Motion Picture News (Oct 1915)

October 16, 1915. MOTION 83 PICTURE NEWS (INSERTS AT TOP) DONNA ROGERS AND RAYMOND HITCHCOCK (“STOLEN MAGIC’’); (LEFT) SCENE FROM “THE COWARD,’’ WHICH STARS FRANK KEENAN; (CENTER) EDDIE FOY IN “A FAVORITE FOOL”; (RIGHT) WALLACE REID, DOROTHY GISH AND THE STUDENTS IN “OLD HEIDELBERG” SECOND KNICKERBOCKER TRIANGLE PROGRAM (“Stolen Magic” — Keystone — Two Parts. “Old Heidelberg” — Fine Arts — Five Parts. “A Favorite Fool" — Keystone — Two Parts. “The Coward" — Kay-Bee — Six Parts) REVIEWED BY PETER MILNE THE second Triangle program took a geometrical turn and developed into a quadrangle, with Mack Sennett holding sway over two sides with his brace of comedies. “Stolen Magic” and “A Favorite Fool.” The two serious dramatic offerings, "The Coward” and “Old Heidelberg” divided honors between Thomas H. Ince and D. W. Griffith, respectively, with the balance in Ince’s favor, because of the depth of his theme and its comprehensive treatment. The entire program was better balanced than that of the first week, the two features being widely different in theme and the comedies furnishing excellent relief to the dramatic subjects. The bill opened with “Stolen Magic,” another Raymond Hitchcock comedy, superior in many respects to “My Valet,” because* Sennett has given his star more opportunities in which to display his fun-making ability. Its plot is of an uproarious sort. Hitchcock, an “ophidologist,” arrives at a reception with an assortment of snakes from India, and a paper which gives him the power of a magician. Many are the laughs in this subject, smattered with some slapstick action and trick camera work, as well as many humorous situations. Sennett, Mabel Normand, Alice Davenport, and Frank Hayes also distinguish themselves. “Stolen Magic” can easily be ranked with the best of former Keystones, the comical qualities of which exhibitors know so well. Following the comedy came “Old Heidelberg,” Griffith’s supervised feature, adapted and produced under the direction of John Emerson. The story is slim and relies altogether on the pathos of its theme for success. And a success it is. In addition to the love story, which dominates the action, the picture contains a striking appeal for peace, forcibly driven home by one or two minor sympathetic plots and a few wonderful battle scenes. The ne’er completed romance of Karl, heir apparent to the principality of Rutania and Kathie, the niece of a Heidelberg innkeeper, because of regal customs, is the main theme. It is developed beautifully, many times bringing tears to the eyes. In detail it is delightful ; the lonely boyhood of the prince, the _ carousals of the Heidelberg students, and the awakening of the prince to real life and love — all are handled excellently. Dorothy Gish and Wallace Reid are entirely capable in the leading parts, both interpreting their roles in an ideal manner. Karl Fornes, Jr., Eric Von Stroheim and J. W. McDermott do their scenes in pleasing style, while the support is consistently good. This picture also contains excellent scenes and rare photography. Withal it is a sympathetic drama of the highest order, worthy indeed to be rated as a two-dollar picture. Mack Sennett’s second comedy of the program next appeared, “A Favorite Fool,” featuring Eddie Foy and the ever-accompany ing Seven Little Foys. It is a joyous knockabout number, with Eddie Foy continually the center of attraction. Polly Moran, Mae Busch and Charles Arling furnish support, Miss Busch adding a delightful touch of feminine beauty to the picture. Eddie Foy appears as a Son of Rest, alias a tramp. He marries a widow, before he learns she has seven children, then quite naturally he gets frightened and runs away. But later he redeems himself by refuting the villain and restoring the deeds to a circus to his wife. Added comedy is furnished by the very clever subtitles, and a few startling scenes show a well-executed wind and rain storm. In its entirety it is a very good picture, destined to be popular because of the Foy atmosphere, an atmosphere entirely free from anything vulgar. Thomas H. Ince’s picture, “The Coward,” which he both wrote and produced, is a Civil War drama, but aside from the fact that it is laid in the days of ’61, it is unlike others that contain the great conflict as a background. It is a strong, virile picture, full of suspense and thrills, each scene keyed so as to result in the highest dramatic efficiency. Frank Keenan is featured and a powerful figure he makes of the sterling old Southern Colonel. His face, usually in stern repose, is intensely magnetic, while his infrequent outbursts of emotion are made all the stronger in contrast. Charles Ray as his son, playing the title part, gives a performance that is truly a revelation. His expressions, made so significant by close-ups, reveal with powerful sincerity his innnermost feelings. Keenan and Ray share the honors of the piece, although the support furnished by Gertrude Claire, Margaret Gibson, Nick Cogley and Charles French is entirely adequate. The story starts with the outset of the Civil War. Frank Winslow, afraid that he will be afraid to fight, refuses to enlist at first, but later is forced to do so by his father. But while on picket duty he deserts and returns home. His father, that the honor of his name may be saved, takes his place. Up to this time Frank has been a convincing and pitiable coward. But when Union soldiers quarter themselves in his father’s house he awakens to his duty. He secures the plans of the Northern lines and after a wild ride reaches the outskirts of the Confederate camp. His father, thinking him a Northerner, shoots him from his horse as he is crossing a bridge, and then goes happily into battle. The plans bring the Southerners victory, and then comes the reconciliation between father and son. The battle scenes staged by Mr. Ince are of the most thrilling sort conceivable. The incidental touches and the sweeping panoramic views combine to make the whole stirring and realistic. And the fall that Ray takes from the bridge must not be forgotten. Both man and horse careen into the water. It is a real thriller. This veritable masterpiece of Mr. Ince’s brings the second Triangle program to a close as glorious as the beginning is funny. The group of pictures here presented are all fine ; each attains Table of contents will hereafter be found every week opposite inside back cover.