Moving Picture News (Jan-Dec 1911)

14 THE MOVING PICTURE NEWS denovnices him. On his way home, the Count's men set upon liira and leave liim for dead. He is found by the .daughter and retinue of a neighboring Earl, taken home and imrsed till he recovers — the battlement wall is an example of what historic background ought to be — meanwhile the Earl is seized and held for ransom — the document shown in Old English is suggestive, but not correct. The ransom is sent and the girl goes with it. The old robber Count, seeing the girl, wants her, not the ransom. Enter the Prince alone, then is shown the power of the overlord in chivalry's law, when the soldiers bow before the Prince and seize the Count. The old rascal gives up his sv^'or^i, and is sent to a monastery for the rest of his life, in order to meditate and doubtless die "in the odor of sanctity." The Prince declares his love for the girl and they, with the released Earl, march out "under crossed swords." The beauty of the settings and the acting, for instance that of the daughter, faithful in action and spirit, I fail to see why, where this film was posed, it was necessary to paint Norman interiors. In one case a real later Decorated door leads to a Norman hall. I am aware such is quite possible, but when soldiers wear nose plate helms, the architecture, even of doors, must agree. It is not to be forgotten the Count has chain armor. The whole is a fine piece of work, but it might just as well, with the wealth of resource in France, have been archaeologically correct. Only a Sister — (Melies). — This is a wholly commendable film, where a clean heart story is told. There is talk of educational films, here's one. Not how to make things, to make the money, but how a life is saved, and that from my standpoint is more than dollarism. An editor denounces gamblers. The head "squeeze" tries to ruin his son — a young fool — a noble girl, his sister, saves him by giving up her hard earned savings with which she meant to go to college. The o-irl is not only acting a heroic and splendid part, but she lives it on the screen. Love, of course, is all right, but we get too much of the up-turned eyes, and whimpering coyish slop-over sort that besmears "answers to the love lorn" in the newspaper Weeper columns. Here is strong clean, honest American family love, the foundation of national greatness. The Two Valentines — (Edison). — As an e.vample of care, just note that the Hebrew gentleman in the boarding-house reads a Hebrew newspaper. Two bashful young folk live in the same boarding-house. Each sends a valentine to the other — identical — which is to be returned if love's proposal is not accepted. Naturally each despairs. As they flee, they meet in the same trolley — curiously enough hugging their valentines. The plot demands that — and all is well. The release is apropos in time. Forgive me. there is no time in "love's sweet dream,'' it's a film to see. The exhibitor Vv'ho does not have it makes a mistake. The young lady is one who in all her roles is welcome to me. She is natural, she has none of that ''dying duck" business. She's not an everlasting whimper, nor does her mouth always express supreme discontent with the world at large. The Three Sisters — (Biograph). — Here a stage girl wdiirls in sparkling as Mumm, and as true to the vintage. An example of the "loving, loyal hearts" that throb "behind the lights." A pair of sisters don't do much at home. The third, dances in from the stage. She sizes things up; stays home and opens a dancing academy. Here the usual condescending investigating committee comes; a know-nothing crowd from Fifth looking after Third. There are parsons, too, one behind his "dog collar" is a man and spots one of the sisters. May. May, after the manner of her type, fixes it up to "skidoo" with a cigarette consuming decadent. The stage girl is "wise," locks May in her room and makes love to the cigarette fiend. That short skirt killed him. Curate arrives and the stage girl arranges that dishevelled May sees him. May's wrath and the way she gradually finds the curate's vest is a treat. Watch, too, her left hand and how it gets round "his reverence's neck." Rescue is the slogan of this film. By whom? The stage girl with her great, big heart, an eye-opener for "blue" cants. May, the saved, was worth saving — as every woman is. The Mirror — (Imp). — A young lady cannot make up her mind about two suitors. So she consults a lady seer; one of the young fellows outside the door hears what she has to do in order to see her future husband in a mirror; aforesaid j'oung man gets into her home and hides. The way Miss Pickford went through all the old-time incantations — sacred to All Hallows — even to the coming down stairs backwards holding a lighted candle, shows the careful study which makes for such splendid acting as she did. The mirror scene and the grand finale make up a picture far lifted from the monotonous platitudes so often inflicted upon one. The make-up and doings of the fortune teller are delightful. The Trail of the Pomes Charm— (Kalem).