Exhibitors Herald (Sep-Dec 1918)

EXHIBITORS HERALD AND MOTOGRAPHY Frank Keenan in "THE BELLS" Pathe drama; five parts; directed by Ernest C. Warde; published October 20 As a whole Excellent Story Very good Star Excellent Support Capable Settings Wonderful Photography Superb This is a heavy production but a great one, and despite the fact that heavy pictures are not considered the best box office attractions in war times, "The Bells" probably is an exception, for it is powerfully acted and staged and contains some of the best photographic effects ever registered by the camera. "The Bells" is taken from a play by Erckman Chartrian, and the story is tragedy pure and simple, with little comedy relief. Keenan takes the part of Mathias, an Alsatian inn-keeper. On the night before Christmas Lisparre, played by Joseph J. Dowling, demands that Keenan pay off the mortgage of the inn the following day or suffer eviction. Koveski, a Polish Jew traveler, enters the inn after Lisparre leaves, and Mathias sees him counting his hoard. The Jew is shown departing in his sleigh and Mathias is seen to pick up an ax and leave the inn. Christmas day the Jew's horse is found, but the Jew is gone. He has been murdered, it is believed, but the body cannot be found. Mathias startles Lisparre on Christmas day by paying off the mortgage. Soon the inkeeper becomes the richest man in the village and rewards Christian, captain of gendarmes, with a dowry of 20,000 francs when Christian weds his daughter. At the wedding festivities appears Gari, a mesmerist. Fearing that Gari will hypnotize him, Mathias goes to bed. In bed he dreams he is on trial for the Jew's murder and reveals that he is the slayer under the hypnotic eye of the mesmerist. Calling for Christian, he is told his son-in-law has committed suicide because of the disgrace. Awakening, he rushes downstairs and dies of shock in the presence of the guests, but with his secret still locked in his breast. Keenan does some wonderful acting; undoubtedly the best that he has ever done before. He has the support of Lois Wilson as his daughter, Edward Coxen as Christian, Ida Lewis as his wife, Bert Law as the Jew, and Carl Stockdale as Gari, all good players who do justice to their roles. Vying with the acting and plot are the snow scenes. An exhibitor is safe in advertising these scenes as wonderful, for they are all of that, and undoubtedly will be remembered long after the tragic story is forgotten. Herbert Rawlinson and Priscilla Dean in "KISS OR KILL" Universal drama; five parts; directed by Elmer Clifton; published October 21 As a whole Entertaining gtory Good Stars Well Cast Support Capable Settings Average Photography Very Good "Kiss or Kill" comes under the class of good pictures with nothing to distinguish it from countless others which have been based on the same theme— a scoundrel executor endeavoring to swindle a girl out of her just inheritance. Herbert Rawlinson and Priscilla Dean make an acceptable star team for the vehicle and the supporting cast does creditable work. The plot moves along smoothly enough and the mystery, such as it is, is well sustained. The action gets under way with Henry Warner's first attempt at purse snatching. In endeavoring to elude the police he enters the home of a Mr. Middleton. The latter engages Henry to obtain for him a valuable paper which his nephew Craig has stolen from him. The trail of the valuable paper leads to the hallroom home of Ruth Orton, who, Henry finds, is being passionately wooed by Craig. The girl discovers his presence but finds. Warner a likeable fellow and agrees to get him an invitation to the dinner at which her engagement to Craig is to be announced. Once at the dinner, through a subterfuge, Warner obtains the paper, which proves to be the will of the elder Orton leaving his entire estate to Ruth. He escapes the clutches of Middleton, makes known his perfidy to Ruth and wins the usual reward. Despite the numerous promiscuous displays of revolvers and general atmosphere of outlawry, the picture should prove an average drawing card. Bessie Barriscale in "THE HEART OF RACHAEL" Barriscale-Hodkinson drama; five parts; directed by Howard Hickman; published September 30. As a whole Excellent Story Good Star Excellent Support Very good Settings Well chosen Photography Splendid "The Heart of Rachael" is an excellent production. Bessie Barriscale, the star, is as charming as ever and throughout the five reels dominating the story with her engaging personality, acting her role with all the realism and sympathy for which she is noted. The role, moreover, is the kind for which she is best suited, that of a young matron devoted to home and family. Miss Barriscale has the advantage of strong support. Herbert Heyes plays opposite her and Herschel Mayall has a heavy role. Others prominent in the cast are Edward Coxen, Ella Hall and Gloria Hope. Miss Hope is the only weak link in the chain. She is cast as a young actress who temporarily estranges the heroine's husband. She is not suited to the role and fails to convince. This is the first of Miss Barriscale's productions at the head of her own company and augurs well for the venture. Miss Barriscale is first seen as Rachael Breckenridge, a wife who has a dissipated and overbearing husband, played by Herschel Mayall. She is compelled to get a divorce and marries a man she loves, Dr. Warren Gregory (Herbert Heyes). Six years of happiness with her new husband are rudely interrupted when Magsie Clay, an actress (Gloria Hope), wins Dr. Gregory from her. The doctor, however, tires of the actress and is reunited with his wife when she appeals to him to save the life of one of their children, who has been injured. G. M. Anderson in "RED BLOOD AND YELLOW" Golden West Production Co. drama; five parts; directed by Jesse R. Robbins; published through Sherry Service As a whole Entertaining Story Good Star Forceful Support Adequate Settings Excellent Photography Splendid G. M. Anderson, the hero of so many virile western plays of the past, is back again with his flannel shirt, corduroy trousers, high boots, handkerchief necktie, gun on the hip and all the old time "pep" of his "Broncho Billy" Es sanay days. "Red Blood and Yellow" is a wild and woolly western tale of two sons of the plains and makes very acceptable screen entertainment. One is a youth living with his invalid mother, while the other is a bad man, leader of a gang of cattle rustlers. Mr. Anderson plays both roles and does it extremely well. In several scenes the action calls for the two characters to appear in the same room, where they shake hands, exchange clothing and carry on a conversation. This feature of the picture is very well handled and contains some of the best double photography that the reviewer has ever witnessed. The cast appearing with Anderson includes Fred Church, as "Lightning Curly," and Miss Joy Lewis, as Ruth Dawson. In photography the picture stands out as a masterpiece of the cameraman's art. The long shots of horsemen riding over the hills and down steep mountain sides, with high peaks in the distance, show that careful attention has been paid to this feature of the production. The story briefly tells of an invalid mother who mourns the absence of her son Jim. Jack Enright, who cooks the meals and waits upon her, goes in search of his brother. He comes upon him just after Jim's gang has stolen a herd of cattle and a reward of $1,000 is being offered for his capture. Jack is anxious to have Jim return to his mother and thus bring her happiness and agrees to change places with him, as they look alike, except for the loss of an eye, and this Jack covers up with a black patch. The posse capture Jack and are about to hang him, when Jim's fiance, Ruth Dawson, discovers the deception and informs the men of their mistake. Jim escapes but is shot while fleeing over the back trail. Jack returns to his mother, and again donning Jim's clothes, tells her that he has come back to her, and she dies happy in the belief that Jim was with her at last. Ruth turns to the manly fellow who sacrificed so much for the cowardly Jim. 34