The New York Clipper (May 1913)

28 THE NEW YORK OJl.IPf'JBIB. May 3 WONDERFUL! First ientation in America, Monday, April 2 1 Now Showing To Capacity Houses ASTOR THEATRE IJST INITE SN&A Chicago Company Opens Monday, May 5, at McVicker's Theatre READ WHAT THE NEW YORK CRITICS SAID ON TUESDAY, APRIL 22 TELEGRAPH. "QUO VADIS ?" SEEN IN STRIKING FILMS. Motion Picture* at the Astor Theatre Closely Follow the Text of the Story. BRILLIANT SCENES DEPICTED. Cohan « Harris plunged Into tie moving picture field, lust night, when they showed, at the Astor Theatre; "Quo Vadls?" an eight reel film, made ly the Clnes Company of Home, Italy, and brought Into this country by George Klelne, of Chicago, a licensee of the Motion Picture Patents Company Tbo moving picture Is an adaption of the book by tbe same name. American manufacturers will learn one thing from this film If they ever will learn It. Thot is that It la not necessary to keep tbe actors down on the ten foot line all the time. The additional perspective gained In this picture by keeping tho camera further from the players and action lends fifty per cent, to die spectacular worth of the pro- duction. Divided Into Three Acta. Tbe action of the film closely follows the book. It Is divided into three acts, the first two of which have three parts and tho last has two. Scenes at a Roman banquet, not forgetting pointed Intimations of the orgies of decadent Borne, are Introduced in the first act, together with expository action which "gets over" the germinal idea to audi- cnee that Vlnltlus. a nephew of Petronlus, who Is Nero's favorite, is deeply In love with l.ygln. a Christian girl held by Itome as a hostage. Ursus, a huge slave. Is Lygla's faithful ward, and rescues her from the un- welcome attentions of Vlnltlus. In Act II the burning of Rome is tbe main spectacle. Great columns crash to the frouud. The streets are filled with rabble, hurrying hither and thither, taking their scanty baggage with them. Red flames and black snioko fill the air. Inserted scenes show Vlultlus searching for Lygla, and Nero nt last gratifying bis desire to see Rome in flames that he might have inspiration for his Illnd. In tho Inst act tbe mammoth arena 1b un- rolled, crowded with people, with Nero in the royal box. The Christians are driven, dumbly protesting, mothers with children by their Bide among the number, Into the arena. The lions come out by a trap door. As they get about ten feet from their prey the scene shifts to Nero gloating over tbo spectacle, and then the action shows the great animals crunching the bones of the dead. Ursus Rescues the Maiden. A huge bull dashes Into tbe arena with n womnn lashed to its back. "Lygla, Lygln! I believe 1 Ob, Christ, a miracle I" cries Vlnltlus. Ursus, pushed into the arena. Bees the bull, wrestles with tbe animal and res- cues Lygla. The anger of the populace forces Nero to give tho thumbs up signal of mercy. In tbe last scenes Cbllo tells the people that it was Nero who burned Home. The Apostle l'eter and Nazarlus arc leaving Rome when the figure of the Master appears before them. "Quo vadls. Domino!" ("Whither west thou, Master?") they ask. Ilo bids them turn back. The reign of Nero Is ended. With the people In revolt be tries suicide, and one of bis followers drives tbe dagger borne. Tbe work of several of the cast Is con- spicuous. C. Cattanco as Nero, G. Serena ns Petronlus. A. Novell! as Vlnltlus, MIsb L. GiuncM as Lygla, and Mrs. A. Cattaneo as Eunice, a Greek slave, later Petronlus' mis- tress, arc especially good. Judging from the reception it received on Its first appearance, "Quo Vadls?" In motion pictures la entitled to hold and occupy, on its- merits, n legitimate place among Broad- way attractions. TIMES. "QUO VA DIS ?" A T ASTOR. MiitImk Pictures of Famous Story of Itome Shown for First Time Here. The Astor Theatre boused a moving pic- ture production for the first time yesterday, when the KlelneClnes' presentation of "Quo Vadls?" was given tbere. The pictures, which were made In Italy, followed tbe events of the successful novel of that name by Slenkle- wlcz. The presentation was divided into three acts, which took more than two hours to show. Special Incidental music was pro- vided on a mechanical