Motion Picture News (Nov-Dec 1917)

December 8, 1917 MOTION PICTURE NEWS 4041 country-wide renown and there are some passages in it that will doubtless fail to penetrate far beneath the thick skin of fan satiated with the more superficial features of the day. And yet Mr. Gittens has scored a distinct success for himself, his company and the art in general, for " The Ship of Doom " reflects a knowledge, a comprehension of life, that has seldom if ever before shone forth from the screen. The central character is Martin Shaw, a fisherman, who has killed for the sake of Clara, the woman he loves. His crime detected, he takes flight and Clara accompanies him. There follows suffering for both, hardships big enough to break the grip of the strongest. Fate is relentless and Martin crumples and falls from the strain of it, only to rise again, aided by the same fate that is this time kind. It is a stirring picture throughout, with the man-made justice of the courtroom for once omitted, the justice of conscience or, if you will, of God, superseding it. The episodes that lake place on the freighter of the high seas, where the cruelty of Shattuck runs amuck the action in the lifeboats and the final meting out of deserts on the far away island are filled with strong, vital action. As director Mr. Gittens has done exceeding well. The sea stuff with the mutiny and the burning of the ship to the water's edge is strikingly realistic. The types were selected with care. Monte Blue makes a thoroughly realistic and effective Martin Shaw, and Claire McDowell as the woman, acts with a skill that is rare. Frank Brownlee as Shattuck, the sea captain, contributes an unusually fine study of the relentless villain. THE STORY AND PLAYERS Martin Shaw (Monte Blue), a fisherman, kills Whittlesey (Arthur Millet) because he has insulted Clara (Claire McDowell). Forced to flee the village, where he is under suspicion, Clara accompanies him. They take refuge on a vessel bound for the South Sea Island, captained by " Sundown " Shattuck, who is the essence of brutality. Clara attracts his attention, and, though he marries the two refugees, the ceremony is little more than a joke with him. He is prevented from violating the woman, first by a mutiny of his men, and second by a fire which, breaking out in the hold, completely destroys the vessel. Shattuck, Clara and Martin are in the same lifeboat with four or five sailors. The boat is too heavy and so they draw lots to see who will go overboard. Martin gets the broken match. He is given a keg as a buoy and left to the mercy of the waves. When a drifting row-boat is sighted, Shattuck decides that it is the place for him and Clara. Later they drift to an island where Martin has already found refuge. Shattuck again attacks Clara, but the quicksands serve her in good stead and the captain is swallowed up in them. Martin urges her to go back to civilization and leave him alone to pay for his crime, but though a rescuing party offers to take her back she stands by her husband. Three Christie Comedies (Christie — One Reel Each) REVIEWED BY JOSEPH L. KELLEY "CTEPPING OUT," "Betty Wakes Up" and "Almost Divorced " are the three late contributors of Al. Christie to the screen. They are of the straight comedy type with a dash of the slapstick element, evident in all three. Of the three " Betty Wakes Up " is the most original in story and the least interesting. " Stepping Out " is so obviously fashioned by the author, to bring about a series of events calculated to give rise to a series of humorous situations, that its humor is lost in the attempt. The comedy situations find development in a series of mix-ups occurring when two newly married couples get acquainted. " Almost Divorced " is based upon the old idea of the rich relative dying and bequeathing to his kin an amount of money providing he be married or not married — in this case both, since the climax comes when the kin is notified that the money is due in the event of his marriage. He had been notified before that he was to receive the money in the event that he wasn't married before a certain hour. The mixup resulted from a wrong interpretation of the will. No one of the comedies is above the average as sources of comedy entertainment. They are fair. The members of the cast are the brightest spots in them. Smiling Billy Mason and Betty Compson are featured in " Almost Divorced." Betty Compson is featured in " Betty Wakes Up " and Smiling Billy and Jay Belasco, supported by Ethel Lynne and Helen Leslie, do the honors in " Stepping Out." All three comedies have been given good production. The photography is of the highest order. Miss Compson is good to look upon and will brighten any production by her presence. She and Billy Mason would shine if given better stories. a A DAUGHTER OF THE GODS," with Annette Kellermann, the William Fox spectacle, which after a run at the Lyric theatre, New York, and other high-price