Motion Picture News (Jul-Oct 1915)

August 14, 1915. MOTION PICTURE NEWS 89 "RAGS" (Famous Players — Five Heels) REVIEWED BY WILLIAM EESSMAN ANDREWS THE effectiveness of "screen personality" in an actress is wonderfully exemplified in Mary Pickford's rendition of the character of Rags. Dusty overalls, a miner's old shirt, unkempt hair, and absence of everything feminine in dress could not prevent this elusive quality from making itself felt in her appearance in "Rags." Many of the scenes depend upon the acting solely for "putting them across," and the star rendered each scene with peculiar impressiveness. A glance, a slight turn of the head, the merest movement of the body conveyed to the audience the exact meaning intended by the scenario writer. RAGS' DEFENCE ROUTS THE BARROOM Mary Pickford's acting in this subject is so fine it may be said without exaggeration that the episodes in which she appears would be wholly intelligible if no sub-titles had been employed to carry on the action of the story. One incident may suffice for an illustration. When the unsophisticated frontier girl is kissed the first time in her life, Mary Pickford expresses first complete amazement at the significance of the hero's action. Gradually the light of comprehension dawns upon the heroine, and a few minutes after the daring young man disappears around the bend of the road, in puzzlement over her dazed wonder at his aggressive attention, a smile of understanding— and delight — spreads over her features. Impulsively the pleased child of nature turns and runs half way down the road in pursuit of the young man for another lesson in the new game, opening so many delectable possibilities for relieving the tedium of idle hours in the wilderness. But she stops abruptly. • An innate feeling of maidenly modesty suddenly warns the girl to suppress all demonstration of her budding affection, and her face instantly becomes a mask for the tumult of her heart. A bank employee, engaged to the daughter of an official of the institution, is found short in his accounts, but for her sake is allowed to leave town without prosecution. The man marries the girl just before the couple leave town for the west, where in a mining community he proves by his shiftlessness how unworthy he is of the girl. After two years she dies, leaving the husband a girl child to bring up in an atmosphere of drunken laziness. In growing up the poor girl fights against the influences of an environment anything but fit for her native refinement. "THE POWER OF PRAYER" (LuMn — Two Reels) REVIEWED BY IRENE PAGE SOLOMON LAYING stress as it does on the direct answer to fervent prayer, this picture will make a strong appeal to those of deep orthodox convictions, while the free thinkers will be inclined to scoff at so naive a moral as is here presented. L. C. Shumway is so often cast as the good young clergyman that he must play the part in his sleep. At all events, he is always good in the role, his part here as Rev. Dr. Scott being no ex ception. Melvin Mayo has good scope in the strong part of Andrew Morgan, the atheistical financier, who is converted at last. The story tells how Madeline Wilson has to give up her young sweetheart because Morgan will only save her father from ruin if the girl marries him. The wife cannot inspire her husband with faith. Neither his son's birth, nor Madeline's death, nor all the efforts of the clergyman friend have any effect on the hard man, until his boy, a little later, falls desperately ill. Everything that money can provide failing, the minister persuades Morgan to pray. As in answer, a chemist comes at that moment with a serum which cures the dying boy. The father then shows his change of heart by kissing the clergyman's cross George Routh, Velma Whitman, Robert Gray, Lyle Phillips and others are in the cast. "THE NAVAL BATTLE OF THE BLACK SEA" (Pathe News No. 62) REVIEWED BY H. S. FULD WHAT probably is the best naval war scene, or series of scenes, of the present European war, is presented here. There are about eight hundred feet of master photography, exceptionally clear and full of detail. The photographer was stationed on the flagship of the Russian squadron, and the entire battle, from the departure of the fleet at sunrise, to the attack on Sebastopol and the defending Turkish fleet, is shown in great detail. The sunrise effect as the fleet weighs anchor is especially brilliant, and cameraman is to be congratulated on having secured such an effective picture. Among the most notable scenes of the battle are the firing of the big guns on the battleships — the flash of the guns is plainly to be seen amid the cloud of smoke — the sinking of one of the Turkish battleships, her surrender, the lowering of the Turkish flag and the raising of the Russian emblem, the admiral, the Czar and his staff. "POKES AND JABS IN CLOVER" (WizardWorld— One Reel) REVIEWED BY PETER MILNE ALTHOUGH the title says "Pokes and Jabs," Jabs is conspicuous only by his absence in this slapstick number. Pokes is the main gentleman. He appears in his usual ridiculous makeup and affects the same idiotic mannerisms. All the action takes place on a farm, and while the plot is POKES GETS HIS INSPIRATION reminiscent of many others, there are several original touches that, combined with the queer antics of Pokes, lend it an air of unconventionality. Pokes' private box car lands him in an unfamiliar town, very much in need of food and amusement. He raises havoc by clothing himself in the garments of a scarecrow. It is a very good slapstick comedy, exhibiting nothing of a vulgar sort and pleases with much that is humorous.