Moving Picture World (Jul-Sep 1914)

THE MOVING PICTURE WORLD 1075 "Kit the Arkansaw Traveler" Kalem's Three-Part Reproduction of Chanfrau's Old Drama Makes an Unusually Good Picture. Reviewed by George Blaisdell. Wli all should be indebted to the Kalem Company for giving us this I'.ne interpretation of Frank Chanfrau's famous old story. You may. if you will, discount the fact that the writer in liis boyliood saw the elder Chanfrau as Kit and that to this day retains lively memories of that performance as well as of quite a number of the lines that were in those days used by the man in the street in the course of daily greetings. The picture was staged by Kenean Buell in Florida, with all the advantages that that section can give in the way of atmosphere — chief of all Scene from "Kit, the Arkansaw Traveler" (Kalem). l>cing the great river steamer on which some of the more thrilling of the incidents took place. Jere Austin makes a line Kit Redding; he has the physique and the bearing that match the demands of the character. He is adequate as the woodsman and trapper; but he shows to real advantage as the traveler experienced in the ways of the world and especially so with the ways of river gamblers. Ben Ross plays Manuel Bond, the scoundrel who brings ati'Mit the death of Mary Redding and in later j-ears uses Scene from "Kit, the Arkansaw Traveler'' (Kalem). the daughter of Mary as a decoy in his gambling operations. He is a villain of real life, not of melodrama, .-^lice Hollister is delightful in the role of Mary Redding, the girl who so romanticall}' and almost on sight marries Kit following her escape from Bond, to be abducted and brought to her death a half dozen }'ears later. Marguerite Courtot, who as .\lice Redding enters the second phase of the story as the ward of Bond, is convincing in her youthful vivacity. The importance of the Judge and the Major, who con tributed so notable a comedy element to the play, has been minimized in the picture — tliey are not even idcnlitied by sul)titlc — but nevertheless they furnish lighter touches that l>ring relief from some of the more tense situations. Ben Walker is the Judge and Sam Stillwoll the iNIajor. The three reels arc deeply interesting. There is a strong situation right at the opening of the story, as Bond, intrusted by the parents of Mary with the temporary guardianship of the daughter, violates the confidence and attempts to force his attentions on the girl. Her escape through the window of the hotel, her refuge with the family traveling across country, her meeting with Kit and marriage are quickly shown. The visit a half dozen years later of Bond and his abduction of the wife and five-year-old daughter provide thrills. The meeting of Kit with Bond after a lapse •of fifteen years is the be^iinning of a series of rapid, cunmlating events that end with the death of the gambler, the reunion of father and daughter and incidentally the paternal blessing on another union between the daugliter and the young man who has been so devoted to her in her later trials. There are moments of pathos in this drama, as when the grown daughter boarding the steamer has her attention arrested by the lively tune played by th? Traveler on the violin he has taken from a deckhand; there is to her an unaccountaljle familiarity, a pull to it. So, too, the later chal on the boat, and the slow revelation of their relationshij). There are scenes aplenty that stir the blood in the robbing of the young n;an by the gamblers, the burning of the craft, the striking down of the Traveler, his escape on a bale of cotton, his encounter with Bond, and the short and sharp duel with Bowies. The struggling men disappear below the surface of the river; the bubbles are succeeded by the appearance and disappearance of an arm. Then slowly comes into view the head and shoulders of the Traveler. Brutal, indeed, it is; but it is unlikely there will be any complaint. "Kit the Arkansaw Traveler" is a mighty good picture. "The Devil's Fiddle" (Three Parts — Apex.) /"T^ WO of the strongest players in "Sealed Orders," the I admiral and the officer's wife, are engaged in this Apex feature. They both live up to their reputation. Another very capable artist is introduced to play the part of the weird gypsy who is an expert with the "Devil's Fiddle." The director of this feature knew how to mingle the sensational and the mysterious and the daring in very cunning proportions. The strain of gypsy blood in the beautiful Scene from "The Devils ride f^Ape.--;;. model of a painter is strangely stirred by the strains of a violin played by the master of the gypsy camp. The girl finds herself unable to resist the compelling lure of the fiddle and follov/s the fiddler who develops her wonderful dancing ability to the utmost. As an Indian dancer she becomes famous and the artist whom she loves hears of her again. The ending is unexpected and makes a powerful climax. The settings are superb and the photography of even excellence throughout. It is a meritorious production and acceptable on any program.