Motography (Apr-Jun 1916)

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940 MOTOGRAPHY Vol. XV, No. 17. because she is pretty and young, but we pity a girl who is innocent in the way Velma is innocent. The first part of "Human Driftwood," which is in effect a prologue, tells of Hendrick's affair with a dancer named Myra. Years later we see Robert an active worker in some sort of a reform society. He goes to Alaska in the interests of the society. By coincidence the very town he visits harbors a dance hall run by Myra. This resort is a menace to society. Myra succeeds in bringing a little girl just out of a convent to her establishment. She claims to be Velma's aunt. Hendricks and Velma soon decide to marry, but when Robert asks the consent of the woman who would force the little girl to be nothing more than a dancing girl, Myra says it is impossible because he is her father. In a gun fight at the hall Myra is mortally wounded and she then confesses that this is a falsehood. The news is carried to Robert just in time to stay him in his determination to take his own life, and the end is happy. Alec B. Francis as Father Harrigan gives one of the best performances in the play. Lenore Harris as Myra and Albert S. Hart as Lief Bergson have the other important roles. The direction is by Emile Chautard. The production of the piece is in every way commendable. , 'Salvation Joan" Seven Part Vitagraph Blue Ribbon. Released Through V. L. S. E. April 10. Reviewed by George W. Graves WITH the talented favorite, Edna May, in the leading role and a select cast of Vitagraph players, among whom are Harry T. Morey, Dorothy Kelly, and L. Rogers Lytton, "Salvation Joan" is a production whose bigness is not limited to its footage. Although seven reels is long for any film ments puts a complete and satisfying termination to the film. The story, written by Marguerite Bertsch, has good screenable qualities which find their way to the front through the skillful direction of Wilfred North. The settings have been prepared painstakingly. Some are especially characteristic of what they represent. One of these is the Salvation Army meeting in the slums; here are also seen some typical under-world characters. The breaking up of this meeting by a band of rowdies is a mob scene of realism. Edna May's acting is natural and full of beaut}'. She is just as attractive and convincing in fashionable evening dress as in the homely attire of a Salvation Army worker. Joan Crawford is a society girl whose love for humanity finds its outlet in the service of the Salvation Army. She is regarded by the poor and suffering of the slums as a sort of benevolent angel sent to lighten their burden. She suspects something wrong with the polished gentleman, Philip Ralston, to whom she is affianced, and breaks her engagement with him. Joan gradually falls in love with "Bill," a stalwart young fellow who appears to be one of a group of gangsters. Ambassador Ellison, the husband of Joan's sister, Madeline, is called abroad on an important mission. During his absence, Ralston, to further his own ends, gets the unsuspecting young wife into his confidence and later into his power. Ellison has with him a document, which in certain hands would cause international war. On returning, he places this document in a safe and has it guarded. Ralston proves to be an agent of the foreign country effected by this missive. He threatens to embarrass Madeline if his intents are exposed. The climax reaches its height when after a series of exciting adventures Ralston is caught in the act of robbing the safe by "Bill," who turns out to be John Hilton, an agent of the secret service. In the attempt to escape Ralston is killed. Joan and "Bill," now on more equal footing, find it easier for their romance to progress. which is not largely spectacular, this story has enough vitality to hold interest throughout its length. A strong climax is a very noteworthy feature of the picture and the subsequent cleaning up of all troublesome ele "Feathertop" Gaumont-Mutual Masterpicture Released April 17 Reviewed by Thomas C. Kennedy [N THE latest Gaumont-Mutual Masterpicture the rich ■I man's lot is compared with that of the farmer and the captain of a schooner which sails the South Seas and the balance is all in favor of the latter two, who find happiness amidst simplicity while the millionaire finds naught but discontent. "Feathertop" is based on Nathaniel Hawthorn's story of the same name, but the picture story is only slightly similar to the book. The picture contains much that is pleasant but at no time is the story impressive. Marguerite Courtot as the little country girl who is enraptured by the glitter and glamour of wealthy society but who is finally awakened to its shallowness brings charm to the role. Miss Courtot is very fair to look upon and she centers the sympathy of the spectator in the character of Elsie. The story tells of three brothers, each of whom in boyhood, decides to follow a different line of endeavor. Each realizes his ambition, one is a banker, one a horticulturist and the other sails the seas in his own craft. The banker is the only unhappy one. He is weary of the artificial life his friends lead and he longs to be away from it. The oldest brother, the farmer, has a pretty daughter. She visits with her uncle in the city and there receives much attention from a man whose name is Percy Morleigh. Elsie has a misunderstanding with Ward, to whom she is engaged, on account of her friendship for Percy. After her father's death Elsie becomes a real society girl of the type depicted in "Feathertop." Ward is completely forgotten by her. The banker plans to disappear. Just why is a question. The banker leaves a will giving all his property to the sailor brother provided he will live in his home in New York. The captain is reluctant but to please his wife he agrees to try it for a time, and he proves to true friend to Elsie, reuniting her with Ward and the happiness she knew before her association with the idle rich. The ending is one of complete happiness, showing all the characters on the captain's good ship. The captain is the best drawn character in this story and the role is admirably played by Gerald Griffin. His performance is one of the features of "Feathertop." Henry Yernot produced the picture. In the selection of settings and