Motion Picture News (Sept-Oct 1916)

2056 MOTION PICTURE NEWS \ol. 14. No. 13 " THE PILLORY " (Thanhouser-Pathe — Five Reels) REVIEWED BY PETER MILNE AN average picture is " The Pillory," carrying a certain amount of appeal and pointing a moral which adds considerably to the strength of the piece. Its nature can best be learned by the telling of the story, so here it is. In a small country town there lives a nameless girl who is cared for by her aunt who treats her harshly, condemning her for the sin of her mother. With her aunt's death she is driven from home by the housekeeper, a straight-laced, hatchet-faced woman whose business is spoiling the pleasure of others. The girl gets in bad company in the city and is the victim of a frame-up which brings her to court. Her accuser, the real guilty lady, breaks down when questioned by the judge's wife and confesses the other's innocence. The judge's wife learns that the girl is her own daughter and adopts her. With the announcement of her engagement, the hatchet-faced one from the country comes to town and tells the judge and all his guests the real truth about his wife and her illegitimate daughter. A separation comes and mother and child go into the slums to work for the poor. The judge refuses to forgive his wife until he learns that she has been mortally wounded by a stray shot. The daughter marries and goes on doing settlement work. The Girl Takes tlic Stand in Her Own Defense The moral of the story is brought out quite clearly and is enforced by a number of subtitles that quote the Bible. It is plainly, " Don't judge people by what they have done, but by what they are doing." This might be said in a manner more delicate but the facts of the case are there. The production was in charge of Frederic Sullivan, who has done a job betwixt and between. Mr. Sullivan can handle scenes in which a few principals appear to good effect, but when it comes to a bigger bit where a number of supernumeraries take active part he is inclined to wax unrealistic, mainly because he has all his people register the same emotion or act in unison. A more careful consideration of these scenes and his pictures would be better rounded. Florence La Badie is the star of " The Pillory " and her support consists of Marie Shotwell as the mother, George Mario as her fiance, Marie Haynes as the hatchet-faced one, and Nellie Parker Spaulding, Ethyle Cooke, Yale Benner and James Seeley. " THE GIRL FROM 'FRISCO " (Kalem-General Film — Two Reels) REVIEWED BY THEODORE OSBORN ELTONHEAD THE eighth episode in this well conceived series of a modern western girl is called the " Battle in the Dark," and is well up to the quality that has characterized the series from the beginning. The picture contains some unusually good night photography showing the destruction of a large ranch house by fire. The action throughout is exciting, reaching a climax in a stirring fight between the ranch owners and a band of Hindoo laborers. To add to the excitement and suspense the fight takes place in the burning building and the defenders are not only menaced by the bloodthirsty crowd of fanatics without, but by the falling timbers from the burning house above. Madge Merrilies, the daughter of a wealthy ranch owner, comes to Barbara Brent in great trouble, saying that a Hindoo, named Madah Singh, has acquired a mysterious control over her father, and is gradually obtaining his whole fortune. Barbara decides to spend a few days at the ranch to see what she can accomplish. She soon discovers that the Hindoo has a beautiful young girl imprisoned in the house with whom he is deluding the ranch owner relative to his mysterious powers of communicating with the spirit world. Barbara discovers the means by which the hoax is worked and effects the release of the young girl, acquiring at the same time the money box containing all of the money which the alleged mystic has been able to obtain from the ranch owner. Madah Singh soon discovers the loss and invading Barbara's rooms makes off with both the girl and the money. In the struggle he throws the lamp on the bed, setting fire to the place. He escapes in an automobile pursued by Barbara on horseback. During all of this excitement Gungha, the leader of the Hindoo laborers, has been trying to knife Madah Singh. As the latter escapes in the automobile Gungha secrets himself on the extra tire on the rear of the car and at a lonely spot in the road climbs over and kills his enemy. As a result the car is ditched. Previous to entering the house Gungha has instructed his band that if he docs not return in fifteen minutes that they are to attack. John Wallace and Barbara's father arrive just before this attack and prove valiant defenders. At the crucial moment, just as they are about to be overcome by both the fire and the invaders, the cowboj's from Wallace's ranch rush in to the rescue. The Hindoos are beaten off and the defenders are viewing the smoking ruins of the ranch house from a distance when Barbara rides up with news of Madah Singh's death and returns the stolen money. Marin Sais and True Boardman in the leading roles are pleasing, the latter proving beyond cavil that he knows how to handle his fists. He is a protean fighter in this picture. Others in the cast were Frank Jonasson, Ronald Bradbury, whose characterization of Madah Singh could have been greatly improved upon ; Karl Formes, Jr., Josephine West, Gypsy Santoris and Edward Clisbee. The direction, lighting and photography were up to the standard that has characterized the whole series. "THE LNTRIGUE" (Pallas-Pararaount — Five Reels) REVIEWED BY THEODORE OSBORN ELTONHEAD LENORE ULRICH is featured in this exciting story of European intrigue written by Julia Crawford Ivers and staged under the direction of Frank Lloyd, and it is needless to say that she is thoroughly pleasing. She is wasted, however, in a The Victory picture of this type as it provides her with little or no opportunity to act, the interest being centered in the unweaving of the plot rather than the people who are interpreting the various parts. The story is interesting and exciting in parts, in other parts an attempt has been made to achieve that subtle human touch but