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“LEGALLY DEAD”
BY CHARLES FURTHMAN; DIRECTED BY WILLIAM PARKE; CONTINUITY BY HARVEY GATES;
ART DIRECTOR, E. E. SHEELY; PHOTOGRAPHY BY RICHARD FRYER; EDITING BY F. HADDEN WARE. AT KINEMA THEATRE.
REVIEWED BY PHYLLIS STONE.
SUPERVISED B,Y EMM. ELL.
“ ‘Legally Dead’ is a picture which deals with the life-restoring qualities of adrenalin,” so the newspapers tell us. As a matter of fact, “Legally Dead” is of the old “ex-convict wrongfully accused” variety, complicated by a previous unhappy marriage, and culminating in the resuscitation of the body of the principal character who has been executed for murder, although he was innocent. There are but few original situations in it save the resurrection of a man who has been hung, the story unfolds in such a logical manner, and the value of each situation is so well developed, that the familiarity of the plot, and the weakness of many of the incidents are scarcely noticed.
The execution and the successful attempt to revivify the dead body has splendid dramatic value and the interest is never allowed to wane.
The success of the photoplay is essentially owing to the very fine direction. The unusual “twist” which was of such importance to the story was obviously extremely difficult to “get over” successfully, and for his achievement in doing so, William Parke deserves all the credit he will undoubtdely get. The handling of the fights, and the murder especially, was also excellent.
Milton Sills gives his usual capable performance, although his characterization in the earlier part of the picture is weak and lacking in understanding.
Clare Adams is very attractive as the girl — her acting becomes mechanical towards the climax.
Brandon Hurst gives an interesting characterization as the scientist, and Charles Stevenson is excellent in a role without much opportunity.
Robert Homans and Edwin Sturgis follow the conventional idea of “detective” and “crook” respectively, while Tom McGuire makes an unimportant part stand out by his genial personality.
The continuity is satisfactory, but several of the situations appear inconclusive, through too stringent cutting.
The photography is extremely good, and some very fine effects have been obtained by a continuation of settings and lighting, for which both cameraman and art director are to be congratulated.
The impulsive act which places the man into jail is not in harmony with his character, surely a more intelligible reason than mere whim or depression could have been devised?
Altogether, the only things which save the photoplay from becoming merely a “movie,” is the novelty of the climax, and the excellence of the direction, which makes it thoroughly worth while as a film, so different than the usual program pictures.
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