Motion Picture News (Apr - Jun 1914)

88 THE MOTION PICTURE NEWS "THE GREYHOUND" (Life-Photo Film Corporation — Five Reels) REVIEWED BY WILLIAM RESSMAN ANDREWS T T is not usual for a motion picture company to gain the ■*■ sympathy of the spectators for the disagreeable characters in a "crook" play. This difficult achievement has been attained by the principals in the cast of "The Greyhound." The respectable people in the play fail to excite more than a passive interest, while, on the other hand, the bad ones retain a tenacious grip upon the observer throughout the five reels of splendid acting. The comic relief flashed at short intervals between the tense situations demonstrated the stage director's appreciation of contrast value and its effect on the emotions. The spirit of genuine comedy pervaded the contrasting scenes, such for instance, as the meeting of the card sharpers before going aboard ship. Arrayed in flamboyant garments they go through mirth-provoking antics which come with delightful unexpectedness. In the big scenes, like Claire Fellman's contemplated suicide, and the interview with her former sweetheart, who tries to persuade her to leave Fellman, emotional acting of a high order makes a strong appeal ; while other parts were movin.g in their uncanniness. This was particularly evident when the brutal husband imagines he sees his supposedly dead wife's ghost, which appears unexpectedly with accusing eyes and threatening finger. A welcome relief from the highly wrought incidents comes in the realistic glimpses of amusements and the daily life on board big liners. They are actual scenes taken on the "Olympic" as that huge leviathan slips from her moorings and steams gracefully down the Hudson River. The vivid picture of the crowds ori the pier, waving bon voyage to their friends, shows excellent film exposure. Elita Proctor Otis as "Deep Sea Kitty," the adventuress, played a difficult part with subtlety and adroitness. William Tooker, as Louis I'ellman, "The Greyhound," portrayed with force a character which, if assigned to a less finished actor, would not have been convincing. Catharine Carter's work in the trying part of an unloved wife merits special comment. The plot is too well known to mention here, as the play, by Paul Armstrong and Wilson Mizncr, had a successful run on Broadway a couple of years ago, and toured the country later. "THE HAND OF DESTINY" (Eclectic — Four Reels) REVIEWED BY PETER MILNE IN the minds of most people it is still a debatable question whether they have a preference for colored pictures as compared with those merely lilack and white, as long as the acting is of the best. Hiit if all the natural-color pictures were all as good as this there would no longer be any doubt in regard to this question. Artistically the picture is a revelation. The interiors are not of marked excellence, but the exteriors could not be better. For this reason some of the outdoor scenes have been lengthened to alTord the spectator a chance to take in some of their beauty. The picture was taken abroad and the wonderful scenery makes an exquisite background for the story. The story itself is slow getting started; practically the whole first reel is employed as introduction, but after this, when the plot begins to form, the picture develops into a fine drama. It is not new by any means, but most attractive. The acting is of the French variety, the story is truly American and the combination of the two is pleasing. The story : Hartley is accused of substituting counterfeit money for that of his firm; in reality it is Roger who is the wrongdoer. Twenty years later Roger's son and Hartley's daughter are brought together. Young Roger discovers that Hartley is the daughter of the convicted man, and proceeds to take advantage of it. She is protected by Chester, but Roger informs him of her father's crime. He commands her to leave him, but through the evidence of an old accomplice of Roger's father the truth is learned. "ACROSS THE ATLANTIC (Imp — Three Reels) REVIEWED BY A. DANSON MICHELL jV/fADE by Herbert Brenon and King Baggot during ^** their sojourn in England and the Continent about a year ago, when they also produced "Ivanhoe" and "Absinthe." This oicture is essentially English in every detail. The cast, aside from the two principals mentioned, are played by English actors. Aside from the fact that the picture is interesting for its plot alone, it contains so many features that its success is indisputable. The Derby race, which has just been run, is probably England's greatest sporting event. This is pictured at great length, being used as a background solely for the action of the drama. Most of the exteriors taken during this event show great crowds of people, and the principals move through these with the camera upon them in a manner which lends itself well to realism. The atmosphere naturally is perfect. In all likelihood the camera was concealed, for there is none of that aping and staring by the crowds which is so hurtful to realism. Aeroplanes also play quite a large part in the picture. In fact, the story is woven around the inventor of a flying ship. Aviators Claude Graham-White and Gustave Hamel have parts of consequence. The latter is believed at the present time to be lost in the English channel over which he attempted to fly. Wilbur, an inventor of an airship, sells his plans to the English government. They are stolen from him before delivery by some Japanese envoys. In a rage W^ilbur sets out after them. His fervor for revenge is so great, exhilarated by drink, that he believes he has murde-ed his best friend who seeks to prevent him from killing the Japanese, In reality, it is the latter who had stabbed the man. Flying to Europe he becomes a newsboy for lack of better employment. His wife follows in an attempt to find him. She hears through a tramp, who saw the stabbing, who the real murderer is. W'ilbur joins a Punchand-Judy showman and goes to the Derby race. Here he meets the Japanese again, and in a fight on the roof of a house the latter is killed by falling to the street. He meets his wife and daughter again by reco.giiizing them in the crowd watching the antics of his show. SPOKANE MAY HAVE $200000 HOUSE Special to The Motion Picture News. Spokane, Wash., June 2. Ne.gotiations are pending between William Cutts. vicepresident and manager of the Montana Amusement Company, and the Spokane & Eastern Trust Company, trustees of the George Lauman estate, which may result in the erection of a new motion picture theatre on Riverside between Wall and Post streets, west of the Crescent store.