orchestral player. Tbe pictures represent the most ambitious photo drama that has yet been seen here. The production hoB many spectacular scenes, and Is full of pictorial effects that ore strik- ing. One of tbe notable things about tbe pro- duction Is its success In fixing the atmosphere of the days of Nero. It Is plain that a wealth, of effort haB been spent on details, and nothing occurs to destroy the illusion. The arena scenes ore almost painful, so faith- fully do they paint a picture of ruthless cruelty. The two biggest scenes are the burning ot Rome and tbe arena scene. Both employ hundreds of people wbo are handled in a masterly manner, end the results are highly realistic. In the arena scene there are gladi- atorial combats, chariot races, more than a score of lions whose destruction of the Chris- tian martys Is managed in a way to bring gasps of horror from the audience, and flimlly the combat betaween the giant, Ursus, and the bull which carries Lygla on Its back. In none of the pictures Is there the slight- est suggestion of canvas and paint, all ot them being taken with a natural background. It Is said that e huge arena was specially built for tbe production, and the film gives visible proof of the statement. The films are fine examples of motion picture photog- raphy, all of them being perfectly lighted and free from blemish. The acting of the principals was calculated to help the illu- sion at all times, and the handling of the small army of supernumeraries admirable. If a feature moving picture production can 1)11 a Broadway theatre "Quo Vadls?" ought to be able to do It. PRESS. "QUO VADIS?" SEEN IN MOTION PICTURES . Thrilling "Movie" Drnmn Prodneed for First Time sit Astor Theatre. If any one has any doubt about the effoc- tlvcnes and dramatic power that lies In mov- ing pictures, let him hurry to the Astor The- atre and witness that movie "punch," "Quo Vadls?" A finer film production could hardly be asked than this big stroke in mo- tion picture drama that the Klelne-CInes Company shoved here for the first time yes- terday afternoon. They hill It as "the su- Sreme masterpiece of photo-drama," and one oca not feel at nil justified In contradicting this statement. Slcnklewlcz's famous story of Nero Is closely followed in a magnificent series of pictures vibrating In dramatic composition— a lifelike panorama of Nero's lime. The story Is strongly told In three acts, the first two of three parts each, and the last of two parts. The striping of "The Burning of Rome" for this photo-drama and, even more so, that of the great series of spectacles given in the Itoman amphitheatre, Is a triumph of realism. Kxcltlns; chariot races cross tho screen with sp much "go" that they make those of the circus seem like child's play in comparison. Certainly no scene the equal of that show- ing the lions let loose on the Christians in the arena has ever been shown on any stage or In any circus or other animal show. It is a marvel in photography, let alone motion pictures. But to go and enumerate tbe "big" scenes in this tremendous photo-drama would require too much space. The production Is one of those things that must be seen to be appreciated, and to see this striking film pro- duction is to appreciate the important part the photo-drama must play in the future and to be alive to Its tremendous appeal at the present time. In the making of this film dramatization of "Quo Vadls? 1 ' an exceptionally good com- Fany of actors—mostly Italians—was used. t Is a pity their names cannot be printed here, for each deserves high praise. ■ ■ SUN. "QUO VADIS?" MOVIES SUPERI OR TO PLAY. Spectacular Aspects of This Famona Drama Superbly Shown at the Astor. ROME REALLY IS BURNED, Nero's Orgies and Persecution of Christians Make TarMllna; Vlewa. No theatrical Canute has yet ordered the apprtacblng waves of movies to retreat. On the other hand, the managers seem inclined to make a virtue of necessity and open their theatres to the inevitable conquerors. There will soon be few temples of dramatic art In this city without a movie on their records. Fresh evidence of tbe wonders of the pic- tures was supplied at the Astor Theatre, yesterday afternoon. A series to illustrate Slenklewlcz's "Quo Vadls?" was