Motion Picture Magazine (Aug 1914-Jan 1915)

The Spirit of the Play By "JUNIUS A number of letters have come to this department recently, several of which complained because Famous Players plays were classed ahead of Mutual, and because Universal was not classed ahead of Mutual. I cannot hope to please everybody. Furthermore, my classification was not intended as permanent, for, as is well known, the output of all the companies varies very much in merit each month. One point on which my correspondents seem to be almost unanimous — they prefer to see the familiar faces and brands rather than new ones. Nearly everybody enjoys most those plays in which he recognizes his old friends, and the same is true of baseball, the stage and everything. The reason that the "Lambs' Gambol" was popular was because we wanted to see John Drew, Raymond Hitchcock, De Wolf Hopper, and all the other stage stars that we knew or had heard about. This film was a disappointment, however. It should have been in one reel, rather than in three, and there was little to recommend it, except the novelty of seeing many stars of the stage in citizen's attire. This is another of those much-advertised "special features" that make a big noise and accomplish but little. It has been my misfortune lately to run into several serials, about which there has been such a tempest in a teapot. For my part, I have no interest in such things as "Lucille Love," "Perils of Pauline," "Adventures of Katherine" and "Million Dollar Mystery, ' ' and I think \:hey tend to cheapen the business. I cannot speak too highly of the type of comedy that the Essanay Company are putting out, such as George Ade 's satire, entitled "The Fable of the Good Fairy," and also of some of Kalem's, such as "Wanted — An Heir." Contrast these wholesome comedies with the general run — for example, "Bess the Detectress; or, The Dog-watch," which to me was disgusting. The mere fact that in this farce we are asked to laugh at the misfortunes of others, and particularly at the nauseating sight of numerous vomitings from seasickness, is sufficient to condemn it. By far the best comedy that has yet been produced is "Uncle Bill." It is indeed a relief to see such a high-class play, after witnessing so many of those very popular rough-and-tumble farces that mean nothing and which are all practically alike. Keystone excels in this type of farce, and some of their numerous imitators are pitifully weak and uninteresting. I note that many plays are still padded and long drawn out. Take, for example, Victor's "Beggar Prince of India," which was well photographed and well costumed, but it grew wearisome because it contained a plot that could have been fully told in one reel better than in three. To compare this with such as "My Official Wife" or with "Eagle's Mate" would be cruel. I note with pleasure a return to form of the Melies Company. Three years ago this company was producing some of our best Westerns, with Edith Storey, William Clifford and Francis Ford. Later, they deserted Westerns and took up society dramas and comedies, which were far from satisfactory, and the popular Melies brand became almost a thing of the past. Lately, however, this company has been surprising its competitors, and it has turned out some high-class society plays — among them "A Sublime Deception" — that must be ranked with those of our top-notch companies. Speaking of Westerns, G. M. Anderson's company seems to have a shade the best of the others, altho I have seen nothing quite so picturesque as Vitagraph's "The Poor Folk's Boy," in which Paul Willis, a most charming lad, was featured. 124