Motion Picture News (Nov-Dec 1917)

4044 MOTION PICTURE NEWS Vol. 16. No. 23 Sothcrn, Lumsden Hare, Marjorie Rambeau and Helen Ware. Mrs. H. P. Davison, wife of the chairman of the Red Cross War Council; Mrs. Ben Ali Haggin, and other prominent society folk, are seen in important impersonations. This is, without a doubt, the most gorgeous pageant ever staged in this country. The costumes are gorgeous, the scenes have been given lavish and appropriate settings and the principals are all recognized as artists in the dramatic field. As a subject of interest on the screen, the National Red Cross Pageant, as reflected by the camera, is deserving the place of honor on any exhibitor's program, and can supplant the best feature on the program without loss registered in the box-office. The picture is divided into two episodes. The first shows how universal happenings have led up to the world war that is now waging. The second, entitled " The Drawing of the Sword," the more dramatic of the two, tells of the entry of the Allied Powers, one after the other, in the cause of humanity. The picture is not simply a series of pretty pictures, but it tells a story in a most convincing manner. The suspense element is as much in evidence as it would be in a dramatic masterpiece. It holds the attention from first to last. There has been no attempt at trick photography or the use of the fade-out. In spots the picture gives evidence of poor cutting. The action jumps, caused by poor assembling. The absence of the dissolve effect and other methods of turning from one scene to the other is responsible, in a large measure, for this disturbed action. These views of the National Red Cross Pageant present the unusual to the screen. There has been seen nothing just like these pictures before. In addition to the prominent artists whose names are mentioned above, Adolph Bohm's Russian dancers are seen in action, as are prominent exponents of esthetic dancing. The picture should be shown by every exhibitor in the United States, and every exhibitor can be assured that he will have shown a picture that every man, woman and child has enjoyed. " Who Goes There? " ■ (Vitagraph — Five Reels) REVIEWED BY JOSEPH L. KELLEY HARRY MOREY, Corinne Griffith and good support with the latest work of Robert W. Chambers to be adapted to the screen by Vitagraph, as a script to interpret, present a picture that is of sure-fire calibre. "Who Goes There?" is good material of photodramatic work. It makes possible strong, convincing action, holds the interest to the last and presents a cast of capable screen artists. Mr. Morey is an ideal type for the role of an officer in the Belgian Guides. Miss Griffith, seen for the first time opposite Mr. Morey in the principal feminine role, enacts her part with true dramatic feeling, and makes a striking contrast to the virile, strong character presented by Mr. Morey. The two work together to advantage. In this production, Miss Griffith does the best bit of acting since her appearance in leading roles for Vitagraph. "Who Goes There?" presents a picture that is entertaining in every scene. The story runs smoothly with action emphasized in every scene. Director William P. S. Earle has taken advantage of a powerful dramatic scene to introduce his main character and theme. He does not rely solely upon the timely element of the story to bring its intent forcibly before an audience. A flash of the scenes which call for unpleasant happenings, but which are essential to the story, is all that is shown. Later in the telling of the story, Mr. Earle has resorted to flashbacks of this initial scene. He could have left this to the imagination of an audience and have accomplished better results. One flashback would have been sufficient to fix in the minds of an audience the thought that the second and third flashback suggested. Excepting this minor difference, Mr. Earle has produced a picture that will stand the scrutiny of the most discriminating without presenting a noticeable fault. It has been given a good production, the cast does commendable work, the cameraman was on the job every minute, the scenarioist gave the director a good script from which to work, and the sub-titler finished with appropriate and snappy explanatories. Harry Morey works like the artist he is. Corinne Griffith renders fine support. Arthur Donaldson gives a good account of the German officer. Mary Maurice is seen to advantage in a bit. The story is not always based on sound reasoning, but it furnishes interesting narrative on the screen. THE STORY AND PLAYERS Kervyn Guild (Harry Morey), a former officer in the Belgian Guides, a regiment of nobility, is captured with other Belgian refugees. He is brought before the German commanding officer and promised his and the freedom of the other refugees if he will go to London and bring back the girl whom General Von Reiter (Arthur Donaldson) loves. He promises in the hope of saving the lives of hundreds of other Belgians. He arrives in London and locates the German's sweetheart, Karen Girard (Corinne Griffith;. In planning his escape with the girl, Guild