shown for the first time. Daniel Frohman contends that tbe public will not grow weary of moving pictures, but of inferior specimens of their kind. The combination of outlay and skill never prodneed anything so fine as the pic- tures shown yesterday. With a good memory of several produc- tions of tbe Polish writer's novel In dramatic form. It is quite possible to say that none of them seemed to reconstruct tbe period of the play with the same completeness that these views do. Massive pillars stand in front of the house of Vlnltlus, and through tbe open doors of Petronlus' corridors the spectators glimpse a garden rich In foliage and the white orna- mentation of marble figures. The orgies of the court In Nero's palace proceed with a degree of naturalness which wonld never have been possible on the stage. Tbe crowd in front of the palace as Rome barns; the emperor bearing with astonishment their imprecations, and the Bight of Petronlus turning their affections once more to Csesar —these episodes were accomplished with a vivid Cash of reality impossible to the dra- matic stage. It was, of course, the burning of Itome which most fully revealed the capacity of tbe pictures to indicate spectacle. Through streets swept by smoke and flame rushed panic-stricken people. Houses tottered and crumbled about them as tbe flames advanced relentlessly. With striking reality is tbe burning of the city represented, and the later views of charred and ruined buildings added their effectiveness to the scenes. It was perhaps the most striking novelty ot these pictures that the backgrounds never seemed to have been created for the special purposes of these various views. Tbe action Boemed, on the other band, to be taking place In just the spots It would naturally have happened. This sense ot reality was of course secured by the trouble exercised in imparting a look of solidity to the scenes. Rome of the out-of- door pictures, especially those showing the Christians at their devotions, sometimes In moonlight and at others bathed In tbe morn- ing sunlight, were uncommon In tbelr photo- graphic quality. These pictures were presented by a com- pany of actors whose names were printed on the program qnlte as If • fhey were to appear In person on the stage of the Astor Theatre yesterday afternoon, instead of hav- ing acted these pictures in Italy. They were a competent lot, although modern In manner and appearance. One of them was Novelll, although not tbe famous Ermete. His first name began with "A." Finer moving pictures were never seen here. What a pity they are not in color! i TRIBUNE. "QUO VA DIS?" I N FILMS. Burning of Rome by Nero Thrills Audience at Astor. There are many striking and beautiful scenes In the motion picture presentation of "Quo Vadls?," which started yesterday at the Astor Theatre. Probably the most thrilling moments were those In which the burning of Rome was depicted. Crowds were seen run- ning In tbe murk, bait revealed by the waver- ing light ot the flames, while the air was filled with Indescribable sounds, the howling of wild beasts at the amphitheatre and tie crashes of falling buildings. On the whole, the narrative is too full of Incident. At tunes It Is bewildering in its rapidity, not only In tbe twinkling move- ments of the actors, bat also in tbe kaleido- scopic succession and evanescence of tbe scenes. It might be described &s scrambled history. The film would have been vastly Improved by judicious selection and em- phasis of the scenes that tell as pantomime and spectacle, such as the gladiatorial con- tests and chariot races. After the burning of Rome the thrilling passage Is the destruction of the Christians In the nrenn. Tbe victims are shown In the catacombs, from which they are taken to tbe arena by soldiers. A Bcore or more of lions are released and trot down toward their prey. Then tbe scene shifts and Nero is shown gloating over the spectacle. When the arena Is again revealed the great cats are rending what appear to be the last re- mains of the martyrs. i i HERALD. "QUO VADIS?" IS DONE IN "MOVIES'* AT THE ASTOR. Broadway Playhouse Has Its First "Film Drama" That Vividly Depicts Famous Novel. They turned the Astor Theatre Into a mo- tion picture playhouse