Educational film magazine; (19-)

By Mabel G. Foster "DISRAELI" A NOTABLE contribution to the small group of really well- acted and serious motion pictures has been made by George Arliss in his screen presentation of Disraeli. Supported in part by members of the company who ap- peared with him in 1911 in the original American stage produc- tion, Mr. Arliss is surrounded by a group of skillful actors to whom "the play's the thing." Their unity of aim and artistry has resulted in a photoplay the esthetic value of which will endure for a long time. A glance into Monypenny's excellent biography of Lord Beaconsfield will show that the play differs from fact in several particulars. As Mr. Parker has stated in the foreword to the printed play, it is not historical, "but only an attempt to show a picture of the days—not so very long ago—in which Disraeli lived and some of the racial, social, and political prejudices he fought against and conquered." As such a picture, Disrmli has distinct value to students of history, lovers of the romantic side of diplomacy, and admirers of the astute prime minister. GEOG.GE^AaU9S Jo 'DlSBAETLI The story opens in that critical moment when the Khedive of Egypt, owner of a controlling block of stock in the Suez Canal and hard pressed for money, is secretly negotiating to sell out to the highest bidder.^ France the otlier owner, is in no economic position to buy the Khedive's stock, and Russia, seeing this opportunity to purchase the highroad to India, is waiting to bid the instant she knows that England has entered the field. Realizing the strategic value of the Canal, and fully aware that the Russian government, through its spy system, is watching his every move, Disra?li seeks to persuade the governor of the Bank of England to ad- vance funds necessary for the purchase, tlius bridging the period inter- vening before the opening of Parliament. Upon the governor's refusal to invest tlie nation's funds in "a ditch" already silting up Disrsli nego- tiates a loan through a Jewish banker. The banker gives Disradi a draft which he expects to cover by means of a shipment of gold from South .•\merica. Discovering that liis secret has become known to the Russian spies, Disraeli send a messenger to Cairo before the Russian negotiator ar- rives, and by means of tlie draft on the banker's expected funds the deal is closed in England's favor. Then it is learned that Russian spies have scuttled the ship bringing thp gold. Without an instant's hesitation or weakness, Disraeli summons the governor of the Bank of England and orders him to cover the loss from the funds of the bi.nk. Upon the gov- ernor's refusal, Disrasli has recourse to a magnificent "bluff" as he boldly declares, "Parliament granted the bank its charter. Parliament can withdraw the charter," adding that as prime minister he will com- mand Parliament to annul the charter if the governor refuses to save his country's honor in this emergency. The ruse is successful. The gov- ernor gives the desired draft not knowing Disrseli and Parliament have no such powers as the latter has indicated. Thus the Suez Canal becomes a British possession and Disraeli has his ambition gratified to make Queen Victoria Empress of India. Two titles may well be omitted in the presentation of this pic- ture to certain groups. One title begins "If you don't sign this," and contains an oath. The other title begins "Damn your collar." Disrceli, 5 reels. Distributed by United Artists. "THE BLOT" THIS picture champions the cause of the underpaid profes- sional worker, it being regarded as a blot on present day civilization that services requiring great devotion and a high degree of training receive less remuneration than that awarded industrial labor. The specific cases considered are those of the teacher and the minister. The message is conveyed in a story of genuine realism which gives a series of intimate glimpses into the homes of two typical college town citizens: a head worker and a hand worker. Andrew Griggs is a college professor, faithful, learned and under- paid. His next door neighbor, Oleson, is foreign-born and earns a hundred dollars a week making fashionable shoes. The contrast in well-being between the two families is most poignantly felt by tlie re- spective wives; Mrs. Griggs reaching a point of nervous despair over the bountiful supply of food enjoyed by her neighbors, while Mrs. Oleson, fundamentally jealous of her neighbor's innate refinement, flaunts succulent viands at her kitchen window to convince the professor's wife that culture does not count when it comes to supply the material needs of humanity. Mrs. Griggs suffers most through the limitations poverty imposes on her beautiful daughter Amelia who is an attendant in the local library. Amelia's health suffers from that systematic under-feeding all too com- mon among the "shabby genteel" and the nerve-wracked mother yields to temptation and takes a plump fowl from Mrs. Oleson's kitchen window. The momentary weakness si followed by restitution, but Mrs. Griggs has set forces in motion which, for a time, threaten tragedy. Eventually, however, this untoward act leads to a solution of the difficulties with the Oleson family, and the establishment of friendship based upon a com- munity of interests. Amelia has two lovers: one, Phil West, whose father is the richest man on the college board of trustees, and the other, the young, underpaid local pastor. It is Phil who voices the message of the picture when he urges his father to use his influence in increasing the salaries of the underpaid professors. Phil and the impecunious young minister are great friends. It may be supposed that the wealthy youth will find a way to aid his underpaid friend without offending the self-respect oi the latter. The picture closes with a somewhat pathetic scene of the minister in the role of rejected lover, since Amelia accepts her w-ealthy suitor. Beyond its suggestion that the rich must look out for the poor this picture offers no definite solution of a really great problem; but it cannot fail to awaken in the spectator a lively conscious- ness of the bitter problems with which some of the most useful citizens of our country are daily struggling. As a whole the picture is vivid and eminently constructive. A few small cuts are suggested: The title referring to the tailor who cuts "Pint or quart pockets;" scene of girls smoking; several short scenes of drinking; brief glimpses of shimmying. The Blot, 5 reels. Distributed by F. B. Warren Corp., 1540 Broadway, Nev York, and branch exchanges. In order to increase the demand for clingstone peaches tlie California fruit growers are distributing a film which shows the entire industry from the planting of the tree to the serving of the fruit at the dinnei table. The canning of peaches is depicted in detail. The picture was produced by the Producers' Film Company, Oroville, California, for dis- tribution in the eastern states. 13