scents trouble because he notices that he is protected by German agents and hunted by British secret service men. At the dock his baggage is passed by a German inspector and he and the girl are safely landed aboard the ship. The girl has taken A small portfolio which she keeps locked. Guild becomes suspicious and demands that he see the contents. She refuses to give him the key. The boat is held up by a British warship but the cruiser is destroyed by a torpedo. Landing in Holland, they are assigned room in the house provided for them by Gen. Von Reiter, until his arrival. Guild notes that the Belgian natives are in danger of attacks from the Germans and he resolves to assist them. While he is preparing to enter active service. General von Reiter arrives and demands from the girl why she does not love him. She says that she loves another and he forces her attentions. Guild arrives in time to prevent this action and, in a duel, wounds the officer. The General forgives him and the girl and furnishes them passage in safety. " His Old-Fashioned Dad " (Falcon Features — Four Reels) REVIEWED BY F. G. SPENCER DANIEL GILFETHER and Mollie McConnell as Dr. Silas and Mandy Morton, respectively, make a charming old couple of the indulgent, self-sacrificing kind for a reckless, though plausible son. Emory Morton, the son (Richard Johnson) gives a very fair characterization of the wayward boy who, though knowing of his parents' sacrifices, still goes the limit at poker playing, whiskey drinking and general carousing. The picture is based on the ever virile theme of the old-fashioned parents stinting themselves of almost the necessities of life to enable the son to obtain an education. It is a well defined, straight cut story, well directed, nicely photographed, full of pathos, and shows most clearly to what lengths loving parents will go to help a son whose profligacy they never dream of. THE STORY AND PLAYERS Emory Morton, son of an old-fashioned country doctor, is enabled to take a medical course at college through the sacrifices of his mother and father. His indulgence in the usual failings of college life leads to repeated requests, for money, and at last the horse and cow are sold to meet his demands. All this greatly depresses the doctor. He takes out a life insurance policy. When another request for money is received, this time the excuse being illness, he determines to visit his son. Meantime Emory's engagement to Nettie Wright is in danger of being broken as her father decides that the boy must first make good financially. One day, by accident, Emory discovers a bacillus which he realizes is of vital importance, and when the doctor arrives and discovers his son playing poker, Emory tells him that he is old fashioned in his ideas, and insists that it is necessary for him to gamble to obtain money to develop bis wonderful discovery. The doctor is stunned as he realizes that perhaps he is old fashioned. On the way home there is an automobile collision and he and another passenger are taken to a hospital. That night the other injured man dies, and Dr. Morton changes charts with the dead man in order that his wife and boy may profit by his insurances. The deception is successful. When the insurance is paid to the widow she promptly gives it to her son and he continues his research work and redeems himself with the girl. The widow lives alone and her fear of tramps becomes an obsession. Meantime the father, a tramp and derelict, gradually works his way to the old neighborhood, yearning for a glimpse of the old home. Late that night the widow sees the woor knob move, whereupon she shoots through the door, only to discover that she has killed the husband she thought dead. "Hard Luck" (Essanay Comedy — One Reel) REVIEWED BY F. G. SPENCER THIS single reel comedy, arranged and directed by Arthur D. Hotaling, introduces a new stunt by way of revenge resorted to by a restaurant patron because he is compelled to pay for a steak that was so tough it could not be eaten. He has signs painted which read : " Free Meals at Joe's," and hires a sandwich man to travel the town bearing the good tidings. The result is that Joe, the restaurateur, unaware of the scheme, does a land office business until time comes for the payment of the checks, at which time the sandwich man makes his appearance for a good square meal. The result is better imagined than expressed. It's a harmless, amusing comedy, and should be well received wherever shown. " Reaching for the Moon " (Artcraft — Five Reels) REVIEWED BY JOSEPH L. KELLEY T TNTIL Douglas Fairbanks falls out of bed in the fourth reel of the five that chronicle the events occuring during the time that he is " Reaching for the Moon," we are all but convinced that he is in reality King of Vulgaria, and thoroughly appreciating what the fellow meant when he wrote, " uneasy lies the head that wears a crown." So artfully has Anita Loos and John Emerson, working in collaboration, fashioned the script of " Reaching for the Moon," and so cleverly have they led the audience up to the point where it is perfectly feasible to believe