Motography (Apr-Jun 1916)

April 22, 1916. MOTOGRAPHY 937 the Christmas story. They listen, politely, then go on with their merriment while Nellie goes away. Owens, however, has been touched by the girl and her message, and in disgust leaves his friends. Falling asleep on a park bench, he has a dream for which Nellie and her story are responsible. He dreams of following the "Three Wise Men" in their journey through the desert. He is with them when they discover the Christ Child, and the face of Mary, the mother, is that of Nellie. But he is not allowed to enter with the worshippers, being barred out by the figure of the girl he deserted. Then the dream changes, and he sees a vision of the crucifixion, a poetically presented scene. At last he is awakened by the Christmas bells, and finds Nellie beside him. She had recognized his likeness in a picture Madge carried, and she leads him to Madge and to his own child. The story is so well presented, the religious element so reverendly handled that the picture makes a pleasing offering for the Holy Week and Easter season. Kamona Clune Production Exploited as Road Show Reviewed by Charles R. Condon "THE second step in W. H. Clune's gigantic motion picture ■* enterprise left its imprint on Wednesday, April 5, at the 44th Street Theater, New York, when "Ramona" opened in that Broadway showhouse. The first foot forward is still lingering in Los Angeles, where "Ramona" has been playing for the past ten weeks to an enormous attendance. The longer the aforementioned second step settles in its present New York position the better "Ramona's" prospects seem to be. And this is the real test for a big production. Publicity will start it on its way, and a brilliant first night will put the stamp of commendation upon it, but the impetus necessary to keep it going successfully after its first few performances must be supplied by satisfied attendance. And an inquisitive visit to the theater's box office reveals a prosperous advance sale of seats. But to pass on from the mercenary side of art — The picture is ten reels in length and, with the musical and scenic introductions to its prologue and two acts, forms an entertainment of about two and three-quarter hours' duration. These introductions are decidedly artistic and pleasing. In effect they establish atmosphere and supply diversion. The story, from Helen Hunt Jackson's book of the same name, deals with the harsh treatment accorded the mission Indians of early California. These Americans, far from being a part of the bloodthirsty element which raided and massacred under the tutorship of outlawed chiefs, were a most peaceful and simple lot. As early as 1845, and possibly earlier, they were as peons, subservient, unadventurous and trusting. Absolutely innocent of the laws which govern squatter claims and the opening of territories, they were easy prey for scheming ranchmen and lawless intruders. In consequence they were dispossessed, ejected from their homes, and hounded from place to place. From original land owners with a prerogative, they became unhappy wanderers, harboring a deep hatred for the white man and a rooted distrust for that style of justice seated in Washington. Helen Hunt Jackson wove these historical facts into an interesting story which contains love, humor and pathos. By enlightening the populated East as to the true character of these mission Indians and their harsh treatment at the hands of the government agents, she hoped to do for them what "Uncle Tom's Cabin" did for the negroes. The connecting links in the story may have been drawn from fiction, but the conditions related in it were taken from fact. Under Donald Crisp's able direction "Ramona" and its plea for fairness and justice have been immortalized on the screen in a production containing much thrilling action, sufficient romance, finely drawn characters, and altogether, no little interest. As the time of the story stretches from 1845 to 1881 it would be impossible to entirely avoid the natural impression of being strung out which the play leaves with the spectator. But this consistent continuity is overcome somewhat by the absorbing interest and great feeling aroused by the last two reels. Here fact proves relentless in an effort to prove that these unoffending people have been criminally wronged. Several of the big scenes and long distance throws are reminiscent of "The Birth of a Nation," in the production of which Mr. Crisp assisted. The photography is of a quality in keeping with the finesse of the technical side of the picture. There are a number of important characters in the story, and all of them are impersonated with sincerity and success. Among the principals in the cast are: Mabel Van Buren, Richard Sterling, Lurline Lyons, Hubert Whitehead, Arthur Traveres, H. M. Best, Adda Gleason, N. de Brullier, Monroe Salisbury, James Needham and others. "A World War in Kidland" Juvenile Company's Film Makes Novel Plea for Preparedness. Reviewed by Thomas C. Kennedy INGENIOUS in conceit and cleverly portrayed "A World *■ War in Kidland" delivers a sermon on preparedness that is delightfully humorous and at the same time perhaps as forceible as many like propaganda films that are serious throughout. "A World War in Kidland" was produced by the Juvenile Company. It is brief, the film being only about seven hundred feet in length, and perhaps the stronger for that. In every respect it is entertaining and though it fearlessly depicts the beliefs of many in this country on the various nations at war there can be no offense to those of the other countries. The actors are boys, mere children, and their actions are youthfully amusing. These boys play a game of war, using nature's most appropriate element for the purposes; for snow serves and serves well as their defensive and offensive armament. Therefore how can there Two scenes from "Ramona," W. H. Clune's production of the novel by the same name.