The Bioscope (July-Aug 1912)

438 the Bioscope, August 8, 1912. THE PICK OF THE PROGRAMMES. WHAT WE THINK OF THEM. NEVER AGAIN. It is an astonishing but indubitable fact that one rarely sees a film by the Vitagraph Company which does not contain some point or other, causing one to say to oneself, “How well that is done!” And, apart from particularities, there can be few other firms in the world with so very high an average for general excellence. The fact is, the Vitagraph Company have taken the trouble to study the medium in which they work, and have thus evolved a “style” and gained a craftsmanship which, however poor their material at the moment, always ensures a satisfactory technical result— unlike some firms who have unsteady flashes of brilliance in their best moments, but who drop woefully low between-whiles. One may usually learn something technically from a Vitagraph film, and there is no question but that other producers are influenced by their methods. The Vitagraph Company, for instance, regularly played almost all their more intimate scenes close up to the camera some time before the enhancement of effect resulting from this practice was realised at all generally. Then there is no finer stock company than Vitagraph’s; they are all artists, and they all get every ounce they can out of the parts they play. And, although there is many a Vitagraph “star,” one can rarely trace any of that objectionable “starring ” system to be found in other films, by which everything is sacrificed to the sucvess of one individual performance, at the expense of realism. Vitagraph’s films are always carefully cast, and the best-known members of their company are not ashamed to play small parts when occasion demands, with the result that one seldom finds any of that annoying “patchiness” in the playing, so destructive to the effect of the picture as a whole. And, lastly, their plots are usually good and original—probably because they are willing to pay a fair price for them. The present picture, “Never Again ” is an excellent example of Vitagraph’s conscientious, skilful methods. It is a clever, amusing little play, well acted, well produced, and well photographed. Done carelessly, it might easily have fallen flat, because its plot, though novel, is very slight, and leaves nearly everything to its interpreters. But the Vitagraph Company have made of it an excellent little farcical comedy, which could be shown anywhere without fear of missing fire. It is a film from which less experienced producers, actors, and authors should be able to learn a good deal. (Vitaeraph film. Released September 21st. Length 567 ft.) THE CURSE OF SUSPICION A better acted pen is: this | Pera u of the Londei land? Coutts Bites tice it would be difficult to find. In the principal réle Miss Wanda Treumann, that justly famous leading lady of the screen, is so good that one would enjoy the play on her account alone. There are .ew other actresses in the entire range of the picture drama who play with quite her ease, grace, and sincerity, or who can convey so much to the spectator by a slight, unobtrusive gesture or an almost imperceptible change in facial expression. The picture actor is faced with the Scylla of unnaturally exaggerated gestures on the one hand, and the Charybdis of dullness and unintelligibility on the other, and is no small proof of Miss Treumann’s skill that she manages to steer betwixt these two perilous alternatives without once endangering the success of her performance. Although Elsa, as played by Miss Treumann, dominates the play, there are several other performauces of very great merit, notably that ot Wilson, an unwholesome theatrical agent. Indeed, as we have said, it is a splendidly acted film. The plot of “The Curse of Suspicion” is a curious one, and distinctly original. It tells how a girl who has quite innocently accepted a pair of new shoes from a stranger is turned out of the house by her harsh father, who suspects the worst, and how, eventually, preserving her honour till the end, she dies in the streets. Strictly speaking, there is not a great deal of plot in the play at all, but one does not notice its slightness, because the whole thing is so well put together and so admirably interpreted. Its moral, it goes without saying, is an excellent one—“ Judge not, that ye be not judged! ”—and the story itself is a good deal more probable than some people might imagine. The last scene, where Elsa, dying, asks for the shoes which have brought her so much trouble, but for which she van have no further sentimental attachment, strikes one as a little artificial; otherwise, the play is as “true to life” as one could desire. There are many scenes which, in their way, could not be improved upon. The light comedy scene at the supper table, for instance, where Elsa tries oysters for the first time, and doe: not like them, is quite perfectly done. It might have been extended for another five minutes without being dull. Unfortunately, lack of space prevents our considering “The Curse of Suspicion ” in further detail. But it is a splendid picture ,and quite “clean” withal. (London and County Film Service. Released September 2nd. Length 2,500 ft.) fs THE MAID OF THE ALPS. It is always interesting to see the work of a new company of producers, because, however inexperienced, they are fairly certain to introduce into their work newideas sand new methods, which, although:\perhas prapy| jat| figst,pmay afterwards