Motion Picture Classic (Jan-Aug 1919)

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Send United States stamps, coin or money order. Tour Jar of delicately scented, greaseless Hair-Dress will be promptly mailed postpaid. Send for this wonderful toilet necessity today. Send $1.00 for Three Months* Supply HAIR-DRESS CO., Dept. 72, 920 Windsor Ave., Chicago frank discourse on physical versus mental love that set even Broadway gasping, was materially aided by the David Belasco staging, the way Frances Starr sunk herself in the role of the cook who turned the head of a member of parliament, and Lionel Atwill, who portrayed the M. P. Looking back, we rather give Atwill the major share of the credit. And, glancing thru the entire season, we find nothing more deliciously charming than C. Haddon Chambers’ “The Saving Grace,” a serio-comedy of a cashiered British officer who struggles to get back in the army in order to fight the Germans. Cyril Maude played the lovable Fighting Blinn, while Laura Hope Crews gave a splendid performance as the amiable wife with the delightful feminine unlogic. We have mentioned “East Is West.” This, as somebody has said, is just the old type of “Queen of the Highbinders” melodrama done with two and a half dollar actors. But really it is something more. The authors have clinched success by making the heroine a sort of Chinese Peg o’ My Heart. Fay Bainter does her pleasingly. “Forever After” is mechanical and even crude at times, but, beneath everything, it sounded a certain note of youthful hope and longing. Utilizing the screen flash-back idea, too, helped. Alice Brady gives a compelling performance as the heroine and Conrad Nagel is decidedly promising as the hero. “Three Wise Fools” revealed the old story of the bachelor who is willed a pretty girl, only in this case three crusty old chaps are bequeathed the maid. And the usual rejuvenation comes threefold. “Daddies” presents the angle of four old bachelors who are induced to adopt war orphans. The result is the same. “The Better ’Ole,” based on Captain Bruce Bairnsfather’s now famous cartoons, was produced in Washington Square after all the commercial managers had rejected it. There it scored tremendously and ultimately it was brought up town, running all season. “The Better ’Ole” is a musical adaptation, with old Bill of the walrus mustache as the hero. Another “long-runner” of the year was Richard West and Carlyle Moore’s bizarre trick melodrama, “The Unknown Purple,” of a convict who invents a way to transform himself into a purple ray in order to get revenge. Richard Bennett played the implacable nemesis. “Sleeping Partners,” adapted from the French of Sacha Guitry, led the vanguard of the boudoir farces. This was a piquant boulevard comedy with Irene Bordoni as a French charmer and H. B. Warner as a dashing love-maker who fails. Among the best of the later farces of this type were “Please Get Married,” in which Ernest Truex and Edith Taliaferro appear, and “Up in Mabel’s Room,” which has Hazel Dawn in its cast. Samuel Shipman and Aaron Hoffman hit upon a popular theme with their “Friendly Enemies,” the comedy-drama of two German-Americans, one true blue and the other pro-fatherland until he sees the evil of his ways. Sam Bernard and Louis Mann played the contrasting dialect roles. To return briefly to the artistic side of the season: Tolstoi’s “Redemption,” adapted from an English version of “The Living Corpse,” owed a great deal to Robert Edmond Jones’ striking stage designs. Jones is now leading the upward march of America’s setting creators. “Redemption” is the story of an artistic weakling whose moral disintegration ends in suicide. Tolstoi aimed to hit society’s method of having standardized laws in handling human weaknesses and against the oppression of stupidly constituted authority. Jack Barrymore’s playing of the weakling was highly colored but effective, while Hubert Druce as a drunken egotist and Russ Whytal as a distinguished Russian nobleman gave able, excellent aid. Stuart Walker’s season of Lord Dunsany was of unusual interest. “The Laughter of the Gods” and “The Gods of the Mountains” stood out strongly. In the various Dunsany playlets McKay Morris, Margaret Mower and George Gaul contributed some brilliant playing. Winthrop Ames’ presentation of “The Betrothal” was marked by signally beautiful settings, possessing a vital vein of imagination. Particularly beautiful was the scene in the realm of unborn children. “The Jest” is of singular interest, aside from being an exceedingly effective drama, because it marks the appearance of the Barrymore brothers, who represent all that is best in our younger players. “The Jest” has wonderful stage settings created by Mr. Jones. And the best acting of the year? The Barrymores in “The Jest,” William Gillette in “Dear Brutus,” Frank Bacon in “Lightnin’,” Cyril Maude and Laura Hope Crews in “The Saving Grace,” Lionel Atwill in “Tiger, Tiger,” and McKay Morris and Margaret Mower in “The Laughter of the Gods.” To a High-Brow Critic (^Continued from page 86) catch the outlines of the two figures, when the picture fades out into a blackness from which gradually emerges the evening sky with the moon dipping behind a cloud. Another “fade-out” back to the embracing couple ; then the clouds again with the moon emerging. Another flash to earth, and then a night sky full of gleaming stars. Surely such translation of human emotions into natural pictorial symbols opens up new possibilities for the screen. Surely there is hope here of progress beyond that mere story-telling facility which has hitherto made the movie’s perfection. Surely such flashes of the spiritual illuminate a new horizon of screen art. And surely, Mr. Eaton, they must suggest to you that the screen has a not unpromising future, as well as a variegated past. Buy U. S. War Savings Stamps Kenneth Macgowan. (Eighty-eight )