Motion Picture News (Nov-Dec 1917)

December 8, 1917 MOTION PICTURE NEWS 4043 minute detail. That the roue is prevented by death from obtaining his lustful desire doesn't lessen the strength of the sex element in the least nor diminish the effect. This is only mentioned in fairness to both producer and exhibitor. Probably the majority of audiences are eager for such highly seasoned entertainment and •only the very conservative will be at all likely to take offense at it. The very character of the plot is responsible for its suspense, a property of which it possesses an abundance. Its happy termination is reached logically through a sequence of exceedingly well presented and acted scenes. The presentation given it by Mr. Jose and the camera work contributed by Benjamin Struckman are admirable as to detail and ensemble. R. Peyton Gibbs contributes some excellent work as the roue, Henry Clive is a pleasing artist, and the support adequate to the last. THE STORY AND PLAYERS Arlette (Alice Brady), the nameless granddaughter of an innkeeper (Arda Le Croix) of a Brittany village, is branded a witch by the superstitious townfolk. Two strangers come to the village, Vale (Henry Clive), an artist, with whom Arlette falls in love, and Prince Boissard (R. Peyton Gibbs), a man she immediately dislikes. Learning the poverty stricken condition of Vale and realizing that the Prince, through his influence as a patron of the arts, can make him successful, Arlette finally accedes to his proposition; that providing he make Vale famous, she will give herself to him (the Prince). And so fame comes to Vale and Boissard demands his price. Meeting Vale again, Arlette's old love for him is renewed, but she agrees to stand by the bargain. But Sarthe (Edmund Pardo), servant of the Prince, who has long sought vengeance for the manner in which he has been mistreated, stabs his master while he attacks Arlette. She is then free to marry Vale. Mrs. Blanche Craig, something of a co-worker with the Prince, contributes some typical character work. " The Silent Lady r (Butterfly-Universal — Five Reels) REVIEWED BY PETER MILNE AS was the case with " The Cricket," the last production in which little Zoe Rae appeared, much of its entertainment value is due to three humorous characterizations given by a trio of veteran character actors. Harry Holden, Winter Hall and Edward Brown are the three in question. They appear as keepers of a lonely New England lighthouse, also the guardians of Zoe, a child of the sea. The lives of these three old codgers are set forth in great detail and the detail is most of the time humorous to a degree and at times touched with wholesome sentiment. That their various experiences will meet with response is a certainty, as even an off-audience at the Broadway theatre enjoyed them heartily. A sailor went into convulsions, two old ladies chuckled and a middle aged couple were constantly smiling. Zoe Rae herself also pleased and another bit of comedy is contributed by Lule Warrenton as the housekeeper. And then there is a love interest, supplied by Gretchen Lederer, as the nurse, and the doctor. In fact it is the individual performances and the realistic detail supplied by Elsie Jane Wilson, who directed, that makes "The Silent Lady" the enjoyable picture that it is. The production is adequate. THE STORY AND PLAYERS Naomi (Zoe Rae) lives in the lighthouse with three old salts. When she is taken sick a doctor is called who brings a nurse, Miss Summerville (Gretchen Lederer), to take charge of her. The old men are somewhat aghast at having such a young woman in their home and their efforts to assume an indifferent attitude amuse her thoroughly. They learn finally that she has a past and Philemon (Winter Hall), the keeper of the light, a staid old New Englander, commands her to leave the place. But her past is proven quite innocent and the manner in which the old man is softened and Miss Summerville made happy by the love of little Naomi and the doctor forms a delightful conclusion. " Molly Entangled " (Lasky-Paramount — Five Reels) REVIEWED BY PETER MILNE VIVIAN MARTIN appears as an Irish maid in " Molly Entangled," written by Edith Kennedy and directed by Robert Thornby. Miss Martin's attractive personality serves to brighten a story that, while it possesses a well evolved plot, never rises to dramatic or humorous heights. Mr. Thornby has injected a delightfully homely atmosphere into the picture. The whole of it transpires in Ireland and there is not a false note in any of the scenes. The supporting types were well selected and the cast in general does effective work. " Molly Entangled " is an average picture on its merits of story and production. Miss Martin does charming work and where she is popular the picture will be warmly received. THE STORY AND PLAYERS Molly Shawn (Vivian Martin), a maid of Ireland, lives with her father (Noah Beery), the blacksmith, who is indebted to the Barrys for his shop. Jim Barry (G. S. Spaulding), the profligate heir to the Barry estate, is in danger of losing it lest he marry. During a carousal he falls and is so severely injured that the town doctor pronounces that he will die before morning. In order to save the fortune for his mother (Helen Dunbar) Jim summons Molly and her father and