Motography (Apr-Jun 1916)

May 6, 1916. MOTOGRAPHY 1051 Current Releases Reviewed "God's Country and the Woman" '.Special Blue Ribbon Feature Is Impressive. Reviewed by Thomas C. Kennedy rtf1 REALLY profiting by the grandeur of the locations in ^-* which its action is set, "God's Country and the Woman" is a film drama of considerable depth and impressiveness. Again Rollin Sturgeon, who produced this story of the Xorthwest for Yitagraph, shows himself, in a big way, to be a director possessing rare skill in procuring striking scenic effect without sacrificing the story to the interests of pictorial magnificence. One might say that this eight-reel production places -itself with the best that have come to the screen this year, little fearing that the statement will be dubiously taken. And that the greater credit for the success of the picture as •one of deep and wide appeal belongs to Mr. Sturgeon is something equally free from grounds for doubt. The story the director had to work with is one of no little merit, while •the camera man and the players aided in a most commendable manner. Though "God's Country and the Woman" is a picture presenting brilliant opportunities for special musical accompaniment of an attractive character, advantage of this valuable asset was not taken during its run at the Fulton Theater. Xew York, last week. Another fact of interest to the exhibitor is that this picture is a splendid subject for special lobby-display. "God's Country and the Woman" is well worth the expenditure of the high-class exhibitor's most able efforts. The story tells of a young woman who lives with her parents in the Hudson Bay country. Josephine Adare finds no task that will help the poor trappers and their families too arduous, and they appreciate her many kindnesses; later in the play they willingly risk their lives to save her from the toils of Arnold Lang, the brutal proprietor of a dive called "The Devil's Nest," which is the resort of all the rough characters who come to the locality. After Lang's statement that he is determined to marry Josephine, the story^ skips over a period of a year and a half. When Josephine is next seen she is greatly troubled by some past event which she keeps a secret from her new acquaintance. Philip Weyman, who promises to help her while remaining in the dark regarding many strange circumstances. The .baby Josephine cares for, and which he "believes to be hers, later developments, which are cut-backs to action having occurred during the period passed over, prove the child to be her mother's by Lang, a beast who would use this means to force Josephine to become his wife. Both the mother, who Josephine shielded, and the child die, .and all knowledge of the tragedy is kept from Mr. Adare. Lang and his close companion are killed. Josephine and Weyman marry. We do not consider that anything was gained by jumping the story over the developments which have such a weighty bearing on Josephine's future course, and showing them in cut-backs. What suspense is created in this manner is overbalanced by the spectator's confusion in the effort to grasp the trend of the action. These situations are the real vital ones of the play, and the spectator should be acquainted with them as they take place. Nell Shipman, William Duncan and George Holt are the leading players. Edgar Keller, splendid as Jean Croisset; William Bainbridge, Nell Clark Keller and George Kunkel complete a cast of uniform ability. Miss Shipman, in a grateful part, pleases mightily, and fills one with a desire to see her in more picture dramas. Mr. Duncan poses his way through much of the picture, but he is satisfactory in the final analysis, and George Holt's performance is brilliant. Each member of this cast is deserving of praise. "The Kiss of Hate" ColumbiaMetro Drama With Ethel Barrymore Released April 3. Reviewed by George W. Graves THE general feeling after seeing this film is that, although 1 the story is compelling enough and set in appropriate surroundings, there is too much barbarous cruelty depicted to produce good dramatic effect. There may be a reason for some of this and some of it is well acted, but the rest is unpleasant. In the main the settings are excellent for a Russian story. Those taken in the ruins of an old abbey are particularly effective, and while snowstorm scenes may not be especially rare in pictures, those used in this film are so real and well-photographed that one can almost feel the flakes. The story deals with the persecution of the Jews and those who attempt to aid them. One of their fast friends is Count Turgeneff, governor of the province. Indeed he is such a worker for justice that the cruel Prefect of Police, Orzoff, makes an immediate move to have him dethroned and later assassinated. Then, through his influence at Petrograd, Orzoff becomes governor himself. He forces his attentions upon Nadia, Turgeneff's daughter, who finally agrees to his proposal in order to free her brother, Paul, then being persecuted. Nadia makes her way to the prison to free Paul, but finds that both he and Isaac, a leader of the Jews, have been sent to Siberia. With a stalwart peasant, Goliath, she rushes after her brother and rescues him. By chance Nadia and her wounded brother, for he had tried to escape exile, come upon the hut of Sergius, the sportsman son of Orzhoff. They accept his hospitality without knowing his identity. Nadia and Sergius fall deeply in love with each other, but when she discovers who he is, she flees under cover of the night with Isaac and Goliath. The Jews decide to avenge themselves by taking the lives of both Orzoff and his son. Rather than have hateful hands touch her lover, Nadia decides to kill him, and herself at the same time. She plunges her knife into the body of Sergius,