Exhibitors Herald (Jun-Sep 1919)

EXHIBITORS HERALD AND MOTOGRAPHY Olive Thomas in THE SPITE BRIDE Five-part comedy-drama; Select. Directed by Charles Gublyn. Published in August. OPINION: When Olive Thomas was assigned the "baby vamp" role in "Upstairs and Down," it was generally pronounced the sort of thing that she could do best, acclaimed the ideal role for the star. It was but natural, therefore, to expect her subsequent productions to follow that one at least in star characterization and general production design. There will be a certain amount of disappointment, therefore, when "The Spite Bride" is unreeled to those sharing that expectation. For the two plays are as different as altered story type and star role could make them. It is, however, a good picture. At least that w'll be the verdict of those who have not seen its fore-runner, and they are best qualified to judge. It lacks the breeziness, the snap and go, of the first Selznick production, but it contains a claim to heart interest that the former had not. All things considered, it is probable that the public will accept the composition as standard. SYNOPSIS : Tessa is a small town girl whose yearning for a stage career has led her to associate herself, with a vaudeville woman of wide experience, the "sister act" enjoying fair success in the city. Billy Swayne, a son of wealth, is jilted by his fiancee for a rival's greater wealth. A friend advises him to marry any convenient young lady at once, thereby heading off the embarrassment sure to result from the breaking of the engagement. At a theatre they sec Tessa and her partner, later proposing to them that Tessa marry him at once, accept a thousand dollars cash and an immediate divorce. Tessa consents for the sake of her partner, whose worthless husband has offered to permit a divorce for five hundred dollars. The wedding takes place, but the partner then demands ten thousand as the settlement price. Billy refuses to pay it and kidnaps the young ladies, keeping them aboard his yacht until fire drives them into the water and a passing ship brings them back to land. Through a lawyer the settlement is made, in the course of which Billy learns Tessa's true nature. Abandoning the stage, she becomes private secretary to Billy's mother. The happy ending is not long in coming about. Fannie Ward in OUR BETTER SELVES Five-part drama; Pathe. Directed by George Fitzmaurice. Published July 27. OPINION; The outstanding feature ol the production is the performance of Fannie Ward. Against rich backgrounds, beautiful estates crowded with well dressed men and women of the idling class, her personality, appearance and ability show to their best advantage. Scarcely less notable is the performance of Lewis J. Cody, leading the support. Stripped of his accustomed villainy, he lounges through the early portion of the play with just the right mixture of carelessness and skill. His is a performance that will work to his profit when his own productions are advertised to the public. TOM 'MOORE « ins the heart and hand of Miss Neville (Helene Chadrriek) in his latest Goldwyn play, "Heartsease." Of the story there is less to be said. Tt is beautifully told and skillfully directed. Perhaps a boiled down account of it is the best way to describe it. A penniless American marries a French woman of fashion; they drift into discord because of money matters, the war comes on and he enlists in the Secret Service, the two are caught in a captured chateau and lose their lives in the service of democracy. The war plays rather too prominent a part for the general success of the picture. But if a splendid beginning will tide the audience over the war stuff, the final verdict may not be an adverse one SYNOPSIS: Willard Standish, American idler, finds himself in love with and loved by Loyette Mervel, a French lady of fashion at whose estate he is a guest. Against his better reasoning, she convinces him that all will be well if they marry, despite his penury. They are happy until money matters press, when a quarrel results. Then the war breaks out and Willard becomes a member of the French Secret Service. In line of •duty he is wounded and seeks refuge in a convent. Germans advance and the nuns flee, Loyette arriving to succor Willard and being forced to don the garb of the sisterhood for protection. Willard is hidden and the Germans take possession. That night she learns of the plot to explode a field mine from the tower of the convent. At the critical moment she prevents this and is killed. Willard is found and nailed to the convent gate. Tom Moore in HEARTSEASE Five-part drama; Goldwyn. Directed by Harry Beaumont. Published August 17. OPINION: Though the plot is ingeniously constructed and follows Charles Klein's original stage production fairly well, none of the characters with the exception of Mr. Moore, establish any claim to the sympathies of the spectator. As a result the picture docs not hold up as well as this star's previous screer dramas. There is a marked absence o the Moore smile which won this popu lar young man his place in the sun. The plot, too, is a more or less famil iar one, concerning a stolen opera score a poor but honest composer, and th' usual villain, nursing a hatred of years Mr. Moore appears in the role of th' struggling composer while Sydney Ains worth furnishes the villainy. Rosemar Theby is Madam Neville, Alec B. Fran cis is Neville and Helene Chadwic essays the role of Miss Neville, in lov with Tom. ■ SYNOPSIS : Eric Temple has writte an opera, "Heartsease." Madame Nevill uses her influence to have an impresari examine it and while it is entrusted t her care, Sir Goeffrey, who has hate Temple since youth, steals it. In a altercation over its possession Tempi is struck upon the head and loses h: mi;,d. Geoffrey produces the opera z his own to win the hand of Miss Nevill Eric attends the premier and upon hea' ing the familiar music his mind is r< stored. Eric thereupon thrashes S Goeffrey and in disgrace he is forced t leave the country, while Eric and h sweetheart look forward to a bright fi ture. Miriam Cooper in EVANGELINE Five-part drama; Fox. Directed by R. A. Walsh. Published August 12. SYNOPSIS: It was no mean task th R. A. Walsh found himself confronto with when assigned to the productic of "Evangeline." Henry Wadswor Longfellow's American classic. A doub responsibility was his, the reproducti< of the incidents, which was compar tively simple, and the preservation of t! spirit of the poem, which called for t! work of a genius. That Walsh rose to the occasion evidenced by the production, one of t finest artistic offerings of the season. Miriam Cooper, to whom was giv the leading role, distinguished her* np less. The role was a congenial o and she has given it her best work, f bert Roscoe, Spottiswoode Aitkin, Jam Marcus and Paul Wiegel are excelle in support. It is scarcely necessary to dwell. up the advertising possibilities of the pi duction. It has long been a classic, a few there are who have passed the s( enth grade in school without making acquaintance. It is sufficient to say tl the picture will back up any claim tl is made for it. SYNOPSIS: Evangeline and Gabi young folk of the little village of Gra Pre, gain the consent of their parei and announce their wedding. On I morning that it is to occur British s •diers land in the town, summon ' Arcadians, of French descent, to church and read His Majesty's order their deportation. The marriage is tl prevented and, in the deportation, two lovers lose sight of eacli other si find their way to different localities. It leased from surveilance, each sets ' in search of the other. The search c tinues until both are old, when Gabr , victim of a pestilence, is brought to -" almshouse where Evangeline is nurse) the afflicted. Here they arc happy r a little while, when Gabriel's death curs. 62