Motion Picture News (Oct 1913 - Jan 1914)

THE MOTION* PICTURE NEWS 29 agent will find engagements for good artists, but he does not sign contracts with poor artists to palm them off on the vaudeville managers, while the film exchanges, with their standing orders, have to force bad and good films on the exhibitors. A bad film, like a good one, must make its round, must yield so much money in three months to pay the expenses and profits of the film renter. Consequently, no matter if a good production is enhanced by some appropriate music, the said film follows its regular route just the same and does not earn more money to the exchange; same as a bad film, butchered with some noisy music, follows its route just the same without decreasing the profits of the renter. The exhibitors and musicians say to themselves: "If good music does not prolong the life of a picture and if noisy music does not shorten the THE SCARLET LETTER Kinemacolor (Three Reels) In dealing with such a subject as the "Scarlet Letter" it is very necessary that gloves should be used, so that the prudish feelings of a number of people may not be injured. The "unwritten law" has ever been a ticklish subject, both in literature and in drama, and especially in motion pictures, where there is not the chance to twist words and phrases. Hawthorne, in writing this masterpiece, was able to twist his phrases so that the effect, though not diminished, was not as bald as it must necessarily appear in pictures. But the strength of the piece lies in the fact that although we know that the Minister and Hester are thoroughly wrong, that they are not deserving of our sympathy, if all the ethical rules are right, we nevertheless feel for them at the end with furtive eye-wipings. They are indeed strange objects for love. How the Minister, knowing the terrible punishment in the eyes of the world that awaits him, will not confess his complicity in the affair, letting the girl take all the public blame. How he brands himself, and how the husband, returning, knows him to be the man, and how finally before the whole world he takes the blame, is clearly and wonderfully told. The story is in every way a truthful production of the original ; the costuming and settings are truly wonderful. The photography is of the usual good quality. The beautiful moonlight water scene which acted as a finale was superb in its splendor. A truly notable release. The Rev. Arthur Dimmesdale was played by Charles Perley, and Miss Linda Griffith played the girl. The "Scarlet Letter" as a theme is perennially popular with film makers, and the latest effort does entire justice to the subject. A. M. rental power, why waste time, money and energy to try to play the picture?" Vaudeville is different. The same act can fall down in a couple of weeks on account of bad music, while it can be made the success of years if properly accompanied. If the vaudeville artist is going to see that the orchestra is going to do the right thing, to keep the reputation of the act, the film manufacturer is quite indifferent, as the quality of the music does not change his standing orders with the film exchanges, nor does it change the number of his releases. I am pleased with my visit to the Lincoln Square Theatre, as I had a chance to see two Western plays in succession, one in a vaudeville act, the other in motion pictures, enabling me to make a just and impartial comparison. When in 1910 I reviewed the "Penitent of Florence" at Mr. Geo. Kleine's offices, Chicago, I asked Mr. Sam Levin, manager, and Mr. W. E. King, leader, of the Orpheum Theatre, to see the film and to prepare some special music. These gentlemen took my advice and prepared the most elaborate and appropriate musical program, including organ, mandolin solos, choir voices behind the curtain, etc. The film and show were much advertised. It was an immense but ephemeral success. Mr. G. Kleine did not sell more prints, the exchange did not yield more, because on account of the daily change the "Penitent of Florence" had, like all other films, to follow its scheduled route. Next week I will be pleased to state how the Bijou Dream, of Boston, and the Colonial, of Norwich, are making a success with their music. J. M. B. A Message from Mars (United Kingdom Film) THIS is the first production of this been banished company in the United States, and one cannot but predict a prosperous future when such good taste is shown in their primary choice. "A Message from Mars" has been played in the legitimate form in this country by nearly every stock company, but I cannot remember to ever have seen it in the "cinematograph version," as our over-seas cousins call it. Charles Hawtrey is playing the leading part in this latest production, the same as he played in the original. The story seems to be too well known to need any retelling; suffice it to say that in this version many parts have been added, though none of the original lines have been greatly altered. There are a number of new scenes, but there is the same old story told in four parts. The first part introduces the messenger (C. Holman Clark) leaving Mars, having until he shall reform some mundane person. He is met again in Horace Parker's house, where he starts his cure of the latter's selfishness. The next part follows his cure, and shows how it is working, and in the last he is seen to leave Horace and reenter Mars in peace with all. The settings are especially remarkable for their fitness, and the photography is good. As to the cast, the simple fact that Mr. Hawtrey has the lead is sufficient recommendation. The scenario adaption is by J. Walter Waller from the original text by Richard Ganthony. The whole production abounds with trick work and "fade-outs," with a few double exposures for good measure. Mr. McEnnery is the local representative; his address is the second floor of the Heidelberg Building. A. M. PILLORY SCENE FROM "THE SCARLET LETTER'