Motion Picture News (Sep-Oct 1916)

xl-5$8 MOTION PICTURE NEWS Vol. 14. No. -10 “THE WOLF WOMAN” (Kay-Bee-Triangle — Five Reels) REVIEWED BY PETER MILNE IF IT is possible to brush facts aside and tread intrepidly along, believing whole-heartedly in the ancient and honorable adage. “To the pure all things are pure,” then “The Wolf Woman” and its contents will pass as entertainment of the crystalline variety. Some of us, however, refuse to countenance the application of the phrase with respect to the motion picture. A vampire picture which shows the vampire at her unclean work of destruction is not relished by, say the man who takes his wife and daughter to the theatre. That man may be hypocritical or two sided enough to sneak off and seee it by himself, but accompanied by his family— never ! Wkf' \ * , ■ Mk ■ i Another Victim of Leila’s Wiles “The Wolf Woman” features Louise Glaum as Leila Aradella, one of the most vicious soulless women ever seen on the screen by the writer. Miss Glaum plays the role well — realistically is pet'hSfp^ the right word. She wears a different gown in practically every scene, and none of them pretends to perform the correct functions of civilized wearing apparel— they are distinctly vampire creations and reveal — we blush as we write and leave the rest of the sentence to the reader’s imagination. C. Gardner Sullivan created the vehicle which presents Miss Glaum and her gowns, and also an excellently constructed story. He has defined to a nicety the workings of the minds of Leila’s principal toys. He has displayed much attention to detail and his contrasts between Leila and Adele, a woman of the opposite type, are delightful and restful to the extreme. In carrying out these points in the story Director Raymond West has fared excellently. Leila captivates a young man, Rex Walden, who wants to marry her. His brother, Franklyn, a thinking man, attempts to interfere, but Leila, tired of Rex, sets about to win Franklyn and succeeds. Rex in despair takes his life. Franklyn continues to see Leila, to the sorrow of his mother, who finally persuades Adele to interfere in her son’s behalf. Adele consents and succeeds at length by the mere matching of her own goodness against the wickedness of the other, until Franklyn’s eyes are opened. Leila, angered at Franklyn’s reformation, drinks heavily. She cuts herself on a mirror and, her face hopelessly marred, she is deserted by all the men who once idolized her. Charles Ray as Rex Walden gives a notable performance, and Wyndham Standing as Franklyn makes the most of the role. Others are Howard Hickman, Marjory Temple and Gertrude Claire. The photography and settings are quite adequate, in some instances gorgeous. The subtitles tend to run in the same vein often commented upon before in Ince subjects. They are flowery and unduly sentimental in several cases. “LITTLE MISS HAPPINESS” (Fox — Five Reels) REVIEWED BY E. DRAW THE second vehicle provided for June Caprice is a very charming story, with an unusually refreshing atmosphere, from the pen of Clarence J. Harris. The theme treats of the experiences of a girl who has passed her days surrounded by the flowers of the field and God’s pure air. June Caprice, as Lucy White, is delightful; her work is harmonious and absolutely natural. John G. Adolfi, who directed this production, has shown excellent choice in the selection of his locations. The action throughout the film is smooth and many human situations have been masterfully handled. The photography is not what we are accustomed to see from the Fox studios and the lighting in parts is indifferent. The editing of this picture has nothing to commend it and it is to be hoped that before it reaches the exhibitor several minor faults will have been rectified. Surely some explanation is necessary to show the course Max Blake is pursuing atfer he deserts his wife early in the story. Yet for no apparent reason a letter is flashed upon the screen just as the picture is ending asking for Sadie’s forgiveness. This situation has been crudely handled and is the weak spot in the production. Lucy White lives with her grandmother and earns a living for them both by selling yeast. Complications begin when Sadie Allen, daughter of a neighbor and customer of Lucy’s, returns to the home village. Sadie has been trying to make a living in the city, where she has met and married Max Barker. In time Barker tires of her and she is compelled to return home with her baby. The Baby Is Discovered To ward off her father’s anger Sadie begs Lucy to take care of the baby until things can be explained to him. Lucy, who has always loved children, is glad of the opportunity. She boldly declares to the community that she has a child of her own. She even tells this to Dave Allen, Sadie’s brother, who has just returned from college and is madly in love with her. Finally Barker comes to the village. He meets Sadie and begs her to return to him. Then she explains the whole affair to her father and Lucy’s name is cleared. Dave and Lucy are now made happy. A capable supporting cast has been brought together and includes Harry Hilliard, who is very good. Special praise should be accorded Sarah Alexander for her excellent interpretation of Grandma White. Others in the cast include Zena Keefe, Leo Kennedy, Sidney Brace, Robert Vivian and Lucia Moore. “THE LITTLE LIAR” (Fine Arts-Triangle — Five Reels) REVIEWED BY PETER MILNE DISTINCTLY a character vehicle for Mae Marsh, one which gives the star every opportunity to register the varied emotions for which she is justly famous, is “The Little Liar.” Miss Marsh is fully responsible for all the entertainment offered in the five reels. Anita Loos, who prepared the scenario, was obviously not trying to establish an epoch in photoplay writing. She understood the requirements and accomplishments of Miss Marsh and constructed her story accordingly. That the picture will please its audiences is practically a certainty, except perhaps for the fact that the ending is tragic, where