Motography (Jan-Jun 1918)

February 9, 1918. MOTOGRAPHY 279 Mrs. Carewe goes abroad and meets Spencer traveling with a woman whom he introduces as his wife. _ In their absence the Doctor and Mrs. Spencer continue in their companionship, and when word comes that the entire touring party had perished in a fire, the Doctor and Mrs. Spencer decide to live together as man and wife. They are astounded to learn a few weeks later that Airs. Carewe had been saved and is back in the city. I J i^* iKrei? 1 ¥^+ JIm H g, I'nli \ll B ■•' ^g X* ft ■ 1 I 1 1 11 \ IP g f|jL ,^5#£i'/' s^jh BPJI Mrj. Spencer makes the divine sacrifice. As Mrs. Carewe will not divorce him, the Doctor continues to live with Mrs. Spencer, who is soon to be a mother. They leave the city for the Doctor's country home and there the child is born. Eighteen years pass and the Doctor and Mrs. Spencer have kept from their child, now a young lady, the secret of their true relationship. One day the girl brings home a young man and announces that they are to be married. The young man is introduced as Rupert Spencer Junior, and he is recognized by Mrs. Spencer as the son of her husband by his first wife. Realizing that to prevent her child's marriage would mean great unhappiness, Mrs. Spencer induces Mrs. Carewe to pose as the girl's mother. The deception is carried out and the young couple are married, the girl as the daughter of Doctor and Mrs. Carewe. 'Innocent" Fanny Ward in Her First Pathe Play. Genevieve Harris Reviewed by DATHE'S first feature starring Fanny Ward is an unusually * attractive offering, a fine introduction for Miss Ward on the new program. Taken from the stage play of the same name, the picture not only contains a role peculiarly rich in opportunity for the star, but it has a dramatic and holding story and is beautifully and fittingly staged and photographed. It is that rare thing, a picture that will go equally well in any theater, of high or low class clientele. Its appeal is universal. One hardly knows which to praise most highly, the drama itself, the star or the beautiful production. Miss Ward is remarkably fitted for the title role, for she looks and acts like the little girl she is supposed to be in the early scenes; portrays with rare skill the development of the girl's worldly instincts, in the Parisian environment, and is quite equal to the emotional scenes which form the climax of the drama. The play is taken from the A. H. Woods stage success written by George Broadhurst, in which Pauline Frederick last appeared in spoken drama. John Miltern, who played Wyndham on the stage, plays the same role in the picture. It is intensely interesting and appealing, and from the first scene to the last is vivid and dramatic. The scenes are laid in China and in Paris. The foreign atmosphere is nicely suggested The photography is beautiful. Miss Ward's costumes are elaborate and add to the beauty and interest of the picture. Armand Kalitz plays Doucet. Frederick Perry plays the father of Innocent. The story: When Innocent's dissolute father died in China, where they have lived for many }'ears, the girl is left in the care of John Wyndham, her father's best friend. Wyndham takes Innocent with him to Paris. He tries to keep the girl apart from the world he knows, but Innocent's heredity impells her to seek adventure and luxury. Louis Doucet, a gambler, meets Innocent and, _ reading the girl's true nature, determines to win her. She is willing to accept his attentions and gifts, even after she has promised to marry Wyndham, whose love she has quickly won. When Wyndham loses his fortune at Doucet's gambling palace, Innocent agrees to an elopement with the gambler, who has continually showered her with gifts. The two go to the Riviera, but are overtaken by Wyndham, who shoots Doucet. Innocent allows the suspicion of the murder to rest upon her, but makes her escape. Heartbroken and disillusioned with the life she had thought she wanted, she goes back to her old home in China. There she finds Wyndham and becomes his wife. "A Mother's Sin" Vitagraph Blue Ribbon Feature Starring Earle Williams. Released January 28. Reviewed by L. J. Bourstein OLD situations have been kindly treated and characters cleverly portrayed in this most recent Vitagraph release. Earle Williams has the leading role, that of Patrick Yardley, scion of a wealthy English countryman, whose father is bitter at the resemblance of the son to his mother, who had years before deserted husband and child. The story has for its locale a suburb of London, and the quiet country atmosphere of this section of England is maintained throughout. Ernest Maupain, a recent addition to the Vitagraph players, is the irate, stern father, and enacts the role with convincing forcefulness. A clever bit of character work is done by Charles Horton as a blackmailing valet, who carries his part to well-earned favorable comment. The story: Patrick Yardley is a spendthrift son and appeals to his father for an additional allowance with which to pay off some debts Yardley senior refuses, preferring to see his son penniless and friendless as payment for his mother's unfaithfulness years before. Patrick leaves home and his cousin Vincent becomes heir of the estate and fortune. The elder Yardley learns of an affair that Vincent has had with a young girl, and which Vincent had blamed on Patrick. The father then realizes his mistake in bequeathing his fortune to his nephew, and in his last moments makes out a new will in favor of his son. He hides the will and dies before he can reveal its hiding place. Vincent comes into the fortune and is being constantly blackmailed by a former valet of Patrick who is familiar with Vincent's affair with the girl. Celia Graham, a girl whom Patrick had courted, becomes acquainted with Vincent and because of an aspiring aunt turns her affections to Vincent with the result that they announce their betrothal. Time brings about the discovery of the new will by a barrister friend of the family, and Patrick is sent for. The estate is turned over to him, and Vincent is now the penniless one. Maxton, the valet, continues in his efforts to blackmail Vincent, who, now unable to meet the demands, becomes involved in a fight and is killed. Maxton reveals Vincent's implicity in the death of the girl he had betrayed, and Patrick's name is cleared. Celia and Patrick are again together and secure in their love for each other. Father and son quarrel.