Motography (Apr-Jun 1916)

938 MOTOGRAPHY Vol. XV, Xo. 17. be aii3r offense? If the game is symbolical of something that is true, or even if it be only a half truth there is little to do but be convinced. James A. Fitz Patrick as the author and producer of this picture is entitled to praise and admiration both for the novelty of his little story and the striking manner in which he has produced it. He has summarized the many arguments in favor of preparedness and expressed them in a new way, always keeping the picture in a humorous vein. Yet one can take "A World War in Kidland" just as seriously as one wishes which makes the picture one that will appeal to children and grown-ups. In this game of war there are forts representing Germany, Turkey, Austria, Greece. England, France, Russia, Italy and Belgium. The United States, Japan and Mexico are also represented. Behind each fort there is one boy and each boy can be distinguished not only by the uniform he wears and his features but by the characteristics of the nation he represents reflected in his expression. That Mr. Fitz Patrick succeeds in having his youthful actors register real facial expression is unusual and remarkable. The picture opens showing the countries at war fighting furiously. From each fort snow balls are hurled with frequency and determination. Uncle Sam is seen in the background. _He is busy feeding the Dove of Peace until the spirit of 76, after the famous painting, marches up to him and prevails upon him to prepare. Mexico, or rather Villa, insults him once and is ignored but the second offense brings about that bandit's downfall. The Henry Ford "out of the trenches boys" episode is also introduced. "The Good Bad-Man" Douglas Fairbanks Author and Star in Triangle-Fine Arts Western. Reviewed by Thomas C. Kennedy r\OUGLAS FAIRBANKS is credited with the authorship l-J of "The Good Bad-Man" in which he plays the role of a desperado who holds up people and trains to suit his whims and who, when he does help himself to anything valuable, turns it over to some deserving woman or child. In writing a story so well suited to the production of a good, wholly interesting melodramatic picture Mr. Fairbanks attained something for which he deserves praise. In the hands of Director Allan Dwan and a splendid cast headed by himself, the scenario Mr. Fairbanks turned out is the basis for a picture that will entertain and please the many who see it. "The Good Bad-Man" plays in a section of the West where law and restraint were unknown quantities at the time the action is supposed to have taken place, which was in Maverick County during its wild and wooly heyday. There is nothing exceptional about the plot but the treatment it received at the hands of producer and actors is excellent. "The Good Bad-Man" is a virile screen melodrama with plenty of action, some effective humor and a pretty romance dealing with a fascinating hero and a charming little girl of the plains. Douglas Fairbanks first of all drew a fine character in "Passin' Through" who is the Good Bad-Man, and then he at once insures the success of "The Good Bad-Man." To further enhance "The Good Bad-Man" there is a fine supporting cast which contains Bessie Love and Sam de Grasse, and a production real and atmospheric enough to be a credit to Allan Dwan, a director who has contributed several exceptional productions to the screen. "Passin' Through" explains to the girl who attracts him so greatly the first time he meets her that the reason he keeps the sheriffs after him is to forget that he is a man without a father. This is the one thought he cannot stand. After many thrilling gun fights and feats of horsemanship, however, it turns out that he did have a father and that the "Wolf," a bandit who is a rival for Amy's hand is his enemy because he was Passin's mother's enemy. This knowledge brings a change over him and he. is a strong, noble "Passin' Through" when Amy marries him. Bessie Love is one of the most promising of screen actresses and in this picture she again makes it apparent that she will be a real as well as technical star when the announcement of some future production puts her name before the picture's title. The performance Mr. de Grasse gives is splendid. Fred Burns, Doc. Cannon and Joseph Singleton are the other prominent and commendable members of the cast. "The Shadow of a Doubt" Equitable Production Features Carlyle Blackwell. Reviewed by Thomas C. Kennedy 4 'THE Shadow of a Doubt" follows the fortunes of two *■ brothers, one wealthy and influential and the other a victim of trying circumstances, who meet after a separation since boyhood. This picture features Carlyle Blackwell in proceeded to enact the character with the strength and energetic effectiveness which characterized his previous screen appearances. A fascinating blending of bad and good, "Passin' Through" is a character one simply must like, and this fact the role of the younger and less fortunate brother: a part in which there are some well-utilized opportunities. "The Shadow of a Doubt" was produced by Ray Physioc, who, given an interesting but conventional script, directed its visualization in a rather effective manner. The picture is interesting, but there is nothing impressive about its dramatic situations, for by this time the picture patron has become very familiar with the storj' of two brothers, the one unable to get a job because he was jailed for stealing to feed his ill wife, while the other refuses to employ an ex-convict little knowing that it is his own brother he insists upon having discharged. The opening scenes which show the two brothers as little boys in an orphanage are strikingly human and sympathetic. The older of the two is adopted by a wealthy old couple. Years elapse in which John's foster parents have died and left him all their wealth, while Ned struggles for a livelihood. They search for each other for a time, but are unsuccessful. Ned steals a loaf of bread, and this leads up to his arrest as a bank robber. John's wife does charitable work and in some way learns that Ned and his wife are in dire need. A very expensive operation is required to save the suffering woman, and as John will not advance the money his wife borrows the amount from a man who secretly craves to have her in his toils. After Ruth's recovery Ned is given a position in his brother's office, though John is unaware that there is an ex-convict in his employ. Collins begins to trouble Alice about the money he loaned her, and he insists upon visiting