houses throughout the country, is now to be put within the reach of the smaller exhibitor, was shown to the trade at the Lyric last week. A large audience in which there were many exhibitors attended this second trade showing. "The Small Town Guy" (Essanay — Five Reels) REVIEWED BY LISLE M. ALBRIGHT THIS is a Taylor Holmes picture, but it lacks the punch of some of his earlier efforts, such as " Efficiency Edgar's Courship " and " Fools for Luck." The story was taken from a novelette in Munsey's Magazine, entitled " A Picture of Innocence," and seems to be rather more bare of humorous possibilities than might be hoped for. At any rate, while the picture is undoubtedly good, it doesn't come up to the Taylor Holmes standard, because of the role he is forced to enact. In places it is draggy and the action lags. The Essanay star does some good character work, nevertheless, and makes one feel that he is really looking at a small town guy. There is a good deal of humor in the picture and it no doubt will appeal to a great many audiences. Helen Ferguson, who plays opposite Mr. Holmes, is certainly one of the coming stars of the screen. Her work is splendid and she seems to have the happy faculty of being able to portray emotion without ever straining or overdoing it. Fred Tiden and Mark Elliston, as the pair of crooks who make life miserable for the " small town guy," fill the roles of the lightfingered gentry extremely well and give excellent support. The fight near the end of the picture in which the " dub " lays out the city parasites with healthy wallops to the jaw is an exceptionally good piece of acting. THE STORY AND PLAYERS To their disgust, Swell Dresser (Fred Tiden) and Slim McClearn (Mark Elliston), two Chicago confidence men, are forced to stay overnight in Compton Center. Ernest Cledhill (Taylor Holmes) meets them and they get him to go to the city to make his fortune and so that his ability won't go to waste in the little burg in which he lives. They use him as a tool in soliciting funds on commission for a new clubhouse, but Ernie is too green and gets caught. The authorities, however, see his innocence and let him go, advising him to stay away from the gang. He goes back home to learn that his deceased aunt has made him her beneficiary. Ernie hesitates in telling his sweetheart, Eleanor (Helen Ferguson), about his troubles in Chicago. The two crooks return to town and try to collect " hush money," threatening him with exposure. Ernie is then swindled in a land deal, but luck saves the day when a syndicate finds it needs his property for a dam. He cleans up big, so that when the crooks come back to him for the silence bribes his fighting spirit is up and he lights into them. The story ends with Ernie attaining his heart's desire, cleared of the bigcity stain, and with Eleanor in his arms. " Tom, Dick and Harry " (Strand-Mutual — One Reel) REVIEWED BY F. G. SPENCER BILLIE RHODES is becoming more charming than ever in her single reel comedies, and this, her latest to be released, shows her off to the full. Always coquettish, she has plenty of admirers, but in this instance there are three ardent suitors trying to outdo each other to gain her winsome smile. Tom, Dick and Harry, in their endeavors to land, euchre themselves and engage in fisticuffs, while Harry (Jay Belasco), who by the way, has already married the guileless Billie several times, does so again, evidently to make it binding. It's a clever little comedy and capably carried through ; the scenic effects are fine and the release date is November 27. " Her Dog-Gone Dog " (Strand-Mutual — One Reel) REVIEWED BY F. G. SPENCER JAY BELASCO and Billie Rhodes, ever popular in their single reel comedies, score another certified success in " Her DogGone Dog." Invited to a masquerade party Billie decided, and Jay reluctantly agreed, to go as Buster Brown and " Tige," the dog, respectively. Matters would have moved smoothly had not Jay, tired of leaping and " woofing " while the rest of the crowd were spooning and otherwise enjoying themselves, so at the first opportunity he escapes from the ball room. The sight of a tramp suggested an idea to him and a few dollars convinced the Knight of the Ties, so he put on his disguise and joined the party. After having visited the refreshment room the tramp got into a fight with one of the guests and behaved with Billie and all others like a real dog. And in the meantime Jay was sleeping. Finally the hostess called up the police department. In the meantime Jay had changed clothes with the tramp and, disguised again, walks into the ballroom. He finds Billie sore at him and a policeman who wants to take him to the police station. Jay escapes and after a lively chase enters the Browns home again. The tramp too returns — is recognized by Jay, who explains to Billie. This reel contains many humorous incidents and is certain of a good reception. November 13 is the release date.