Motion Picture News (Nov 1915-Jan 1916)

November 13, 1915. MOTION PICTURE NEWS 83 "THE SENTIMENTAL LADY" (Kleine-Edison Service — Five Reels) REVIEWED BY OSCAR COOPER THERE is a real character in this screen story by Owen Davis — one we have all seen in real life — a woman of sentiment, of impulse. Around her whims the plot is built, and built so neatly that it will interest a large number of picture goers. Irene Fenwick gives a spirited interpretation of the title role. She is generally in a playful mood, but once or twice the storm clouds gather and then Miss Fenwick shows cleverly the darker side of temperament. Men who see this picture will be interested because Miss Fenwick will remind them of certain things they themselves have often encountered in the other sex; women will be sympathetic toward Miss Fenwick's role, for they will be looking into a mirror. In other words, this picture plays skillfully upon a trait in human nature. Which is absolutely vital to a successful picture of any description. The plot concerns an attempt by a conniving old man and his son to ensnare "The Sentimental Lady" in a business deal that would have brought financial disaster. A young lawyer scents the plot, and thwarts its success by taking the girl to an island, and preventing her marriage to the junior schemer. Ultimately, of course, the lady falls in love with the young attorney. The cast is pleasing, and, for the most part, convincing. Jack Devereaux, as the young attorney, has good presence, but does not always display the aggressiveness called for by his role. Frank SHE TELLS HER ITNCLE ABOUT THE YOUNG ATTORNEY Belcher, as the girl's uncle, is one of those screen actors who understand the art of being perfectly natural. The other players— John Davidson, Thomas Magrath, Richie Ling, Anna Reader, Lila Barclay, Delia Connor and Ben L. Taggart — are capable. Wood and water scenes abound in the production. Walter Edwin was the director. "THE TURN OF THE ROAD" (Vitagraph— V-L-S-E— Five Reels) REVIEWED BY HARVEY F. THEW THIS is a story of modern life as it might easily be, and sometimes is, which has a lesson for several branches of the film industry. To the exhibitor, whom it now chiefly concerns, it appears as a picture which will appeal to almost any public — it is the life which one side knows, another side imagines, and still another side has heard of. Although the local minister will be unable to place his finger on any particular spot and say it is improper, there will be thousands of his parishioners who will enjoy the entertainment keenly, simply because they feel they should not be there, and by all means it is no place for their less-sophisticated neighbors; and the less-sophisticated neighbors are sure to hear of this, and consequently sure to see the picture, which they will find thoroughly clean and even tame in the hackneyed nature of its plot, which is nothing more than the bare bones of the well-known eternal triangle. To the director it is a lesson in how much can be done with a thin story by the use of capable actors and a lot of brain work. The greatest dramatic values and the best of the heart interest are built up and projected out to the spectator by those diaphanous methods which are never put on paper. To the young free-lance writer it will be a despair, for he will realize that had he written such a story he would still have it on his hands. A young wife's school-days chum comes to visit her, and the husband becomes infatuated with the newcomer. The wife is WHEN THE ROAD WAS STRAIGHT occupied with her young son, and the husband and friend are thrown together continually. They decide to elope, and when they do so their automobile is wrecked and the girl badly injured. The wife forgivingly receives her back into her home, and during her long illness the husband realizes that he loves his wife the best after all. That is the story; it is elaborated with a number of incidents, such as a theatre and supper party, a fire and surgical operation, but the whole is very simple. It is the finished work of director and actors that make the picture good. Joseph Kilgour claims first honors, as the husband, but Naomi Childers, as the wife, and Virginia Pearson, as the friend, give excellent portrayals. Robert Gaillard, Edwina Robbins, Mabel Kelly and Bobby Connelly complete the cast. The direction is that of Tefft Johnson, and the author is Isabel Johnston. "THIS IS THE LIFE ' (Mustmg-Mutual — Three Reels) REVIEWED BY WILLIAM C. ESTY 2nd THE Buck Parvin pictures have been "sure-fire" partly because they have given the intimate details of picture making to innumerable curious fans. The third of this novel series presents an aggravated case of the well-nigh universal mania to act for the films. The many thousands of picture patrons who are innoculated with this disease will find melancholy amusement in seeing the experiences of someone else afflicted with the malady. The same good cast of the earlier releases, from Buck himself down to the tobacco-chewing property man, appears in this picture. Art Acord relinquishes the principal part to Adele Farrington, but his genial personality still pervades every foot of film. William Bertram directed the production. The wife of a successful manufacturer tires of her luxurious life and longs for the excitement of a stage career. Against the wishes of her husband, she applies for a job at the Titan studios. The director has already had an interview with her husband on the subject, and the pair have conspired to cure the stage-struck woman for all time. To ef¥ect this plan, the poor woman is made to take part in chases, fights and fires, and is forced to do all manner of strenuous feats. Thoroughly exhausted, and absolutely disgusted, the aspiring matron decides to forget her dreams of being a leading woman anywhere but in her own home. Charles Newton, John Gough, Mother Ashton, Lawrence Peyton, Charles James, Ashton Dearhold, Dixie Stratton, Hardy Gibson and Joe Massey are also in the cast.