Motography (Apr-Jun 1916)

1052 MOTOGRAPHY Vol. XV, No. 19. the son of her wicked enemy, but is prevented from doing the same thing to herself by the. servants. Believing his sweetheart wished his death, Sergius will not allow his wound to be treated. He is informed by Isaac, however, of Nadia's true love and also learns for the first time of his father's wickedness. Orzhoff begs Nadia to save her son. She agrees to go to him after the father has written a full confession of his crime. Orzoff will not allow the girl to reveal his relations with her to Sergius. While they argue over this point the enraged Jews, not knowing Nadia is within, fire the house. Nadia runs to her lover's arms and they both .die amid the flames. Ethel Barrymore is very pleasing in the role of Nadia, although it does not offer her exceptional opportunities. There . is no trace of overacting in her several dramatic scenes. H. Cooper Cliff e makes a typical remorseless villain out of Orzhoff, and Robert Elliot is good as Sergius, the son, although it is a rather small part. Other very good members of the cast are William L. Abington, Niles Welch and Roy Applegate. a message telling of the Jap's dying confession. The detective announces this glad news to the guests and the wedding ceremony is continued. 'The Conscience of John David" Mutual Masterpicture Featuring Crane Wilbur Released April 24. Reviewed by George W. Graves t'THE Conscience of John David" is pre-eminently a Crane 1 Wilbur offering, inasmuch as he is author, director and star. And all these offices are capably filled, the result being the best picture this actor has appeared in for some time. The story has a number of good situations and engenders interest, although it does not always convince. The idea of the man's struggles with conscience is well handled. The photography and settings are in good taste. The picture was produced by David Horsley. Alice Rinaldo, Frederick Montague, John Caker, Mae Gaston, Louis Durham and Francis Raymond constitute the supporting cast. In the opening scenes we are shown how John David, a rich idler, is preparing to marry a worldly woman who has her eye on his riches. His rival, the libertine, adores this woman, but laughs at the idea of marriage. It is not long before John loses his entire fortune and with it all his shallow friends. At the woman's apartment he discovers her in the arms of the libertine and learns that the latter is now her accepted lover. Furious, John attacks his rival and leaves him dead over the lounge, suposedly strangled. It is shown, however, that a Jap, whose wife the libertine had insulted, is the murderer, using a poisonous needle from his place of concealment under the lounge. David makes for the West, becomes postman in a small rural community, falls in love with a girl and feels secure, inasmuch as he lias heard of his former fiancee's indictment. Some time later John finds that a reward for his capture is out and he realizes that his time for marrying the girl is short. During the wedding ceremony, however, John's conscience — typified from time to time by the appearance of a counseling friend — sets the best of him, and he loudly proclaims himself to be a murderer. Only a little lime before, the detective who has come for him receives 'The Heart of Nora Flynn" A Five-Part Lasky-Paramount Drama Released April 24. Reviewed by George W. Graves CASCINATING Marie Doro finds the role of an Irish 1 nurse girl in this picture full of opportunities for human, heart-to-heart acting and handles this part, which is rather novel for her, with great appeal. Much that is de lightful enters into this characterization. Although in facial appearance she does not look the part of an Irish maid, she is well suited to its requirements. Nora, indeed, has a heart — one which is big enough to cause her to sacrifice her reputation in order to bring about peace in the family employing her and to save the two children who are in her charge. Artistic and skilful production is a prominent part of "The Heart of Nora," and as for the story — it holds to the finish and has a good moral effect. The dainty and characteristic child-acting done by "Little Billy" Jacobs and Peggy George is ever a source of amusement and charm. Elliott Dexter plays convincingly the part of Nolan, Nora's chauffeur lover. Others in the cast are Ernest Joy, Lola May, Charles West and Mrs. Lewis McCord. Hector TurnbuH's story was scenarioized by Jeanie MacPherson. The picturewas directed by Cecil B. De Mille. Besides the love affair of the chauffeur and the governess, there is another, less romantic, between Mrs. Stone, the lady of the house, and an unprincipled man by the name of Murray. While Mr. Stone is at the club he hears that Murray is calling at his home, concluding lie is infatuated with either Mrs. Stone or the pretty maid. Nolan hears this also, and, as he is jealous by nature, orders to drive home at break-neck speed meet with his entire approval. Murray has persuaded the dissatisfied and spoiled wife to go away with him and they are about to leave when the lights of Stone's car flash through the window. Settling accounts with a motorcycle officer delays Stone in entering the house and gives the secret lovers a chance to prepare. Mrs. Stone appeals to Nora to save her from exposure. The maid takes Murray upstairs to conceal him. Although she pleads with the man, he makes straight for her bedroom and locks himself in. When Stone enters the house he finds his wife in a very tranquil state. She denies any knowledge of Murray's being there, but says that perhaps Nora knows something about him. Whereupon Nolan wrenches his employer's revolver from him and dashes upstairs in a jealous rage. Finding Nora in front of the locked door does not case his mind any. IK finally catches Murray on the lawn below and wounds him. Nolan is taken into custody, but the next day is released by Murray's order. Rather than' have anything happen to the two children whom she has learned to love, Nora bears all the shame that comes her way and will not allow her lover to clear lnr name. Nora has forced Mrs. Stone to admit the truth to Nolan, who has to be satisfied with the mere fact of his