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Across the Silversheet
Above, a scene from "Not Guilty," a complicated story dealing with twin brothers and their similarity in everything save character, and right, Mabel Ballin in the Hugo Ballin production, "The Journey's End," in which Mr. Ballin has pictured a story without aid of titles
"Scrap Iron," in which Charles Ray proves himself equally successful as both director and star
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New Screen Plays In Review
IF a huge sum was given for the screen rights to Schnitzler's "The Affairs of Anatol" in order that the new Cecil B. de Mille production might be, it is a glaring example of extravagance. With the characters called by other names and the main title, "Five Kisses," as was, for a time, intended, there would have been no infringement. Certainly this de luxe review of ladies
fair, boudoirs and cabarets is a far-fetched version of the sophisticated Viennese tale.
However, if you do not go prepared to take Anatol and his affairs seriously, you will be amused. Anatol must have been fabulously wealthy or else, as fellow-critic suggested, a movie star. No one else in the world could afford such a dwelling, not to mention all the trick furniture, the creations of his bride and his naughty flings.
Wallace Reid is Anatol, who becomes irritated when his wife, Vivian, played by Gloria Swanson, insists upon artistic love scenes before breakfast. He meets a school-friend of his early youth, who now goes in for rich old men and jewels. This is Wanda Hawley. He endeavors to reform her and escapes just in time to save himself from an urgent need for reforming. Discouraged, Anatol betakes himself to the country, where all is sweet and good. Here he meets the pure country maiden novelists delight in idealizing, and it is with relief that he returns to the gay White Way and one
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