Moving Picture World (Jul-Sep 1914)

THE MOVING PICTURE WORLD 1077 "Uncle Tom's Cabin" World Film Corporation Releasing a Strong Portrayal of the Famous Old Story. Reviewed by George Blaisdell. THE World Film Corporation released on August 10 a live-part adaptation of "Uncle Tom's Cabin," the book that if it did not make history powerfully contributed to the making of it. As to the stage interpretation of Mrs. Stowe's work few commu.iities have been too small to have had their periodic visits from Uncle Tom troupes — no play in the last half century has reached more remote parts of the country. It is fitting that we should have a screen portrayal that treats this famous story seriously, one which reflects the atmosphere of the South and the spirit of the author of the book. Scene from "Uncle Tom's Cabin" (World Film). The picture was produced by Bob (William Robert) Daly, under the general management of J. V. Ritchey. Mr. Daly has chosen to follow the book rather than the stageversion. He has shown good judgment in his presentation; fine discrimination in depicting pathos so that it never verges on bathos — and this all the more notable by reason of the fact that of necessity he was using many colored players, a majority of whom, it is fair to assume, had had no camera Scene from "Uncle Tom's Cabin" (World Film). experience. He was particularly happy in his selection of Uncle Tom. This character was portrayed by Sam Lucas, the seventy-two-year old negro who has for years taken the part on the legitimate stage and who also has had training before the lens. Lucas is the center of interest throughout the picture. His work is dignified and displays a grasp of dramatic values. Marie Eline, long known on the screen as the "Thanhouser Kid," has the part of Little Eva. No odds need be asked on account of her childhood. Her characterization of the happy little daughter of the St. Clairs is charming, her portrayal of the decline and death is worthy of an adult. Topsy, that famous child of nature who "just growcd," is renewed to us by Boots Wall, who finely depicts the colored girl with the "ac(|uiring" habits. Irving Cummings and Teresa Michelena in the roles of George Harris and Eliza provide the dramatic interest in the earlier part of the picture. Simon Lcgree is played by Roy Applegatc. Paul Scardon is Mr. Hanley, the slave dealer. The cast, numbering twenty-four, is good throughout. It is no stage ice on wi.ich Eliza crosses the river. The real article is present in abundance. In the scene where little Eva falls overboard from the stern-wheel steamer and Uncle Tom jun.ps to the rescue there may be some inclined to criticise the detail of the action as registered by the camera. It seems that Uncle Tom could not swim and that Little Eva could, in spite of the story, and that the child was compelled to do what she could to support the old man until the cameraman jumped in and straightened inatters out. Another case of truth being stranger than fiction. We are told that the picture has been booked far ahead in New York, which would indicate that those exhibitors who have had a chance to see it liked it. That's the whole story after all. '^ '^ EARLE WILLIAMS E.\RLE WILLIAMS, the Vitagraph motion picture star, was born in Sacramento, California, February 28, 1880. His father was Agustus P. Williams, an early California settler who had emigrated from Booneville, Mo. His mother was Eva M. Paget, of the Paget family from Cincinnati. Ohio. The famous old actor, James Paget, who was at the height of his career a generation aeo. was an uncle and the only member , — -] of Mr. Williams' imme diate family connected with the profession of acting. Earle Willi&ins was educated in the O a k land Public, grammar and hi-^h schools and attended the Polytechnic College of Califor.. nia, but left before receiving his degree. His first position was as an office boy sandwiched in prior to his entering college. His first theatrical engagement was as utility man with the Baldwin-Melville Stock Company in New OrI eans, in 1901." "His principal engagements have been with the Frederick Belasco Stock Company in San Francisco and P o r t land; one year with James N e i 1 1 Stock Company; heavy with Henry Dixie in "The a .Aim.r'^fr Earle Williams. Man on the Box"; heavy with Rose Stahl in "The Chorus Lady"; juvenile in Mary Mannering's "Glorious Betsey" and with Helen Ware in "The Third Degree." His last theatrical engagement was with George Beban in "The Sign of the Rose" in vaudeville. Mr. Williams' entrance into pictures was not premeditated. The usual idleness during the summer while engaged in theatricals proved irksome, so, as a matter of passing the time, he applied for extra parts with the Vitagraph Company. Being the possessor of ideal qualifications for a motion picture actor, together with his splendid stock company training, soon permitted Mr. Williams to occupy an eiiviable position in the motion picture world. At the present time he is an international favorite, and his entire motion picture career has been with the Vitagraph Company of America. _ Some of his principal pictures are "The Christian," in which he olayed John Storm. "Love's Sunset," "Vengeance_ of Durand." "Mernories That Haunt," "Lovesick Maidens of Cuddleton," "The Dawning," "The Red Barrier." "Two Women and Two Men," "The Love of John Ruskin," "The Bond of Music," "The Test of Friendship" and "The Thumb Print."