Exhibitors Herald (Sep-Dec 1918)

EXHIBITORS HERALD AND MOTOGRAPHY Francis McDonald in "TONY AMERICA'' Triangle drama; five parts; directed by Thomas N. Heffron, published October 6. As a whole Fair Story Depressing Star Very good Support Good Settings Adequate Photography Good This production tells of the struggles of an Italian immigrant for happiness. Marked by good acting, it probably will please patrons who like foreign themes, but the story is heavy and critical theatre goers are hardly likely to be satisfied. Francis McDonald, in the role of the immigrant, "Tony America," shows himself to be a master of characterization and many will compare his work favorably with that of George Beban. Yvonne Pavis, his principal support, does justice to her role. Others in the cast are Rae Godfrey, Herald Holland, Mrs. Harry Davenport and little Dorothy Giraci. The chief drawback to the picture is the fact that it devolves upon the infidelity of Tony's wife. With the surroundings humble, the matrimonial tragedy becomes all the more repulsive, and is scarcely relieved when at the end Tony finds happiness with a little factory girl who had befriended his child. Tony is seen first as a friendless immigrant at the boarding house of Mrs. Piccaine. Rosa Piccaine, in love with a degenerate German, marries Tony at the German's behest so francis Mcdonald in a dramatic moment from "tony AMERICA." (Triangle.) she can live unhindered by her mother. Finally the wife divorces Tony and by false evidence obtains the custody of their child Tony, grief stricken and determined upon revenge, steals the child and thrashes the German. Only his child's intervention saves the German's life. Later Tony discovers that Mamie Dean, the factory girl, cares for him as well as his little daughter, and the future for the Italian at last seems bright. Lina Cavalieri in "A WOMAN OF IMPULSE'' Paramount drama; five parts; directed by Edward Jose; published September 29 As a whole Interesting Story From the play Star Excellent Support Fair Settings Fitting Photography Splendid "A Woman of Impulse" was probably chosen as a vehicle for the beautiful Cavalieri because it offered opportunities for her to appear in a role with which she was familiar, that of an opera singer, rather than for the strength of the story. As such it answers its purpose very well. Louis K. Anspacher's play of the same name served as a foundation upon which the screen version was built, but much of the heart interest and appeal of the original has been lost in transferring it to celluloid. The subtitles are carelessly constructed and lack the punch usually contained in Paramount productions. Cavalieri appears as Leonora, a poor lace maker, who is given a musical education by a wealthy American family and soon becomes a prima donna. Count Neval, a Spaniard, falls in love with and marries her, but she refuses to give up her career. En route to America, her sister Nina meets a young American, Dr. Paul Spencer, and although in love with him, she becomes enamored of Phillip Gard iner, the son of a wealthy New Orleans woman, and while paying them a visit the count becomes jealous of Leonora, thinking an old love affair between the two has been renewed. Phillip is found dead in the garden by the count, he having been stabbed with Leonora's jeweled dagger. The confession of a servant clears matters up, however, and Nina is made happy in the doctor's arms, while the count swears never to doubt his wife again. The staging of the production has been carried out with a prodigal hand and the scenes depicting the interior of an immense opera house are true to life. Mine. Cavalieri's husband, Muratore, appears for a few moments with her in a scene from "Carmen." Others in the cast are Gertrude Robinson as Nina, Raymond Bloomer as the count, Robert Cain as Philip, Ida Waterman as Madam Gardiner, Leslie Austin as Dr. Spencer, and Corinne Uzzel as a colored servant. This feature was used to open the Riviera, Chicago's new cinema theatre and was thoroughly enjoyed by immense crowds during its three days' run. Edwin Arden and Julia Dean in "RULING PASSIONS" Schomer Photo-Play drama; seven parts; directed by Abraham S. Schomer; published State Rights As a whole A masterpiece Story , Gripping Stars Capable Support Perfect « Settings Faithful Photography Excellent Sufficient praise can scarcely be given Abraham S. Schomer for his first production. It gives encouraging promise that moving pictures can be translated from a trade to a fine art. "Ruling Passions" can be tried in the crucible of exhibitor, public and press criticism and be found pure gold. Although it is clean, wholesome, humane, symbolic and elevating, it is a great entertainment. It never descends to the sensational for an effect, but it is a thrilling and gripping human document. The story is exceptionally well written and every scene so finely developed that the spectator feels that he is eaves-looking at an intimate struggle in human hearts. Mr. Schomer is a genius for timing his effects, never spoiling the beauty of a thought or emotion for the sake of a little footage. In fact, he is to be hailed with joy and thanksgiving by everyone who appreciates artistic and refined entertainment. Edwin Arden, as John Walton, lives his part and breathes it; he never seems to act. His performance is highly natural, spontaneous and full of subtle human characterization. He demonstrates the full value of perfect pantomime. Julia Dean, as the wholesome nurse, brought to the part a freshness and glowing womanliness that is a joy forever. Claire Whitney was well cast as the cause of the havoc. Earl Schenk, the friend, was capable and convincing. G. Doan Borup, as the butler, gave a very fine, sympathetic performance. The story tells of the struggle of John Walton, who is in a bad physical condition as the result of hate and revenge in his heart. He is so disagreeable that his nurses leave him one after another. Finally the doctor sends him Miss Roland, who is capable of ministering to his mind as well as his body. She asks the man to tell her of Walton's life and finds out that he had befriended a boyhood pal when he was in dire poverty, made him his partner and introduced him to his fiancee. The friend and the girl loved each other and eloped. It turned Walton from a loving, giving man to one who delighted only in seeing misery. He determined to ruin the friend and had succeeded in pushing him to the wall when the new nurse took an understanding hand and freed him from the demon of hate and taught him a new and forgiving love. She brings the man and girl with their little baby to Walton's home. Faced by their love for each other, their sorrow over their losses and the helplessness of their baby, he begins to see the nurse's point of view. He can all the more easily forgive them, for he has learned to love the nurse for her nobility of character and knows that she loves him in return. 35