Motography (Apr-Jun 1916)

942 MOTOGRAPHY Vol. XV. No. 17. "The Last Adventure" Three-Reel Essanay Drama Released April 15. Reviewed by Genevieve Harris AFTER an unpleasant beginning, this play becomes interesting, and it ends satisfactorily. The three important roles are filled in a pleasing manner by Lillian Drew, John Lorenz and Edward Arnold. John Lorenz is Timothy Hayden, who appears first at his club where he discusses the beauty of a girl supposed to be his cousin. He shows his friends her picture and promises to introduce them. Then we meet the girl, Beatrice Clemmons, played by Miss Drew. She is a musician, a harpist. Although she dislikes the role, she is a tool of Hayden's and is persuaded to encourage the wealthy friends whom he introduces, and when they give her beautiful gifts, to turn them over to him. Then Arnold Burton, played by Edward Arnold, enters the story. He is a wealthy miner and Hayden promises that if Beatrice will marry Burton, to divorce him later, he will let that he "her last adventure." She succeeds in attracting Burton, but, contrary to her own plans, falls in love with him. She does not wish to deceive him and at first refuses to marry him. At last, afraid of Hayden, she consents and they are married. When Hayden asks her to fulfil the rest of the bargain by revealing her true character to her husband and demanding a large sum of money for his release, she refuses. There is a stormy scene which Burton interrupts. Then Beatrice tells the whole story, of Hayden's meeting her when she lived in another city, of his promise to aid her in her musical career, and of his refusal to marry her, telling her it would injure her advancement. Burton learns also of the agreement under which she married him. But instead of turning from her, he defends the girl, and forces Hayden to leave. Hayden, threatening Burton with a revolver, is grasped by the butler and thrown down the stairs. He is killed in the fall, and Beatrice is freed. The story is clearly and effectively presented. The interest is sustained throughout. Edward Arnold as the millionaire is the dominating character in the play. arriving at the prison where her mother is confined in time to_ witness Zirah's death, the horrible death of a victim of drink, who up to the last moment begs her daughter to give her whiskey. A happy ending is suggested. The last scene shows the pastor awaiting Marika outside the prison. In support of Miss O'Neil, Victor Sutherland, Ethel "The Flames of Johannis" Nance O'Neil Plays Dual Role in Lubin-V. L. S. E. Reviewed by Thomas C. Kennedy THE Suderman play in which Nance O'Neil appeared on the speaking stage under the title of "The Fires of St. John" has been adapted to the screen by the Lubin Company. Given an American locale this play dealing with passionate love serves as a good photoplay vehicle for Miss O'Neil who as Marika, the foundling and her thieving, depraved mother, the gypsy Zirah, has several opportunities for intense emotional acting. The dual role calls for some double exposure scenes and these are splendidly handled. Miss O'Neil acts both characters convincingly. Zirah she makes a bedraggled old dame, showing the ravages of a life of debauchery, while Marika is a young woman of stately charm and admirable spirit. Miss O'Neil is real and vivid in portraying Zirah's struggling, frightful death. But in acting the part of a woman who tosses and beats the air in a frenzied death struggle so realistically and with such startling detail it is a question if the actress has expended her skilful, telling efforts to good purpose, because the average spectator finds it too depressing to be classed as entertainment, nor is it art. "The Flames of Johannis" was produced by Edgar Lewis from the scenario by Alfred Hickman. This offering is more a visualized novel than it is a drama. The full strength of this play, it would seem would be realized through characterization. In the treatment it has received here is not notable for its development of character. The picture has a strong appeal. In every way it is capable of holding the sympathy of the spectator. Marika is the central character. She is the illegitimate daughter of Zirah, and was adopted in infancy by a prosperous farmer. When her girlhood sweetheart, the farmer's nephew, returns after a long absence, Marika, though still in love with him, shuns him. He then asks Vogel's daughter to marry him. On the eve of the feast of St. John Marika gives expression to her burning love for George and begs him to take her into his arms. The next morning George is determined to break his troth with Gertrude but Marika dissuades him. She learns that Zirah is her mother and goes to her, Tully, George Clarke, Irving Dillon and Eleanor Barry are well suited to their parts and render capable performances. The production is striking and, like the photography, leaves nothing to be desired. Mr. Lewis produced the picture in Thomasville, Ga., and in settings and the direction of the action he has made "The Flames of Johannis" impressive. 'The Hearts Tribute" Three-Reel Lubin Drama Released April 20. Reviewed by Genevieve Harris A PLAY which gives the impression of being very true to life is this drama which Rene Plaissett produced from a story by Daniel Carson Goodman. Good acting and well selected scenes tell in a truthful, pathetic fashion a story which in its main points is only too common, as any newspaper will show. While the play deals with evil, it is so skillfully presented, the sorrowful consequences so clearly shown, that the play is an effective lesson. Much of the strength of the play is due to the acting of June Daye in the role of Dora Mills. The characterization is very consistent and clear. While the other roles are all well played, Dora stands out above them in vividness and pathos. Miss Daye has given an especially sincere portrayal, one which remains in the memory. The selection and settings of the scenes rank next in interest. The settings are realistic and the minor characters well drawn, the office in which Dora works and her associates there, for instance, her home, and later the scenes in the dance hall. Eleanor Barry and Bernard Siegel give two fine character sketches as Dora's mother and father. E. K. Lincoln appears as Ralph Taylor, the wealthy young son of Dora's employer just home from college. He meets Dora one night at a dance hall, in which he chances to go with a couple of his chums. Although he is engaged to a society girl, Florence Lalor, a role into which Helen Green fits well, he calls upon Dora frequently, giving an assumed name. She falls in love with him and he promises to marry her, but returns to college and forgets her. Then, while Ralph is married to Florence and is beginning his business career, Dora is fighting her battle alone. She is forced to give up her work. Her father turns her away and her mother is powerless to help her. After her baby is born, she again goes to work in the Taylor offices, and there one day she accidentally learns who her betrayer was and that he is married. Later she is even sent to his home, when his wife asks for a stenographer. She sees his happy home life, with his wife and their baby, and is driven almost insane. She meets Ralph again, who tries to buy her silence. She goes away, only to return with her own neglected baby. Then the young wife and Ralph's father learn the story. And as a result the wife turns against Ralph and protects Dora. The story is sad, cruel. Even the ending, which is scarcely an ending at all, is sad. But there is nothing in the