Motography (Jan-Mar 1916)

MOTOGRAPHY Vol. XV, No. 2. injured in a wreck in Kentucky and who urges that he come there and attend him. McCanna arrives and Matt Sipe, a young mountaineer, begs the doctor to go with him to see his sick mother, but Justus refuses. The next day as he is leaving for home he is kidnaped and carried into the mountains and there does his best to save Mrs. Sipe. He meets Cherry Blossom, a beautiful girl, ragged and barefoot, and a strong friendship springs up between them. Matt loves the girl and finding and learning that the doctor has met the girl his rage and jealousy spur him on to a terrible revenge. He follows the doctor one day until he locates him in the bottom of a gully and he rolls a rock down on him. Cherry hearing the crash runs to the scene and finds Matt gloating over his insensible rival. Justus believes that he is dying and insists on immediate marriage and he and the little mountain girl are married. His wife's love for him brings him back from the grave and he settles down contentedly to their simple life. Later he is called home concerning a property deal and he assures Cherry Blossom that he will return soon. He doesn't tell his mother of his marriage and Bettina begins to again find a place in his heart. A son is born to Cherry and determining to know the best or the worst she goes to Justus' home, but doesn't find him in and doesn't tell his mother the object of her visit. When Justus returns his mother tells him of the visit of the strange woman, whom he recognizes as Cherry. He leaves to go to her, reaching her just as Matt, who has taken advantage of the results of her trip, has returned with a gun to kill the "brat" and take the woman. He and Matt engage in a terrific struggle and later Cherry lays her son in her husband's arms. The Current Triangle Bill. Latest Offerings of the Griffith and Ince Studios Reviewed by Neil G. Caward CHICAGO'S board of censorship is responsible for a shorter program than usual at the Studebaker this week, for, after one look at "The Despoiler," the Ince offering scheduled to be shown in connection with "Don Quixote" and "The Hunt," the board threw up its hands in horror and promptly proceeded to reject the whole picture. Since no permit could be secured to show the film, the Studebaker management was forced to confine the program to the Fine Arts and the Keystone offerings. In justice to the film which was not shown and which consequently Motography has been unable to review, it is only fair to the exhibitors who will be able to book it, to declare that New York critics have much praise for the picture, which features Frank Keenan, the famous actor who made such an impression in "The Coward." supported by Enid Markey and Charles K. French. The story deals with border warfare in a mythical Balkan principality and shows the peril in which the women of a small village are placed when their little town is invaded by troops of the enemy. "The Old Homestead" Famous Players Production of Denman Thompson's Great Success. Reviewed by Thomas C. Kennedy FOR nearly thirty years the theater going public enthusiastically received the stage presentations of "The Old Homestead" with the late Denman Thompson portraying Joshua Whitcomb, a figure whose broad characteristics made him perhaps the most realistic person the American stage has even known. This fact alone, it would appear, should be enough to prompt the producers of motion pictures to bring "The Old Homestead" and Uncle Josh to the screen. And now, at what may seem to some a late date, the Famous Players Company offers a five-part visualization of this classic; for a classic it really is. The result is gratifying indeed, and to the patron of the screen it will come as a pleasant relief with its old fashioned melodrama and pretty sentiment in these days of war plays, problem plays and slapstick comedies. The belief that the success of "The Old Homestead" hung upon Denman Thompson's characterization seems to be general, so general that it is regarded a fact. On this line of reasoning a preview of the picture might lead one to express doubts as to its success, since the leading role was not played by the man who made the play and in all probability was made by it. But this part is in capable hands. Frank Losee, an experienced screen actor plays to good effect the irresistible Uncle Josh. Mr. Losee's appearance is entirely satisfying but he deserves praise for more reasons than that. The adaptation is good. The story is told faithfully and with pleasing smoothness. As no doubt everyone knows, the story is simple. There is nothing of a startling dramatic nature in "The Old Homestead." The opening scene shows the Whitcomb farm. Then a few incidents which give an incite into the character of Joshua Whitcomb are followed by the arrest of his son for theft on the day he and Ruth Stratton become engaged. Before the boy's innocence is established he escapes and makes for tlie city, where fate and innocently contracted bad associates lead him into evil ways. He is reunited with his father through the kindness of a chap, who in doing so feels that he is no more than returning the favor which Uncle Josh had done him. The end finds everybody happy. 'I'll' directio Kirkwood whose methods are in this case mo I he atmosphere he has i reated about the characters and action is a credit to him and an asset to the picture The settings and photography arc remarkable to, their effectiveness. Creighton Hale as Reuben ami Louise Mm' port Mr. Losee admirably. Den man Moley as Jack Ila/zard. the gentleman by birth and the tramp by choice who profits by Josh's kind words and freely given five dollar Kill, does b'ettei than well. Hunt." Just as one of the most beautiful of the women is about to sacrifice herself that the others may be saved, the colonel who had given permission to his soldiers to attack the helpless women gathered in the abbey, discovers that the girl who has given herself up is his own daughter, and the order is rescinded. As the story closes we learn that the pictured tale has all been a dream, but the lesson has been driven home. In "Don Quixote." the Fine Arts studio offers one of the most pretentious pictures that has yet come from that side of the Triangle organization. De Wolf Hopper makes of the famous don a most likable chap despite his many eccentricities and weird fancies. In film form Don Quixote will undoubtedly win far more friends than he was ever able to reach through the medium of Cervantes' novel. The majority of the laughable incidents in which the odd Quixote figures in the story are not only retained in the picture, but made more impressive and interesting than they were on the printed pages. Max Davidson as Sancho Panza gives a finished performance and both Fay Tincher as Dulcinea and Julia Faye as Dorothea add much to the enjoyment of the picture. Not a little credit is also due Chester \\ ithej as Don Fernando, Rhea Mitchell as Lucinda and George Welsh as Cardino. The backgrounds throughout the whole production are most carefully chosen and the interiors are staged with an eye to detail that has seldom been equalled. The credit for the production is given to Edward Dillon but it is not hard to