Motion Picture News (Sept-Oct 1916)

1890 MOTION PICTURE NEWS Vol. 14. No. 12 The subtitles also contribute greatly to the amusement of the audience. The direction is in most cases good, although it seems peculiar that every performance of the shows starring Diane should he staged in Stamford. And it might have been in better taste to give the daughter of the house a more Christian sounding name than Bijou. Sam de Grasse is seen to emotionless advantage as Christy, while others are Howard Gaye, Lillian Langdon, Wilbur Higby and little Wilhelmina Siegmann. W. Christy Cabanne directed from a scenario by Granville Warwick. " HIS WIFE'S GOOD NAME " (Vitagraph-Blue Ribbon — Five Reels) REVIEWED BY PETER MILNE WHATEVER the shortcomings of this picture from a dramatic standpoint, it cannot be denied that it contains a number of very entertaining episodes, particularly the first one, which shows the romance of the two principals, Mary Ellen and Harry Weatherby. Josephine Lovett, the author, has told her story through the romance and the marriage successfully. Then she introduces Harry's father, who without much cause, it must be confessed, arranges matters so the young man sees his wife in a Weatherby's Plan Succeeds detrimental light. They separate. Mary tries suicide but is rescued by a doctor who nurses her back to health again. Harry at last discovers his father's duplicity and going to the doctor for comfort finds Mary as well. Just why the old master of finance temporarily ruined his son's happiness is not exactly clear. In the latter part of the picture, where Mary, to bide her time takes up settlement work, is done in a rather strained and awkward way, but in most other respects the offering is acceptable. Heading the cast is Lucille Lee Stewart, who as Mary creates a sympathetic impression. Huntly Gordon, though rather stiff, manages averagely with the role of Harry Weatherby, while others in the cast are Frank Currier, Jessie Miller, John Robertson and William Lytell, Jr. Director Ralph Ince has given the picture appropriate and commendable production. The camera work and lighting effects are very good. " FRIDAY THE THIRTEENTH " (PeerlessWorld — Five Reels) REVIEWED BY THEODORE OSBORN ELTONHEAD MANY liberties have been taken with Thomas W. Lawson's big story of the stock market in the picturization of " Friday the Thirteenth." In fact all that really remain are a few stock exchange scenes, which have been particularly, well done, by the way, and the title. Otherwise the picture differs little from countless melodramas built along much the same lines that have gone before. The picture reaches a logical ending at the end of the fourth reel when the battle between the two contending forces of love and revenge is ended. The action which follows in the fifth reel is non-essential and brings about a more or less flat anti-climax. Otherwise the picture has many merits and is a good example of this class of production. Emile Chautard, the director, has staged it in a careful and realistic manner. His Wall street scenes are particularly good, as well as the stock exchange scenes alreadjmentioned ; those showing the interior of brokerage offices also deserve praise for the realistic manner in which they were executed. Great care has been taken with the detailing and the continuity was well carried out. Gerda Holmes and Robert Warwick carried away the acting honors of the picture, the former as a winsome young southern girl who comes to New York to recoup her father's fortune, and the latter as a young millionaire, who rules Wall street by the dominant force of his personality. Charles Brandt was somewhat miscast as an aristocratic Virginian. His manner was far from polished and though garbed in the traditional stage southern gentleman costume, he failed in a convincing reproduction of the character he was playing. Others in the cast were Clarence Harvey as Peter Brownley, Montagu Love as Count Varneloff and Lenore Harris as Simone Brownley. The main story tells of how Beulah Sands, in order to recoup the fortune lost by her father through the double crossing of Peter Brownley, obtains a position as secretary in the latter's office. Robert Brownley, the son, and dominant factor in the concern, falls in love with her at first sight. By means of imparting secret information, Beulah enables her father to win another fortune. He then sets out to break Peter Brownley through information obtained by his daughter. During the midst of a big fight on the exchange, Beulah is caught giving secret information to her father over the telephone by Robert. He locks her in his office until the market closes, and then with the magnanimity of the victor takes her in his arms and forgives her when she confesses. An entirely unnecessary anticlimax follows in which several of the minor characters are effectually disposed of, and the picture closes to the usual happy ending when the love of the young people is made to reconcile the life long enmity of the older men. Beulah Finds a Way Out Frankly the picture has little to lift it above the ordinary run of melodramas of this class except the able manner in which it has been directed and staged. It impresses one as an attempt to benefit by the national prestige of the well-known book on which it is supposed to be based, and for the advertising value which accrues to it as a result. "WHO'S GUILTY?" SERIES PROVE POPULAR IN LOEW THEATRES THE Marcus Loew theatres have met with great success with Pathe's " Who's Guilty ? " series produced by Arrow. In a letter to the Patlie Company. Nicholas M. Schenck. Secretary of Loew's Theatrical Enterprises, says : " W e beg to advise you that your series of pictures — " Who's Guilty?' — was exhibited at our Eighty-sixth street theatre, this city, and at Loew's theatre. New Rochelle, N. Y.. and greatly pleased our audiences. , It has a very interesting story, is well acted, and admirably produced."