Motion Picture Magazine (Feb-Jul 1924)

Across the Silversheet ADELE WHITELY FLETCHER It is insisted by Charles Ray's company that "'The Courtship of Myles Standish"' is his greatest achievement up to this time. With this statement Me quarrel. His "The Girl I Loved" was an infinitely greater artistic triumph, for in this simple fabric truths were woven. But now, in his determination to make a spectacle, Charles Ray seems to have lost his perspective. Enid Bennet is the demure Priscilla JNIullins THE program of "The Courtship of ^lyles Standish" \.old us that this is the most ambitious production of Charles Ray's career. That is all well and good : and we believe the word ambitious to have been used advisedly. But with the second statement of the program, that it is also his greatest achievement, we quarreh His ''The Girl I Loved" was an infinitely greater artistic triuinph, for in its simple fabric truths were woven. And in its universal appeal it proved itself a human document. When we first heard that Charles Ray was going to characterize John Alden we voted it a wise choice. Jolm Alden. that bashful swain of Colonial history, seemed a mold into which Charles Ray might pour his screen personality and with pleasant success. We thought his production would concern itself with the human triangle of John Alden, Myles Standish and Priscilla Mullins in those trying pioneer days of privation and hardship. But, in his determination to make a spectacle, Charles Ray seems to have lost his perspective. Fully half this production deals with the voyage of the Mayflower. There is a potential mutiny aboard. And it is the meek Jo h n Aide n who intimidates the piratical crew . . . and again it is the meek John w h o rescues one of the praying Pilgrim Fathers from the angry sea, which occupies hundreds of feet of film dashing over the frail craft. This does not blend with our preconceived notions of Longfellow's hero, who was so meek that he had not even the courage to ref u s e ]\I y 1 e s Standish when he sent him to plead his cause with the Priscilla of John's own heart. However, John's acquiescence to this unusual request may only indicate that he is a noble and altruistic soul who passes our very human understanding and not in any way be indicative of a meek spirit. There were several incidents which amused us even tho that was not their purpose. \\'illiam Carver, the leader of the Pilgrims, for instance, dies of exposure and starvation. But with his d3-ing breath he tells of his dream and a A'ignette of the Capitol at Washington as it stands toda}' is screened. A sentimental sop thrown out as bait to whatever hypersentimental souls happened to be in the audiences. And again when John and Priscilla fled from a horde of Indians, outnumbering them five to one, we could no longer control our mirth. John felled the brawny redmen with every shot from his blunderbuss, which he fired as rapidly as an expert marksman fires toda}' with modern firearms. And when his ammunition gave out, he resorted with amazing success to his fist. It was these things obtruding that divested the production of whatever imagery it had succeeded in creating. On another in-spite-of -itself amusing occasion John Alden and Captain !M y 1 e s Standish hewed giant trees wearing full suits of armor. At first we thought it in defense of Indian arrows — but in the next scene they walked thru the woodland in leather doublets. So . . . Without wishing to be imduly discouraging, we advise Charles Ray to center his future attention upon less ostentatious pictures. There can be no doubt that he does not reach up for laurels in vain when he compounds a character from the lovable frailties and inconsistencies and the naivete from which humanity itself is made. And the reverse is equall} true w hen he a ttempts to swashbuckle in a spectacular film. Enid Bennet is a demure Priscilla and E. Alyn Warren, a stolid ^lyles Standish . . . 49 e