Motion Picture News (May-Jul 1916)

June 10, 1916 MOTION PICTURE NEWS 3601 "THE DESTROYERS" (Vitagraph V-L-S-E— Five Reels) REVIEWED BY PETER MILNE THE DINER, who has been fed more or less consistently on chicken in simple form, welcomes a change to chicken a la king. We might liken a host of other pictures dealing with the same plot to simple chicken and " The Destroyers " to the more highly flavored dish. It is a notable picture and its many good points result from the talented treatment it has received in all its phases. The opening situation of the stofy sets one to guessing as to the incidents which caused it and the happy ending is nc\cr struing one right in the face at any point until it actually arrives. " The Destroyers " is an adaptation from James Oliver Curv»ood's " Peter God." It opens by introducing Josephine McCloud, a young woman lodging in a far northern village. She is loved by a member of the Northwest Mounted Police, Philip Curtis. He proposes to her and for her answer she sends him to Peter God, who has isolated himself in the wilds of the north. Curtis visits Peter God and is astonished to learn that he is Josephine's husband. Then the explanation follows. Lawlor, an enemy of McCloud's, had shattered his wife's faith in him by bringing an adventuress into play. McCloud had attempted to force a confession from his enemy that he might clear himself before his wife. The enemy had fought and in the fight had drawn a pistol with the result that the adventuress was killed and Lawler himself mortally wounded. McLoud then fled to the north, but Lawlor's dying confession had told his wife the truth and she was looking for him. Curtis tells Josephine of his whereabouts and man arid wife are reunited. It has merely been a matter of relating a familiar story ni an original way and the ultimate effect is that the whole picture seems original. Edward J. Montagne scenarioized Mr. Curwood's story and from the reviewer's standpoint has done a perfect piece, of work. The picture was produced by Ralph Ince. Mr. Ince is a director who gets results and " The Destroyers " is no exception to the rule. His scenes, the majority of them ranging between the realm of the closeup and the full scene, are executed with skill and have a smooth and untiring effect. The snow scenes are beautiful and the locations chosen with care. " The Destroyers " brings to the screen a new leading lady for Vitagraph. The trade has heard much of Lucille Lee Stewart, and this is her first appearance. As Josephine McCloud, Miss Stewart fully realizes the rather slight opportunities her part affords her. Combined with her talent for screen acting, Miss Stewart is possessed of an appealing personality and features that screen unusually well. Huntley Gordon, also a new comer to feature pictures, appears as Peter God and gives a distinctly pleasing performance. Virginia Norden, as the adventuress, adapts herself to the part excellently, while Richard Turner and John Robertson appear respectively as Curtis and Lawlor. "SAINTS AND SINNERS" (Famous Players-Paramount — Five Reels) REVIEWED BY HARVEY F. THEW IF the camera view of Henry Arthur Jones's play had no other purpose than to introduce Peggy Hyland to the American screen public, it would still rank as one of the important productions of the season. As crowded as the studios of this country are with stars, both fixed and shooting, there is still room for Peggy Hyland. England learned to appreciate her, and there is no reason why she should not reach the hearts of America. Many an actress achieves success and popularity without reaching the hearts of her audience, but Peggy Hyland's appeal is to the heart. Beauty, of a rare English sort, she has, with intelligence, artistic ability, and magnetism, and she could hardly ask for more. Space, and possibly ethics, forbid our saying just how much we like Peggy, but the reader may infer, if he pleases, that it is a whole lot ; and we will be disappointed if several million people who have not seen her yet do not agree with us before Labor Day. The play itself is conventional melodrama, with the added touches which Mr. Jones usually gives to his stories. The characters are familiar, but they are well drawn and convincing. Although the spirit of the piece — and a number of the sub-titles — are distinctly British, the architecture, scenery, and especially the railway trains, are quite American. Inasmuch as no attempt is made to locate the story, however, this in unessential. Peggy Hyland plays Letty, the daughter of a country minister. She is loved by a young farmer and courted by Fanshawe, a conscienceless man from the city. Although Peggy has resolved she will never see Fanshawe again, she really loves him, and meets him to say goodby. Through a trick he carries her to the city with him, and compromises her. Banker Hoggard, who is attempting to force the minister to become a party to a shady deal, gets evidence of this compromise, and forces the minister's resignation. The young farmer stands by, and to show his belief in Letty's innocence, publicly offers her marriage. She does not accept, but instead she and her father retire to a secluded cottage, where she supports them by sewing. Hoggard's bank fails; an epidemic of scarlet fever breaks out in the town, and Letty wins all hearts back by nursing sick children through their attack. Hoggard, fleeing fro'iii a mob of angry depositors, is protected by the minister he has wronged, and finally the old pulpit is given back to him. Letty accepts the offer of marriage from the young farmer. The cast throughout is excellent; Albert Tavernier is the minister, Hal Forde is Captain Fanshawe, William C. Lampe the young farmer, Clarence Handyside the banker, and smaller parts are played by Estar Banks and Horace Newman. The direction of James Kirkwood is deserving of high praise. "THE SORROWS OF LOVE" (Kay Bee-Triangle — Five Reels) REVIEWED BY OSCAR COOPER BESSIE Barriscale is once more seen as a nun — the garb and the character are remarkably suited to her — in this tragedy, the main incidents of which are in violent contrast to the peace of convent walls. However much one may doubt whether a nun would lay aside the veil to become one with a crowd of Italian revolutionists, inspired by a rather thinly defined impulse to make the world better, there is no denying that her action leads to a stirring series of adventures. She becomes the patron saint of the oppressed workmen, and tries to keep them from violence. She controls their leader, her lover, until a misunderstanding arises between them. They quarrel and the lover, becoming bitter, returns to his old atheistic beliefs and leads the attack on the palace. The nun rushes to the palace to warn the Prince, and the workmen are defeated in a bloody battle. The leader is mortally wounded, and he prevents his followers from attacking the nun for her betrayal of them. He forgives her, and dies. The nun goes back to the convent. All this is told in a dramatic fashion, in which Miss Barriscale's excellent abilities are put to a severe test, from which she emerges with new distinction. William Desmond is a satisfying hero, while other principal supporting roles are carried successfully by Ora Carew, Herschel Mayall and Wedgwood Nowell. From a story by Elaine Sterne and J. G. Hawks, Director Charles Giblyn worked. As to direction, the picture is not inferior to any Ince subject we have seen. Some admirable sets — including a remarkable replica of an Italian council chamber — are used. The atmosphere is gained just about perfectly. The lighting is unusually good, and the mob types are very fine. "POLICE!" (Essanay-Chaplin — Two Reels) REVIEWED BY OSCAR COOPER THOSE who believe that Chaplin's abilities are limited to the mallet, the kick and the spinal curvature walk, should see this picture. They will be disillusioned. They will see a touch of heart interest just at the end of the subject, and they will see that Charlie's stock of pantomine includes pathos as well as fooling. But, of course, the picture is mainly clever horseplay, beginning with Charlie's exit from prison, and ending with his flight from a policeman. The central incident is the burglarizing o£ a house, and it is ludicrous in the extreme. Here all the well known Chaplin tricks are brought into play. After the eccentric burglar and his pal have gathered up everything in sight, the girl (Edna Purviance) asks them not to invade the upstairs, as her mother is very ill and the shock might kill her. The pal demurs, and Charlie is forced to knock him out. This wins the girl's gratitude, so when the police arrive, she