The Moving Picture Weekly (1917-1919)

22 ■ —THE MOVING PICTURE WEEKLY— Powerful Appeal in "Marked Men" Universal Picture With Harry Carey THERE is "much in little" in the new Universal Harry Carey Production, entitled "Marked Men." Which is merely to say that it is not an involved or complicated story, but one of the simple, direct kind which goes straight to the heart. There will perhaps always be a quarrel between different minds as to what constitutes the best art, the brilliant and showy or the simpler plots, and the answer might well be that people want both in judicious quantities. Whereas such a story as "The Great Air Robbery" thrills and astounds the spectator almost beyond measure, a production like "Marked Men" warms up the finer emotions with its human touch. Story by Peter B. Kyne. The history of "Marked Men" is brief but interesting. It appeared first as a short story, entitled "The Three Godfathers," in the Saturday Evening Post, Peter B. Kyne being the author. As a short story it attracted much comment. Later the Universal company brought it out as a short screen production for the regular program. Here again it caused much talk. The new version in six reels, under the present title, was adapted in scenario form by Tipton Steck and produced by Jack Ford. The writer agrees with many people who are inclined to rank it with the several best productions of the year. The Rise of Jack Ford. It is pleasing to note, in this connection, the strides made by Jack Ford, the young director who brought out this production. He has been cooperating with Harry Carey, the leading player of the cast, in previous subjects, and has before shown unusual skill in bringing out this performer's best abilities. In "Marked Men" he has passed all previous efforts — not only is Jack By ROBERT C. McELRAVY Ford's eye for pleasing locations in evidence, but he demonstrates a capacity for getting real drama out of situations that might easily have been skimped. The story of "Marked Men" can be told in a few words. It follows the fortunes of three escaped convicts who have entered the small desert town of Trade Rat. Here the leader, Harry, befriends a girl in a dance hall. He is planning to marry her and reform, when one of his pals informs him that the sheriff is wise and that they must make a speedy getaway. "Just one more job before we go," is the plea of his pals, and Harry finds himself unwillingly taking part in a bank robbery. The Desert Tragedy. granted a quick pardon, on request of the sheriff to the governor. Then Harry and his girl marry and make a home for the baby. Interest Which Rises Steadily. Three contrasting forms of life are brought out in this picture in vivid style. The penitentiary scenes at the beginning are exciting and done with skill. The escape of the three pals is the result of a carefully devised scheme, which the spectator is able to follow intelligently in every detail. Then come the scenes depicting life in the desert town, which are equally convincing. Harry's interest in the girl and the awakening desire to lead a better life are admirably shown, and this gives added force to the evil circumstances which draw him back temporarily into criminal ways. Then come the desert scenes, which carry a steadily rising interest. With the stolen funds in their possession the men escape to the desert. Here they encounter a sand storm, their food and water run low, and they wander aimlessly on in the scorching heat. In time they chance upon a covered wagon, which contains a dying woman with a newborn child. The mother, in her last moments thinking only of the baby's future, appoints these three rough men as its godfathers. The men accept the charge with wondering eyes, marveling at the trust imposed upon them. Back over the long desert trail the men struggle, carrying the child in its swaddling clothes, feeding it the last of the store of milk the mother had given them. One of Harry's pals drops on the sand and dies; then the second does likewise, and Harry alone reaches the desert town. He staggers into the dance hall carrying the baby and the stolen money. He is returned to the penitentiary, b The Great Outstanding Feature. It has been stated by some one that the most dramatic 'moment in aill literature is that describing the manner in which Robinson Crusoe and his man Friday first discovered human footprints in the sand of their island home. But it could scarcely have been more astonishing, or more freighted with consequence than the moment when the three convicts looked into the covered wagon and found a mother with a newborn child. The development of this particular crisis is the great outstanding feature of this simple story. It has been accomplished with reverence and conviction. The influence of the child upon the rough natures of the men is immediate and leads them to sacrifice life itself, with the single exception of Harry, in order to carry out the promise made to the dying A deserved tribute to a wonderful feature which is certain to make a great many new friends for Harry Carey and thousands of new patrons for houses that play it. This tribute appeared in The Moving Picture World of January 24th.