yesterday, when for the first time In Its history a "film drama" was presented. As tbe home of animated photography the Astor Is different from the other Broadway motion picture theatres, for its attraction is perhaps the most pretentious motion picture play that has been seen here, being a dramatization of Slenklewicz's novel. "Quo Vadls?" If you wonld see Rome burn and witness the terrifying scenes which accompanied that disaster, then the new "Quo Vadls?" motion pictures fill the bill, as It were. The Klelne- Clnes Company, producers of tbe film, Is said to have obtained special permission to take many of the views, several of which were taken In the Coliseum and among the Roman catacombs. The series of conflagration scenes Is only one of the several interesting features, not the least of which are tho struggles of the Roman gladiators in the arena and the charge ot the lions among tbe Christian martyrs. The action, which follows closely the events told m the book, is rapid. Thciv were no waits while the operator was changing dims, and the intermissions between the three "acts" were about the right length. Where once an orchestra of union musicians played popular airs, a Wurlitzer organ with gilt pipes discoursed sacred music at intervals and imi- tated the roaring of a lion. Wlether tbe Italian actors who played be- fore the camera are more proficient as "movie" actors than American players Is bard to say. The spectacular features of the film, the lions, the chariot races and the burning ot Rome are what will attract persons to the Astor. EVENING WORLD. "Quo Vadls?" furnishes its own answer In moving pictures at the Astor Theatre, where this highly colored play leaps from film to film to the accompaniment of music from a mechanical organ that roars like a whole menagerie ot lions when the occasion de- mands a liarnum & Bailey obligate The pic- tures are strikingly dramatic, especially those showing the burning of Rome. Tbe actor who is seen as Cbllo Is worth watch- ing for his expression of low cunning, while the one who plays an active part on the screen as Vlnltlus brings to mind William 1'avers ham. AMERICAN. "QUO VADIS?" ON SCREEN AT T HE ASTO R. "Quo V«d!s7" as a motion picture specta- cle, was put on at the Astor Theatre yester- c'ay for an indefinite engagement, it is a magnificent work, recorded on eight reels aggregating nearly 1,000 feet. The' per- formance lasts two and a half hours. The settings are extremely elaborate. Tbe work Is said to be tbe most stupendous moving picture pageant ever staged. Tbe attendance yesterday was large and seemed well pleased. JOURNAL OF COMMERCE. "QUO VADIS?" PICTURES. The Church and the stage are drawn mighty close together In the photo-drama. "Quo Vadls?" which was given Its Initial pro- duction a* the Astor Theatre Inst evening. Wonderfully Interesting Is this masterpiece of motion pictures as presented by the Klelne- Clnes Company. For two houi'3. with only two brief Intermissions, the pictures of the religious drama follow in rapid succession, unfolding the story that Is so well known. The burning of Borne is probably tbe most remarkable moving picture, or series of pic- tures, ever shown. From the time that the torch is applied until the splendid buildings totter and fall one realistic spectacle follows another; and while Nero fiddles and the per- secuted Christians seek In vain for shelter the flames seem fairly to leap from the screen. The other "big scene" is the amphitheatre, wherein several hundred lions are turned among the cowering Christians. As a fitting climax to this sensational spectacle a lire bull with Lygla, the Christian girl, bound to his back, rushes madly about tbe great arena nntll the faithful Ursus, by his wonderful strength, twists its neck and saves tbe life of his beloved mistress. "Quo Vadls?" is really the most wonder- ful rnovinc picture entertainment ever pre- sented. The religious coloring is heightened by incidental music upon n great church or- gan. A fashionable, audience which filled the theatre was moved to wild applause at several of the most startling climaxes. The "Quo Vadis?" pictures are well worth seeing GEORGE KLEINE, 166 NO. STATE ST., CHICAGO. BOOKINGS THROUGH COHAN & HARRIS, NEW YORK, N. Y.