Motion Picture News (Sept-Oct 1916)

October 14, 1916 MOTION PICTURE NEWS 2397 Three Striking Scenes from Selig's " The Crisis," Showing Geo. W. Fawcett in the Character of Silas Whipple ' THE CRISIS " (Selig-Sherman-Elhott — State Rights) REVIEWED BY THEODORE OSBORN ELTONHEAD ttT^HE Crisis " is a big picture, there can be no doubt about that, •I but as it appears on the screen it is far bigger historically, and as a vivid absorbing concrete picture of the spirit of the times for the period just antedating tlic Civil War, than it is as either a drama or a story. In fact it could hardly be called a drama in any sense of the word. It is more in the order of the historical novel, with much more emphasis given to the historical part, than to that of the novel. Adapted as it was from the novel of the same name In' Winston Churchill, it presents in a vivid and effective manner the sectional feeling so prevalent through the south just previous to the Civil War. Mr. Churchill's novel, however, was absorbingly interesting from start to finish as a novel. The picture fails in transmitting that absorbing interest to the screen. The thing that it does do, however, with a thousand times more emphasis that the novel could ever accomplish, is to depict the spirit, thought, and psychology' of the people of that period, and that section. It brings out in the most vivid manner imaginable the high feeling that was rife at the time of the Lincoln and Douglas debates, and owing to the super-excellent work of the late Sam D. Drane, vividly, and convincingly, the bigness and humanness of Lincoln both as a man and as a leader. Some of the best scenes in the whole production were those in which tbis sterling actor, who has gone to his final resting place, figured. In this picture he has made Lincoln live again, and has revivified the spirit of his bigness and of his humanity. The picture is replete with pathos, in fact there are times, when one feels that there is too much pathos. The death bed scene, when Judge Silas Wright passes into the great beyond, is one of the most effective that we have ever witnessed. As Bessie Eyton, as Virginia Carvel, sets down to the piano to play " Lead Kindly Light," his favorite hymn, it brings tears to the eyes of the most hardened. The battle scenes showing the siege and capture of Vicksburg by Grant and the bombardment of Porter's fleet in the distance were effective and convincing although they did not contain the vast distances and spectacular effects that have characterized some of the more recent pictures of spectacle proportions. Vast quantities of soldiers have been handled with good effect, with a realistic semblance of fighting characteristic of that period. The night scenes, showing the bombardment of Vicksburg, by the fleet of gun boats down in the river, were particularly effective. Thomas Santschi, as Stephen Brice, the young hero from New England, did a fine and commendable piece of work, handling the part with a dignity that was most admirable. Bessie Eyton was delightful as Virginia Carvel, petulant, self-willed, yet at the same time with a sweet appealing womanliness, that was most charming to witness. She has done quite the best work in this production of any in which we have seen her recently. George W. Fawcett did a fine bit of character work as Judge Silas Wright, while Matt B. Snyder was effective as Col. Carvel. Eugenie Bessercr was sweet and pensive, as Mrs. Brice, and Marshal Neilan was most pleasing as Clarence Colfax. Others in the case were Frank Weed, as the smooth, oily Eliphalet Hopper, Will Nachin, Sam D. Drane and Cecil Holland. The lighting and photography were exceptionally good. "THE FIRM OF GIRDLESTONE ' (Vitagraph — Five Reels) REVIEWED BY THEODORE OSBORN ELTONHEAD BANNISTER MERWIN is responsible for this adaptation from Sir Arthur Conan Doyle's story of the same name and he has accomplished a meritorious piece of work in that he has kept to the narrative style of the original story and not attemped to turn it into a drama. He has also taken infinite care with his character drawing, and there is not the least doubt at any time in the minds of those who see the production as to just the kind of people the various characters are. The original story of Conan Doyle's tells of a rich puritanical, hypocritical, London merchant, who, when lie gets into financial difficulties, first endeavors to make his ward marry his blackguard son in order that he may get possession of her fortune, and when this fails, plans to murder her, as a provision in her father's will bequeaths the money to John Girdlestone in case his daughter should die unwed. At the last moment a jealous maid masquerades as the wealthy young girl and meets the fate that was intended for her mistress. The Wrong Victim The picture has been most ably produced under the capable direction of Harold Shaw, who must be especially commended for the manner in which he selected the locations. Several scenes showing parts of London were especially fine. It does not seem possible that they could be imitated so faithfully. Charles Rock gave a faithful portrayal of the puritanical John Girdlestone. It was a fine bit of character work throughout. Fred Groves scored as Ezra, his son, while Edna Flugrath was particularly delightful as Kate Harston. the misused young ward. Others in the cast were Hay ford Hobbs as Tom Dimsdale, Wyndam Guise as Major Tobias Clutterbuck, and Molly Terraine as Rebecca. The lighting and photography were well up to the usual Vitagraph standard. Taken as a whole, it is a well conceived and well produced picture and one that no exhibitor can make a mistake in heavily advertising.