Motion Picture News (Jul-Oct 1914)

48 THE MOTION PICTURE NEWS "THE MILLION-DOLLAR MYSTERY" (Thanhouser — Sixth Episode) REVIEWED BY PETER MILNE EXCITEMENT and mysten, are in no way lacking in this instalment of "The Million-Dollar Mystery," termed "The Coaching Party of the Countess." It is safe to say that nobody suspects the location of the million dollars at present. It is a problem that would prove difficult for a skilful detective, and the thousands of people throughout the country trj-ing to solve the question must find it no easy proposition. In order to lure Florence away from her protectors and to try and force her into telling the whereabouts of the THE CONSPIRATORS ENJOY THE MINUET money, the conspirators conceive a brilliant idea. But as it turns out it is not too brilliant for the butler and the faithful reporter to penetrate. The Countess invites Florence to attend a coaching party, and she, suspecting nothing, readily consents. The spectacle of the coach, laden with men and women on pleasure bent, and starting out from the beautiful home of the vanished Hargreaves, is one of the striking scenes in the picture. The butler and Jim, always suspecting the actions of the Countess, follow in a car, and track them to a distant house where a reception is under way for the party. The spectator is shown by the following scene what quite wonderful things may be done with the camera and by tinting and shading the film. The coaching party is seated about a platform, which is quite in the light, while the people are in the dark. Numerous dancers perform for the benefit of those in the picture and the audience. Fireworks are then set off. Altogether this is a pretty and excellent scene. The conspirators lure Florence to a secluded room in the middle of the house and there they hold her prisoner. But the butler and Jim have discovered a secret passage leading to the room, and by means of this they make their entrance and then all three escape, once more foiling the conspirators. "THE BIRTH OF THE STAR-SPANGLED BANNER" (Edison — Two Reels) REVIEWED BY J. BURROUGHS NOELL THIS picture, coming as it does in this year of the hundredth anniversary of the writing of the National Anthem, has unusual timeliness. At the moment all true Amerisans should be looking back with pride to the events that led to the birth of this fine song. The Edison company is performing a patriotic service in producing this drama that develops around the battle off Fort McHenry, when in the din of that early morning Francis Scott Key watched for the flag floatmg over the fort and was inspired with the sentiment of the hymn. The picture is gotten out in connection with the National Star-Spaiigled "Banner Centennial, which will be held in Baltimore, Sepl ember 6 — 13, and it will no doubt prove an effective means of publicity. Of course, every incident of the drama is not historically accurate, but that is not the aim. The historical atmosphere is what is sought for, and by this means we are given an insight into the life of those times. Costuming and settings are splendidly in keeping with the demands of the piece, and show that considerable care and study and attention have been given to them. Probabh one of the most difficult things an actress or actor has to do is to portray an historical character, because ever3-body has his own idea of just what this character was, and hence is apt to be altogether out of sympathy with the particular delineation. It's almost like playing Hamlet. But the actors who have re-enacted the trying events following the capture of Washington have succeeded almost be^-ond expectations. We see President Madison in flesh and blood, and we are not offended; Francis Scott Key stands before our eyes, and he lives up to the pictures that we have seen of him. The whole cast plays with due appreciation of the obstacles in their way, and therefore tries all the harder to achieve the task. "HEART BEATS; OR, THE USELESS CRIME" (Features Ideal — Three Reels) REVIEWED BY PETER MILNE UNCONVENTIONALITY marks the story of this picture. It dift'ers widely from most of the others released recently, and will most surely be a success because of this fact, and again because it contains more action than the usual Features Ideal production. The popular favorite, M. Lombardi, plays the leading character of the story, Richard, the butler. He is ably assisted by Mile. Adrlana Costamagna as Mazel Clarke, M. Nepoti as Arthur Linderdale, M. Mariani as Dickson, and M. Roncoroni as Arthur Morris. The acting. THE MIDNIGHT TRYST characterized by emotional stress, and identified with pictures of foreign make, is excellent. The photography and scenic effects are of the best. A well-produced fire scene appears in the latter part of the picture in which Richard, the well-meaning butler, and the crook perish. It is not a long scene, but is well done and creates a good effect coming at the time it does. A few stirring tussles between the butler and crook occur which come at opportune moments as relief from the more slower parts. Richard is given the charge of his mistress' son when she dies. The husband marries again and Richard in fear that he will leave all his money to his new wife instead of his son determines to do away with him. He thinks he has killed his master, but he survives and lets none know it. The butler lays the blame on his master's wife, but she is freed b}' a formr lover, who takes the blame. Richard meets his death while battling with a burglar. Linderdale sees that his wife is happier with her former lover and never lets her know he is alive, and lives happily with his son. The picture is an adaptation from the book by Charles Darlington.