— This is a truly splendid production. It is full af action and the settings are magnificent. Those scenes amongst the mountains are startling in their vivid realism. One stands amid ihe glories of the Eternal hills. The love of an Indian maiden for a lonely prospector and how she delivers him from the pursuing Indians afford the theme of the story. The riding of the rescuers amidst the gorges tell of wonderful horsemanship, whilst no less does the chase down the mountainside by the Indians show what fleetness and sure-footedness mean. The acting of the jealous daughter of the Chief is remarkable in its by-play; that of Mawona, tenderly womanly, v/hilst Blue Day lived his part. But 'tis the scenery. Nature in her majesty that holds and grips. One almost felt the mountain breezes as the reel swept on. Society and the Man — (Vitagraph). — A forcefully presented story with high-class acting, staging and photographing. A man with his wife and child live happily in the country; he is summoned to the city, where he is a success. Then we see a neglected child, a bridge-playing, fashionable wife, with the inevitable "other" man and the beginning of a scandal. The husband is ruined in a "slump," the wife hears the news amidst her "friends." The sudden frost is mayhap a little over-acted, but it tells the old, old story. In the end the family are brought together once more. Here's another educational film; a real story of real life. A silent preacher more eloquent than a thousand mellifluous highly-paid orators. Well done, Vitagraph, you're living your name and doing the "Vita" end graphically. Thelma — (SeHg). — A presentation of i\Iarie Corelli's picturesque novel. The chief points are taken and a clear and connected story told. It's a tale moving on the uplands of life, such as seen and known in that sternly pure and honorable land, Norway. ]\Iany of the pictures are beautiful, none more so than the last one, where Ohif Guildmar, after the manner of his Viking ancestors, feeling death near, seizes his staff and is led to his ship, which is ser on fire and thus drifts off to Walhalla. That the whole him is a beautiful and meritorious one I gladly admit, but there are points which one cannot pass. The rocks are not a bit like the fjords, even the beach is different and so are the fields behind. The peasants are not like those I met with Bjorsen or Ibsen. I am aware how difficult such staging is; but as one who has spent many a day in Norwegian homes, it seemed the painted walls were an offence. The English interior is not a bit English. The tv/o letters are in the same hand and that such as no English lady writes. But the one thing that shows utter lack of care and is unpardonable, is in the yacht. A beautiful picture shows the yacht — it is Sir Philip's yacht, an English boat, and yet at the gaff she flies the Stars and Stripes. I admire the film, but one cannot shut one's eyes to blunders, particularly if unnecessary. The Petticoat Sheriff — (Lubin). — I fear me, this reel is not overly gallant and advise the firm to be careful when militant suffragettes prowl near. A wife opposes her husband in the election for sheriff. She is elected, through the women. Her first case is a "bad man." She disdains help, and is thoroughly humiliated by the "bad man," who completely outwits her.. However, "hubby" saves her and nobody knows. A humorous film of the best sort. Too Much Aunt — (American). — The photography is of the kind that makes watching a picture a pleasure and not a penance. The story deals with a little boy who's getting "one too many" for his parents, due to an aunt. He plays "old soldier" so that he may not go to school. The doctor soon diagnosed his case and he's bundled off with his books, in spite of Auntie's protests. "Auntie'' plays now, as she always did, roles that call for an emphatic lady beautifully. The subject is too near a recent release to be pleasant. The Heroine of '76 — (Rex). — The unfolding of the announcement and its stage setting with the final figure bringing out the trade-mark, the crown, caught the fancy of the audience at once. Clever, striking and effective the film calls for praise — unstinted praise. The acting is good, the photography is what we need and the manufacturing is what we are only too glad to see. I, for my part, gladly welcome the newcomer which from its critical performance promises so much. Queen for a Day — Vitagraph). — One of the daughters (Sic) of Anak fills the stage physically beyond a doubt. A queen for but a day. She is, in one sense of the word, a queen all the time. Bridget, the colossal cook, raises Cain in the household. She has a fortune left, then she will have none of Heinrich, the German grocer. Through an ad she seeks a title. The "tryouts'' are not satisfactory. Heinrich engages some colored men to act as his retinue whilst he poses as the King of Kullaballoo. This fetches Bridget and they're married. Then the dusky guards demand their pay, but are ignominiously expelled by "Her Majesty." Heinrich trembles but Bridget relents. The reel ends with a crash.