Moving Picture World (Jan-Mar 1916)

618 THE MOVING PICTURE WORLD January 22, 1916 "The Misleading Lady" Essanay's Fine Production of H. S. Sheldon's Adaptation of the Goddard-Dickey Play, With Henry B. Walthall and Miss Edna Mayo in the Leading Roles. Reviewed by James S. JIcQuade. I VIEWED Essanay's production of "The Misleading Lady" twice — once in the firm's projection room at the plant and agpin, the same day, at a ni^ht presentation in the Ziegfeld Theater, on Michigan avenue, where it was making it's H^SK. ■ mH ^^^HBV ,1'i^^^^^^H -tk ^1 Pi H^^^K ^^B' r;: TBI'^B bl ^K^^^^^^B ^^^B|| "f ^tamM^^^^^Hm^l rl ^K^^^P^H 3 Inp H' ^H I ' ^^/i/ ' ^ ^"JB i m ^' fe< / .-^^ n 1.1 ' ^ ^HK-: E H._e. Scene from "The Misleading Lady" (Essanay). first run. the second viewing" being especially made in order that I might compare my own opinion of the photoplay with those of patrons, who had turned out on the most inclement night of the season to see the Ziegfeld program. It need scarcely be said that the "opinions" in this instance were expressed by the attitude of those present towards the picture, as shown by deep attention to the screen and in quiet ripples of merriment over the comedy tlement in the photoplay. Before dismissing the Ziegfeld presentation, I must congratulate the management of that house on the excellent projection of the picture. This compelling romance of the primitive methods adopted by Jack Craigen (Henry B. Walthall), the dominant character of the photoplay, to win the love of Helen Steele (Miss Edna Mayo), a young society bud who is already engaged to Henry Tracy (Sydney Ainsworth). a prominent man in her own set. might have become harrowing, harsh and forbidding to modern eyes had the role of Jack Craigen been assigned to an artist less gifted than Mr. Walthall. There is so much latitude for the display of brutal force by this character, such fine opportunity to resort to the methods of the cave man in taming the seemingly heartless Helen, that the production might easily have been made shocking to the sensibilities of refined people. Not so with Mr. Walthall in his conception and treatment of the part of Craigen. There is an abundant showing of brutality in his methods — yes; but it is brutality held in artistic restraint, and yet of sufficient force to satisfy the spectator without weakening the strong personality of the character impersonated. Indeed, I was amused to find that some of the stronghanded scenes in Craigen's mountain lodge, where Helen is subjected to Patagonian civilities (?) by that worthy, caused suppressed merriment among the spectators at the Ziegfeld. And in these cases the fine "team" acting of Miss Edna Mayo contributed largely to give the scenes a comedy tinge. The essential harshness of these scenes has also been effectively lightened by the introduction of Boney, a harmless lunatic, who has escaped from the asylum nearby the lodge and who has broken into it just in time to forestall the arrival of Craigen and the abducted Helen. Boney is admirably taken off by Harry Dunkinson, whose character acting it has been my pleasure to commend on many occasions. I cannot recall a characterization by Mr. Dunkinson that has been more happily sustained than this one. He succeeds in losing his own entity in that of the good-natured bedlamite, who imagines himself to be Napoleon, and never once betrays that he is conscious of his real self. Boney's exclamation, "Say, you must be awful crazy; they never chained me up," when he sees that Helen is chained to a staple in the floor, is delivered with all the unction of a real crazy man, and cannot fail to raise smiles and laughter wherever the picture is seen. Another apt subtitle is, "I make you a field marshal of France," which is put in the mouth of Boney when Craigen presents him with a large sword to which he has taken a liking, just before the keepers take him back to the asylum. Henry Tracey (Helen's fiance), Sidney Parker (theatrical manager), John W. Cannell (owner of the house from which Helen was abducted) and Mrs. Cannell (his wife) are cleverly impersonated by Sydney Ainsworth, Edwin Arnold, John H. Cossar and Frances Raymond, respectively, while minor characters are fittingly represented by John Junior, Grant Mitchell and Renee Clemmons. The direction of the photoplay has been ably done by Arthur Berthelet. The house party at the Cannell home reveals many fine interior sets. It is a home of luxury, and the settings are in full harmony. The garden scene by night, in which Helen paves the way to win her wager that she "will make Jack Craigen propose to her in a given time, is just the place for a man to lose his heart to a fair and designing maiden. The interior of the Craigen mountain lodge is another bit of stage craft that impresses one by its atmosphere and fittingness, and interiors showing the working den and a sitting room in the home of Sidney Parker show artistic conception and finished effort. The release was announced for Jan. 3, through V-L-S-B, Inc. "The Unwritten Law" California Company Presents a Good Adaptation of Boyle's Play — Carefully Acted and Staged. Reviewed by George Blaisdell. THE California Motion Picture Corporation has produced from a script of Captain Peacocke "The Unwritten Law," the play by Edward Milton Royle. It is in five parts. The subject is well acted and well staged. The picture will interest all the way. There are situations of real strength, and these are handled in a manner to bring out their power. The story is clearly told. At the head of the cast is Beatriz Michelena, and she is well supported by among others William Pike, Andrew Robson. Irene Outtrim and Matt Snyder. The play treats strongly of the drink evil. In the exposition of this phase of the story there is no attempt to sermonize; the action is permitted to carry its own lesson. Miss Michelena has the role of Kate Wilson, the wife of a promising lawyer. Neither husband nor wife drink. When Wilson is defeated for the governorship through the secret opposition of Larry McCarthy, one of the powers of his party whom he has offended by somewhat spectacularly refusing to join in a drink he starts on the downward path. The wife does her best to bring Wilson back to the ways of industry, but fails. McCarthy aids the wife, in little ways at first. When the husband deserts his family McCarthy presses his suit and wins the affections of the wife. It is after the divorce and the marriage of the two is arranged that McCarthy changes his mind and decides to depart with a former love. He is shot by Kate. Wilson, returning to his home, is found Scene from "The Unwritten Law" (California). by the police in the same room with the body and is arrested. It is only after the jury has agreed on his guilt that the wife is restored to normal mentality; her story on the witness stand clears the husband; the district attorney refuses to prosecute the wife. The two are reunited. Miss Michelena has a strong role and she plays it with earnestness and feeling. Mr. Pike as the husband and Mr. McCarthy as the saloon keeper with such remarkable power in state politics give careful, finished performances. Miss Outtrim as Estelle, the "lady friend" of McCarthy, who in the backroom of the saloon smokes and drinks with the proprietor, stands out. Her interpretation of this role is unusual. She shows how to be unconventional and to be charming, too. Matt Snyder as the judge is dignified, impressive. The picture contains some surprises. McCarthy, in spite of the dislike he creates in the opening scenes, as the protector of the deserted wife gradually wins the sympathy which is lost only by his unexpected reversion to Estelle. The identity of the one firing the fatal shot, too, is successfully concealed until the declaration of the wife in court. "The Unwritten Law" should be a popular picture.