Motion Picture News (Sept-Oct 1916)

October 7, 1916 MOTION PICTURE NEWS 2231 Life," have made arrangements with a well known music publisher to have special musical arrangements for the picture so that the exhibitor can have the same music for the dances as originally used by the Waltons. One of the most famous of the Maurice and Florence Walton dances, " The Apache Dance," is shown in all its violent and graceful numbers and is only one of the dancing numbers introduced. ■'The Quest of Life," however, is more than merely a screen version of a number of dances. It is full of real heart interest telling of the struggles of a young girl who is suffering from an illness that the doctor tells her will cause her death inside of a year unless she can go to Arizona. She is poor and of lowly parentage and it is out of the question for her to go away. The Dance Proves a Hit How she meets the celebrated dancer, is accepted as his partner, makes a hit with him on the stage, is sent by him to a sanitorium to recover her health, and at the end marries him, all goes to make a truly agreeable and interesting plot. The photography is excellent throughout save for a few overbright spots in the close-ups, where it would seem there was too much glare on the eyes. As stated above the acting is above criticism and the entire cast is alive to their respective roles. There is no reason why this release should not make a hit with any average theatre audience. " IDLE WIVES " (Universal — Seven Reels) REVIEWED BY PETER MILNE TfllS latest production of the Smalleys, based on a novel by James Oppenheim, which was shown at the Maxine Elliott theatre. New York City, is a preachment on the sacredness of the home, also on the power of the motion picture. There is nothing to be wary about in its contents, that is nothing to warrant the display of the feaful sign, " Children under sixteen years of age not admitted." It touches on intimate things to be sure, but in a way no more sensational than other productions which children under sixteen are allowed to witness. The picture is also presented in a manner that is open to question. It presumes upon the character of its audience. It supposes that there is a girl in it accompanied by a man of questionable character. It supposes that there is a husband and wife, slowly drifting apart in it and that there is a man with a large family from the tenements in it. We are inclined to doubt whether an audience likes to be thus judged. Then after all these characters have witnessed the picture within the picture, they go to their homes resolved to lead better lives. In other words the picture is a preachment. " Idle Wives " treats with a set of characters identical to those that witness it in the prologue. Its main theme is the downfall of one girl who believes she has more sense than her parents, and of her ultimate salvation through the kindly aid given by one of the wives who refuses to remain idle. A parallel treats of the wife's husband who sees nothing beyond his own social sphere at first, but who comes to his senses through the temporary desertion of his wife to take up the work of caring for the needy. The story is well told, waxing a little bit slow at times, but this is partially balanced by the swiftness of the action in other parts. The principals in the main picture are Phillips Smalley, Lois Weber and Mary MacLaren, while those who are in the prologue and epilogue are Ben Wilson, Maude George and Neva Gerber. The supporting cast is competent. '• HIS LITTLE WIFE " (Essanay — Three Reels) REVIEWED BY WILLIAM C. ESTY THE " atmosphere " in this picture crowds nearly everything else out. The production consists mostly of a series of undramatic episodes very prettily done. The various scenes are laid in a small town, and the slowly creeping plot develops a very ordinary rural romance. There is one thrill — a girl's leap from a bridge. If your audience likes to nibble at dainty, unnourishing stuff, this film will appeal to them. If they crave raw meat — thrills, punches, climaxes — they will fidget in their chairs during the rup of "His Little Wife." Harry Beaumont was the author-director-juvenile. His writing duties were not heavy, because the plot he furnished is conventional and slight. His directing made the most of the meagre story, creating the bucolic atmosphere excellently, and giving a number of trueto-life tableaux. As to his acting, he is a goodlooking and youthful hero, well-suited to the part he plays. Gertrude Glover, as the heroine, has the girlish air of innocence so necessary for the role. To her credit be it said that she is not "doubled" in her leap from the bridge; she obviously performs the feat herself. The photography, sets and locations are adequate. Anxious Moments Grace Bolton, the ward of the village cobbler, falls in love with Tom Williard, son of the dry-goods merchant. The elder WiUiard refuses to let his son marry " beneath his station." The pair are secretly married in the city, and then return to the village, where they must live apart. This separation causes Grace to attempt suicide by drowning. She is rescued by WiUiard, Sr. In her delirium she calls for Tom, and his father, realizing that their love is stronger than his will, blesses them. "THE RUMMY" (Triangle-Fine Arts — Five Reels) REVIEWED BY PETER MILNE ttT^HE RUMMY" is an interesting melodrama greatly en1 hanced by the sterling character work of Wilfred Lucas who appears in the title role. It is a picture of newspaper life showing a good deal of the routine and much that is not routine of the reporter's duties. The story was cut from stock material but again the Fine Arts scenario department has shown its