Motion Picture News (Sept-Oct 1918)

2254 M o t i o n Picture N e "THE BELLS"— PATHE Frank Keenan in Strongest Character of His Career FRANK KEENAN has given us many powerful characterizations, but it appears that his Mathias ii " The Bells " is the strongest and most gripping he has yet done. While the picture is particularly sombre for these times, it is such a well made offering that it wil make everyone sit tight. An audience at the Rialto applauded it roundly on its conclusion which can perhaps, be taken as significant of the manner in which it will score elsewhere. The fact that we are ir war doesn't always mean that the people must have light entertainment. For example, some of the 'unsuccessful plays produced on Broadway this year have very little, if any comedy relief, to three or four actf of deep mystery and sensational action. This being the case, " The Bells " is not to be shied at by the exhibitor whose clientele knows a gooc thing when it comes along. Keenan is wonderful and the scenario and production are in a large way responsible for the picture": greatness. — Released Oct. 20. — Length, 5 reels. — Peter Milne. THE CAST Mathias FRANK KEENAN Annette Lois Wilson Lisparre Joseph J. Dowling Catherine Ida Lewis Koveski Bert Law Nickel Albert Cody Christian Edward Coxen Gari Carl Stockdale Author: Leopold Lewis; from the play by Erckman Chartrian. Scenario by Jack Cunningham. Directed by Ernest C Warde. CATCH LINES Frank Keenan in a marvelous characterization made famous on the stage by Henry Irving. The terrors of a soul tortured by an avenging conscience. He tried to put the memory of his past away — tried to forget that he had sinned against society by committing murder — but try as he would, the sleigh bells kept sounding in his ears — sounding — sounding — until he could hear no more. Frank Keenan, the master character actor, in the greatest characterization of his screen career. If you liked Frank Keenan in " The Coward," " The Crab " and other photoplays that made him famous, don't miss this picture. AD TALK Frank Keenan, the great character actor, who is, at the same time, a star in his own right, will appear at the theatre on of week in what is, perhaps, the great est role of his career. He will be seen as the innkeeper, Mathias, in a picturized version of the celebrated play, " The Bells," which was produced on the stage with both Henry Irving and many others, including Mr. Keenan himself, in the leading role. The plot resolves itself into a character study of this inn-keeper who, lacking funds, kills a Jew who stops at his place for refreshment on a certain Christmas eve. With the monies secured from the dead man he is able to pay his debts and set himself on the high road to prosperity. Years later we find him the mayor of the village, prosperous but ever haunted by the thought of his deed. He can not drive from his mind the sound of the bells ringing on the dead Jew's sleigh. At length, after a horrible nightmare in which he sees himself hypnotized and confessing before a court of justice, he awakes to die in a mad frenzy of fear. Picturegoers may remember Henry Walthall's great characterization in " The Avenging Conscience " and Raymond Hatton's more recent performance in " The Whispering Chorus." If Mr. Keenan's acting is at all comparable it may be placed in a class with the characterizations of these players. But what is most remarkable regarding " The Bells " is that Mr. Keenan is on the screen practically all of the time. He dominates the action from beginning to end, and so powerful is his delineation of the man who can not rid himself of the horror of his deed, that it appears less as a piece of acting than a veritable slice of life. Jack Cunningham, who made the scenario from the play, has handled his scenario in the most expert fashion, while the direction of Frederick Warde leaves nothing to be desired. THE STORY Mathias is an inn-keeper in French Alsace. The winter has been very hard for him and on Christmas eve he finds himself without funds to pay the landlord, Lisparre. Lisparre demands his money on the morrow and Mathias is in abject despair after his departure. But that night there comes to the inn, Koveski, a Polish Jew, who has traveled long and hard through the snow. He stops for rest and refreshment and Mathias observes that he has much money in his belt. Mathias sees his axe standing in the corner and a fiendish idea takes possession of him. The Jew gets into his sleigh and rides away. The next morning, Christmas day, when Lisparre arrives, Mathias hands him the money due him. From then on things are prosperous for Mathias and several years later he is the mayor of the village, happy with his wife and daughter, Annette, who is engaged to marry Christian, captain of the guards. It is Christmas eve again and stormy as it was years before. One of the gossips of the village mentions the strange fate of the Polish Jew whose body was never found. Mathias silences him as soon as possible. On New Year's day Annette and Christian are married. There is a wedding feast in the old inn and the merry-makers invite Gari, a pupil of Mesmer, the great hypnotist, to attend and amuse the guests. Seeing his strange powers practiced on the village fool, Mathias hastens upstairs. Throwing himself on his bed he dreams of being arrested for the murder of the Jew. Gari hypnotizes him and he tells all the details of the crime and so convicts himself. He awakes with a cry and, rushing downstairs, dies in a paroxysm of agony and fear in his wife's arms. SUGGESTIONS As has been said, this picture is sombre, but it is so good in its class that it can stand the strongest kind of boosting. Mr. Keenan's characterization can be played up as the greatest he has ever contributed to the screen, for there seems to be little doubt about the sincerity of this statement. Recall some of his earlier successes to your patrons, such as " The Coward," " The Crab " and " The Long Chance." These were very popular. Advertisements for newspapers could be arranged by the use of bells in each corner. Doubtless, Pathe exchanges will be in a position to supply the exhibitor with star cuts of Mr. Keenan in one of his poses from the picture. Secure one of these and use this in the middle of the ad. This will leave sufficient space for lettering. A lobby display could be similarly arranged. For lobby use, sleigh bells might also be secured and hung in a place where people will brush against them — or else see to it that they tinkle now and then. In your advertisements make mention of the fact that " The Bells," as a play, was done both by Mr. Keenan and Sir Henry Irving on the stage and that it is considered one of the greatest character studies ever written. To counteract the sombre character of the play, follow right along with the quickest comedy you can get — a slapstick, if possible — for these numbers "usually start off with a laugh. If this contrast be obtained, it will serve to relieve the tension created by the dramatic feature. " The Bells " is a picture that can be made the better by well selected music. On page 2011, MOTION PICTURE NEWS, issue of September 28, the exhibitor will find valuable aids. " OUT OF A CLEAR SKY " (Continued from page 2249) ADVERTISING LAYOUTS— Include one, tw< and three-column advertisements prepared ii the usual Paramount style. SLIDES, MUSIC CUE SHEET. SUGGESTIONS Here is a light romance with various touche of comedy that is certainly going to please evei if it isn't going to thrill. Let them know tha it is a " typical " Marguerite Clark picture, fo it was in productions of such a type that sh' started. Accentuate the romantic and corned: threads. Forget about the Belgium stuff in it, fo if you mention this as a feature, they will thin) it a war story, which it emphatically is not. Fam ily audiences will be caught by advertisement that dwell on Miss Clark's return to the style o picture in which they first endorsed her, and b; descriptions of the light and romantic story. Marshall Neilan is a well known director du to his affiliation with Mary Pickford in severa of her most recent productions. " Stella Maris, a dramatic masterpiece, was due to his directoria efforts. Let them know of his work on that pic ture. He is great on detail, particularly on th human and humorous ends of it. A line after hi name on this order: " who has no equa in staging the scene with the human and th humorous notes," would be fitting. Maria Thompson Davies is a fairly well knowi author and deserves some mention, although th merit of this picture is largely due Miss Clarl and Mr. Neilan. If you usually run a corned; with the feature you might reverse the orde when showing " Out of a Clear Sky " and tr to get a two-reel drama. Not that there is a: overwhelming amount of comedy in the long sub ject, but this arrangement would give bette balance to the program. Stock Cut of Keenan on Hand at Pathe Exchanges