Moving Picture World (Apr-Jun 1917)

1142 THE MOVING PICTURE WORLD May 19, 1917 "Christus" An Artistic and Reverently Handled Representation of the Life of Christ from Cines of Rome. Reviewed by Margaret I. MacDonald. THERE have been varied and moderately successful attempts at filming that well-known chain of incidents which, according to our knowledge, were contained in the life of Christ: but none we believe has equaled in artistic and convincing treatment the production called "Christus," which Scene from "Christus" (Historic). is being exhibited to the public in the Criterion theater. New York City. This production was made by Cines, of Rome, in Palestine and Egypt on the scenes traversed by Jesus ot Nazareth during his sojourn here on earth, and are the more interesting for this reason. In this picture, in which hundreds of persons have contributed to the mob scenes and sets appropriate to time and place, have been arranged at seemingly large expense, in which no effort has been spared in making it what it is. There is evident at all times an atmosphere of love and reverence in the presentation of that character which typifies the highest plane of human existence. We venture to say that to all sects and creeds the "Christus" will prove satisfying. "Christus" is founded on the poem of the same name by the Italian poet, Fausto Salvatori, which was adapted for the screen by Maurice V. Samuels, author of "The Wanderer." The production was directed by Count Giulio Antamoro, with Giovanni Pasquali in the role of Jesus and Lydia Gys in that of Mary, the mother of Jesus. Many of the scenes of the picture are animated representations of famous paintings, among them "The Annunciation" after Beato Angelico;; "The Nativity" after Correggio; "The Baptism" after Perugino; "The Last Supper" after Leonardo; "The Pieta" after Michelangelo; "The Descent from the Cross" after Rembrandt, and "Mater Dolorosa" after Donatello. The only fault that might be found with the picture is a technical one and has to do with the too material presentation of visions. The action of the picture is smooth and realistically convincing, the characters are well cast, and the fearful tragedy of the life of the martyred Christ is in this filmed version of his story compelling in its appeal. The performance at the Criterion theater is accompanied by a beautiful musical setting consisting of excerpts from the works of Haendel, Wagner, Beethoven, Mozart, Bach, Gounod, Mendelssohn, Tschaikowsky and Saint-Saens, and is rendered by members of the Philharmonic Symphony, Boston Symphony and Metropolitan Opera House orchestras. A Couple of Mutuals "Hedda Gabler," Featuring Nance O'Neil, and "The Frame Up," Featuring William Russell, Commendable Productions. Reviewed by Margaret I. MacDonald. THE transferring of Henrick Ibsen's "Hedda Gabler" to the screen so that it will prove understandable to the ordinary individual holds serious difficulties which have to be contended with. This is the case with all of Ibsen's plays, for the reason that what they convey are impressions rather than constructive stories. These impressions are derived principally from the words which he puts into the mouths of his characters and are so pregnant with underlying meaning that to other than the thoughtful student of literature they are well-nigh meaningless. Therefore Ibsen's intention in writing his play must first be thoroughly understood by the director and then be conveyed to the screen in a manner which will enable the simplest-minded to read and understand. This is, after all, the mission of the screen. In the five-part Powell version of "Hedda Gabler" the director has worked hard to get his impression over, and in a measure he has been successful. Nance O'Neil makes an ideal Hedda Gabler, and it is not altogether Aubrie Beattie's fault that he fails to a degree in typifying the George Tesman of the Ibsen play, whose favorite expression, "Fancy that!" gives us our strongest impression of the man. A great deal, and we believe too much, has been made of the ribald scenes at Diana's, where Ejlert Loveborg finally shoots himself with the pistol given him by Hedda; while the climax of the play, where Hedda, always fond of toying with pistols, shoots herself, where Judge Brack faints, and George Tesman, Hedda's husband, unsuspectingly questions why, is forcefully pre sented. While the production as a whole has a great deal of merit, we do not recommend it for mixed audiences. To the average mind it would contain no suggestion of a nobler plane of life than that on which the coldly selfish heroine of the play is seen to move. "The Frame-Up." "The Frame-Up" is an unusually entertaining five-part comedy-drama featuring William Russell. The story does not appeal as being an especially well-constructed one, but the action is both amusing and thrilling. As the story runs, the young son of a rich man is awakened one morning from a dream of a wild drive in his racer, which, by the way, is amusingly pictured, to a resolution to take a vacation from the hard task of doing nothing. In the course of the day he rescues a young woman, the daughter of a taxicab owner, from an unscrupulous chauffeur and is offered a position by the girl's mother. In taking this position he helps to capture three yeggmen, and finally marries the girl. One of the funniest things in the picture is the wild ride taken by the young man's father in his son's automobile when in rescuing the girl he leaves "pa" to run the car himself. The car goes on a mad rampage until it runs out of gasoline and has to be towed home. This number can be presented before any audience with an assurance that it will please. "The Millionaire's Double" Lionel Barrymore Has Congenial Role in Five-Reel Photoplay Produced by Rolfe and Released by Metro. Reviewed by Edward Weitzel. THE latest Rolfe production, "The Millionaire's Double," is a highly improbable but decidedly entertaining screen romance. Lionel Barrymore, who plays the leading part, is called upon to impersonate a young millionaire who disappears during the action of the story. Later he meets a crook who notices his resemblance to the man that everyone supposes has been drowned, and is offered a chance to impersonate himself and gain possession of a part of his own fortune. The humor of the situation appeals to him and he enters into the scheme, finds it full of adventure, and rewards him by introducing him to the woman who consents to become his wife. June Mathis is the author of the story and has kept to the spirit of the theme from first reel to last. Lionel Barrymore's role is a congenial one, and he makes the character of the millionaire a high-spirited, fun-loving young gentleman, who is a near approach to the heroes of the older Dumas. There are a number of other excellently played parts in the Scene from "The Millionaire's Double" (Metro). cast. Evelyn Brent is an attractive Constance Brent and Harry S. Northrup does the heavy villain without one trace of staginess. John Smiley and H. H. Pattee are also of the elect. The picture was made under the efficient direction of Harry Davenport. "THE PHANTOM'S SECRET." Five-Reel Butterfly Production Features Mignon Anderson and Hayward Mack in Tale of Mystery and Intrigue. Reviewed by Robert C. McElravy. IN THIS second number the new Butterfly brand gets Into a better stride. "The Phantom's Secret," written by J. Grubb Alexander and directed by Charles Swickard, proves a carefully constructed, entertaining number, with a decided pull on the interest from start to finish. Mignon Anderson appears for the first time in her new connection and is given opportunity to do her best work in the part of Jeanne de Beaulieu. She does some very effective acting in depicting the complicated and harassed career of the heroine. Hayward Mack, as Franz Leroux, makes an interesting villain of the well-grooned, gentleman type.