on the screen, she again liecomcs her old self. In the meantime an artist who KATE IS RESCUED AFTER THE TRAIN WRECK had seen her as a cabaret dancer and had used her as a model for the Madonna he was painting, falls in love with her. Unable to get her to pose, so that he can finish the picture, he grows ill and in a delirium finishes it without her; His twin brother, a minister, at whose house Kate has taken refuge after the train wreck, gets the picture of the Madonna after the artist's death and recognizes Kate as the original. The balance of the story includes the raid of detectives upon a den of counterfeiters, of which Kate's brother is one, and a fire scene at a church festival, both of which are most effective. In the end, of course, Kate weds the minister and everybody is happy ever afterwards.