Motion Picture News (Oct 1915)

84 MOTION PICTURE NEWS Vol. 12. No. 15. satisfactory excellence in its own particular line. The comedies are worthy to be labeled as such ; the dramas, widely different, work wonders with the spectator. In fact the entire entertainment is representative of Triangle’s aim. “FOR $5,000 A YEAR” (Liberty Motion Picture Company — Five Reels) REVIEWED BY IRENE PAC-E SOLOMON AN entirely different style of picture is this second release of the Liberty Company from its first effort. This is an original scenario from the pen of Edwin B. Tilton, who also directed the film in a very artistic manner, and capably played the part of the father, Merritt, thus acceptably filling a triple bill in the production. ROBERT IDENTIFIES THE VILLAIN That the picture is different from its predecessor does not argue against it; rather it is a point in its favor, as showing improvement with each release. The photography is all that could be desired and the director makes much use of the popular vision scenes with an excellent effect which adds to the interest of the story. Many close ups are also used. Thrills are by no means lacking. A goodly number of them scattered through the five reels keeps one on the qui vive to see what will happen next. As there is nothing new under the sun, these exciting moments are caused by the same old villains plotting against the same innocent heroines, while the same young heroes come in the nick of time to foil their plots. Then there must be fights and smashups. In this case the smash is a vivid scene of two motor cars in which one is really wrecked. The fight between Tom and Paul when the former at last sees through Paul’s treachery is as realistic as life. There is not a poor member of the cast. Even the minor parts show careful drilling. As Adele, Louise Huff is charming, vivacious and girlish in the lighter parts which are better suited to her temperament than deep emotional roles. However, she holds her own in the deeper moments. The honors among the male characters are easily held by Iilton. A word must be said for Edward LaRenz as Robert, Douglas Sibole, as the villain, Thomas Clark as Paul, E. A. Merbreier as Tom, Frank McDonnell as the Count, Mart Heisey as a miner. Last, but by no means least, is Irene Kent, who as Madge, the second heroine, gives one of the good impersonations of the play. “LILLIAN’S HUSBANDS” I (VitagTaph — Three Reels) REVIEWED BY PETER MILNE FROM a dramatic standpoint “Lillian’s Husbands,” by S. A. Van Patten, is quite mediocre, if not poor. But when a motion picture audience is thoroughly amused by a three-reel comedy, not one person in it is going to stand on technicality and announce that this should be that way a»d that should be this way. And so we may remark without pouring scorn on the production that reel No. 2 could easily be left out, or that reel No. 3 could be discarded if reel No. 2 were left in. But to adopt either of these courses would be shearing the picture of one-third of its comedy, a frightful proceeding indeed. And so “Lillian’s Husbands,” dramatically poor, is laughably delightful. The plot applies the reverse English to the story of the young man who is obliged to procure a wife to show his guardian. The young lady, introduced in this case is disastrously unsuccessful in her deceitful practice. She tells her guardian that she is married, but then can produce no husband. Her guardian puts a detective on his trail, but the results are negative. Finally the guardian awakes to the real facts and marries the girl while disguised. The humor in these three reels is rich and thick. It is wholesome and refined. It is of the sort that is bound to tickle any audience. Lillian Walker in the title part, Donald Hall as her guardian, and Donald McBride as the “bunk” detective, are all excellent in their respective parts. “THE FATAL CARD” (Famous Players-Paramount — Five Reels) REVIEWED BY PETER MILNE WITH the presentation of this melodrama Famous Players outdo themselves in that they offer two renowned stars instead of one as is their usual custom. John Mason and Hazel Dawn comprise the team. They have been allotted parts to which they are happily suited. Mr. Mason carries a heavy, emotional role, in which he fares with striking success, while the part awarded Miss Dawn is lighter and well fitted to her characteristics. “The Fatal Card” is by C. Haddon Chambers and B. C. Stephenson, and as a melodramatic offering it ranks high. The story concerns a would-be reformed robber who is called upon by his old pals to turn his last trick against the father of his daughter’s financee. The old man is accidentally killed by one of the gang. They decide to meet that night and discuss plans for the future. The son of the murdered man hears all the conversation and later makes his presence known. > . Marrable (John Mason) is called upon by his assertive “pals” to put the young man out of the way. They leave the two men together. Then Marrable discovers that the doomed man once saved his life and remembers that he then swore to repay him. THE FATAL CARD IS DRAWN And so he liberates him, but while he is throwing the time clock bomb from the room it explodes, killing him. David Powell as the son is good, and Russell Bassett as his father is good also. James Kirkwood directed the work, and as usual has met with success. The photography, however, is not what one is accustomed to expect from the Famous Players. Without exhibiting anything extraordinary, “The Fatal Card” manages to continually hold the attention. It is not wonderful, but merely satisfactorily pleasing. With two such stars in the leading roles it will seem strange indeed if the' melodrama evades popularity. Table of contents will hereafter be found every week opposite inside back cover.