putting the facts before them asks the girl to marry him. This she does, but with the arrival of the city doctor it is learned that an operation will fix Jim up as good as new. Molly in despair gives up hope and her sweetheart (Harrison Ford) is also resigned. But then there comes the startling revelation that the man who read the wedding ceremony for Molly and Jim was no priest at all but a fugitive from justice. It is within Jim's power to keep this information to himself, but, his better nature predominating, he confesses and restores Molly to her faithful Barney. C. H. Gowland, Jane Keckley and W. A. Carroll complete the cast. " The Hungry Heart " (Paramount — Five Reels) REVIEWED BY JOSEPH L. KELLEY DAVID GRAHAM PHILLIPS'S novel, as adapted to the screen by Charles Maigne and presented by Pauline Frederick and cast, is far from being the best picture, or as good as some pictures, in which she has been seen. " The Hungry Heart " lacks strength of purpose, a convincing supporting cast and smacks too strongly of the risque. Miss Frederick is called upon to present a role that is lacking in the human, homely quality. The fact that Robert C. Vignola, the director, has seen fit to force certain situations by making his characters arrive at a desired location at the critical moment, may be overlooked by an audience. The fact also that Nancy is rendered speechless, at the desired time and through the agency of a slight accident in falling, and that later when it becomes necessary for her to speak, she recovers said faculty, apparently without any special medical treatment —these defects in scenario and production may be overlooked, also. And if some of the sub-titles can be read and forgotten and the scene showing the wife's lover fleeing from the house down the long stretch of roadway, can be seen and forgotten — then " The Hungry Heart " will have presented an entertaining bit of dramatic work before the camera and on the screen. " The Hungry Heart," as presented, is not the best example of good story telling on the screen. Nor is it a good example of good dramatic work. Miss Frederick is handicapped by a poorly written script and poor direction. In the scenes which call for emotional action and convincing facial expressions, Miss Frederick rises to dramatic heights that are seldom attained by her contemporaries on the screen. In some of the scenes this strength of dramatic interpretation is evident in the star's work, in the story and in production but viewed as a whole, this latest work of Miss Frederick for the screen is not up to her standard. This lack is through no fault of hers. Members of her supporting cast are not convincing. Howard Hall, in the principal male role is kept from presenting the strong, virile man that he looks, by the nature of his part. He is not convincing as the neglectful husband. Robert Cain is a good type but does not register dramatic skill of action or expression. Helen Lindroth overacts in every scene in which she appears. Eldean Steuart, a youngster, does a bit well. The exterior scenes are beauties. The photography is all that could be expected for clearness. The lighting effects get the best results. THE STORY AND PLAYERS Courtney Vaughn (Pauline Frederick) and Richard Vaughn (Howard Hall) have just returned from their honeymoon, when the story opens. Richard is a chemist, and he becomes so interested in his work that he neglects his wife. The arrival of a little son does not help matters. Five years elapse and Basil Gallatin (Robert Cain) comes to the Vaughn home to assist Richard in his chemical experiments. Mrs. Vaughn, longing for companionship, meets Gallatin at every opportunity. They become fast friends. There is an explosion at the laboratory, and certain instruments are destroyed which Richard must replace. He leaves for New York to get them. During his absence Nancy (Helen Lindroth), the servant, is awakened one night and, suspecting Gallatin's intrusion, goes to Courtney's room and discovers him there. Nancy is injured when she falls in attempting to leave for her room, and the fall renders her speechless. Richard returns. Soon after Nancy recovers her speech and tells him all. Gallatin has left, fearing Richard. Divorce proceedings are commenced, and Courtney is granted her freedom. Richard leaves. Soon after Gallatin hearing that Courtney had been divorced, returns to her home. Richard had also returned, asking leave to work in the laboratory until he could establish another. During his stay they both realize that each had done wrong and a new understanding resulted. Gallatin is refused by Courtney and, fearing trouble, leaves. Richard and Courtney are united in happiness. " National Red Cross Pageant " (National Red Cross Pageant Committee — Five Reels) REVIEWED BY JOSEPH L. KELLEY UNDER the direction of William Christy Cabanne, the scenes enacted at the National Red Cross Pageant, staged at Rosemary, Huntington, Long Island, October last, have been registered by the camera, and the result is five reels of most interesting film. The scenes are enacted by artists of both screen and stage, including Ethel Barrymore, Lionel Barrymore, John Barrymore, Hazel Dawn, Ina Claire, Tyrone Power, Frances White, William Rock, Blanche Yurka, Gladys Hansen, Rita Jolivet, E. H.