Motion Picture News (Oct 1915)

October 16, 1915. MOTION PICTURE NEWS 87 “TILLIE’S TOMATO SURPRISE” (Lubin — V-L-S-E — Six Reels) REVIEWED BY PETER MILNE NO doubt the Lubin company firmly intended “Tillie’s Tomato Surprise” to be chiefly Marie Dressler’s Tomato Surprise. At any rate, it has achieved this end, for the picture is about 90 per cent. Marie Dressier. The other 10 per cent, contains a meandering plot, decorated with several slapstick innovations and three or four other characters who play directly to Miss Dressier. Miss Dressler’s antics, her weird grimaces, her healthy swing to the jaw or some other vulnerable part of the anatomy, her preposterous display of nether lands, and her generally ludicrous actions are known to theatre-goers and in fact motion picture-goers all over the country. With such idiosyncrasies are the six reels loaded. It is stage comedy, typical of Marie Dressier. To some it will appear wholly delightful, but those who prefer the type of comedy embodied in “The Dust of Egypt,” for example, will hardly revel in “Tillie’s Tomato Surprise.” To be brief, it a variety of comedy which has a large following. The scenario was prepared by Acton Davies and largely concerns Tillie’s crashing debut into society, her experiences with the Bat, her lover, and her prolonged quarrels with her cousin. The surprise is Tillie’s slice of her aunt’s fortune, a 49-cent tomato stuffed with ten thousand dollar bills. Tillie is constantly attempting to rid herself of this mean looking piece of fruit, but finally in desperation rips it open and joyfully discovers its contents. Of innovations in the picture there are several; the magical pair of wings with which the Bat is enabled to flit merrily TILLIE AND THE BAT GIVE AN EXHIBITION along in the air, the vast chase in the end participated in by half the population of Philadelphia and Jim, the Lubin monkey, a most clever and talented performer. Tom McNaughton, the noted comedian of musical comedy, appears as Tillie’s villainous cousin and handles the part in a manner' that corresponds well with the general tone of the production. Colin Campbell is the Bat and a very funny figure he cuts. The supporting characters adequately handle any chance opportunity that the scenario permits. On the whole, “Tillie’s Tomato Surprise” is just what might be expected with Marie Dressier in the leading role. It is a slapstick comedy with tactics both crude and novel resorted to in efforts (quite successful) to amuse. Good photography and excellent trick effects add value to the production. “GLADIOLA” (Edison — Four Reels) REVIEWED BY H. S. FULD FROM the gladiola fields of Berlin, N. Y., comes this beautiful setting breathing an atmosphere of the flowery countryside, with a story of heartrending interest that cannot but thrill the beholder. The plot uses the old theme of “loving not wisely but too well,” yet with a twist that gives a rather unusual and entirely satisfactory ending. The credit for this offering belongs to the director, John H. Collins, though the author, Mary Rider, deserves special mention. A picture with more beautiful exteriors would be hard to find, and coupled with masterly acting on the part of the principals, and superb photography to bring out the above-theaverage plot, this production from the Edison studios is deserving of the highest honors. Gladiola Bain (Viola Dana), a country girl, runs away from GLADIOLA VISITS WILLIAMS AT HIS ESTATE her country home with Ned Williams (Robert Connes), of the city. She does not know he is already married and as he has separated from his wife, he does not undeceive her. The unheralded appearance of his wife at his city home brings realization to Gladiola and she leaves him and returns to her father (Charles Sutton) in time to promise him on his death-bed that her child shall bear the family name of Bain. Mrs. Williams’ death as the result of an accident releases Williams, and he hurries to the country and Gladiola to make amends to her and the child. Gladiola is torn between love of her father and devotion to her child and finally decides not to go back to him and he reluctantly leaves. The audience is left in doubt as to whether she marries the husky county lad (Pat O’Malley), who has loved her since they were children together, or whether she lives for her child alone in the now lonely country home, as the last scene fades away with Gladiola in the midst of the gladioli fields with her child in her arms and the country lad holding out his arms to her. A beautiful finale to a wonderful production. PRIVATE SHOWING OF “THAT LASS O’ LOWRIES” AT LOS ANGELES REVEALS ITS EXCELLENCE Special to Motion Picture News Los Angeles, Oct. 4. THE Universal Broadway Star Feature, “That Lass o’ Lowries,” produced by Robert Leonard, with Helen Ware in the name part, was given a private showing Thursday evening, September 23, at Woodley’s theatre following the regular evening program. Admittance was by invitation only, and the projection was witnessed by a large audience made up of players, producers and legitimate stage people, representatives of all Los Angeles producing companies and the bills at all local theatres. In this production the Universal company offers a very excellent adaptation of the Frances Hodgson Burnett novel of the coal fields in Northern England, dealing with the question of capital and labor, and is timely in this country as the result of recent strikes. The scenes for this picture are very remarkable, one in particular being very expensive and true to life. One is that of the coal mine, and as there are no locations of this character in California, it was necessary to build the entire structure at Universal City. How painstaking Director Leonard and Technical Man Frank Ormston have been in this production is best exemplified by the picture itself. Table of contents will hereafter be found every week opposite inside back cover.