Motography (Apr-Jun 1916)

May 13. 1916. M O T O G R A P H Y 1107 Current Releases Reviewed "Maria Rosa" Geraldine Farrar in Lasky-Paramount Release. Reviewed by Thomas C. Kennedy WHAT doubts existed as to Geraldine Farrar's ability in the silent drama were dispelled with the release of Lasky's "Carmen" and the famous operatic star is now also a famous moving picture actress with great things to live up shirt open so low at the throat. Anita King, Horace B. Carpenter and Ernest Joy also do their parts full justice. to in photoplay portrayals; for picturegoers and a number of people who visit the picture shows but who are a bit coy about being called a "goer" will be exacting in their desire to see Geraldine Farrar realize the utmost, in the matter of acting, that the screen is capable of. "Maria Rosa" gives one a glimpse of the noted star at her best as a moving picture actress. While at the Lasky studios last summer Geraldine Farrar appeared before the camera as the star of three pictures and "Maria Rosa" was the first to be produced, though it is the third to be released This fact is rather remarkable when one considers that "Maria Rosa" is the equal and in certain respects the superior of both "Carmen" and "Temptation." The star's performance as "Maria Rosa" is of an unusually high character. To single out the most impressive scenes — the ones in which her grasp of the camera's requirements is most noticeable — would not be fair to her portrayal as a whole. Geraldine Farrar's acting as the Spanish maid went beyond the expectations of one who entered the projection room with eyes prepared to behold acting of an extraordinary degree. "Maria Rosa" is an adaptation of the play which LouTellegen appeared in three years ago. It is a love story laid in Spain and its selection as a screen vehicle was judicious enough, for it is a story offering opportunities to the motion picture producer. The scenario by Wm. DeMille was produced by Cecil DeMille. The picture tells of a Spanish girl's intense love for a young vintner. Through the treachery of a jealous rival, Andres is accused of a crime and sent to prison. Maria Rosa vows that she will await the return of her lover. Some time after this, Ramon presents a letter, supposedly written from the prison, telling of Andres' death. Maria Rosa finally consents to marry Ramon. On the wedding day Andres returns, and on learning of Ramon's perfidy she stabs him. Fatally wounded, Ramon's true love for Maria Rosa asserts itself, and he clears her of guilt in a "death-bed" confession. The picture will add luster to the fame of the producersThe director held the star in the center of the stage with the minimum of theatric effect, and all the action is surrounded by an atmosphere that is delightful. Both production and photography "Maria Rosa" is up to the Lasky Company's best standard. Pedro de Cordoba is in every sense an excellent Ramon, and Wallace Reid a satisfactory Andres, though once or twice we regretted that Mr. Reid saw fit to wear his "The Bugle Call" Triangle-Ince Offering Is Delightfully Human. Reviewed by Thomas C. Kennedy uTHE BUGLE CALL" makes one feel rather justified in 1 deploring the fact that there is at present a marked scarcity of pcitures akin to it in breadth, depth and wholesomeness of appeal. There is in this picture a powerful human interest delightfully blended with an atmosphere which is gratifyingly pure and thrilling Indian raids on an army post in Arizona. We believe all classes of audiences will thrill at the daring feats of horsemanship, which, besides giving zest to pleasant story, fit in nicely with the simple charm of the central characters and incidents. C. Gardner Sullivan, the volume of whose product we contemplate in wonderment equal to our admiration for its quality, is the author of "The Bugle Call." It is a story which holds the interest unflaggingly and plays upon the spectator's emotions without once bringing in outraged womanhood, corrupt manhood, or the interior of a bar room At this point we cannot suppress our desire to express the opinion that if producers persist in offering pictures built entirely upon these last mentioned elements picturegoers will in time either pleasantly accept them, which they do not do at present, or they will seek other places and forms of entertainment "The Bugle Call" is splendid entertainment, it having moments of pathos, humor and excitement, and it is wholesome. And for this fact praise where praise is due will be forthcoming from the real supporters of motion picture plays. William Collier, Jr., is the star of this picture He proves himself to be excellently suited to play the part of the boy whose conflicting emotions are conveyed in all reality and force in this story centering about the young son of a Captain at a Western Post who, a few years after the death of his wife and the mother of his boy, marries again. Billy languishes between his growing love for his new mother and the all powerful love he holds for his dead mother. While Billy, the pet of the post, thus hesitates because he feels that it would be disloyal to his own mother to gratefully accept the kindnesses of his father's second wife, all three are unhappy. But the Captain's deep affection for his son and Mary's sincere desire to be a mother to Billy are rewarded. Wyndham Standing as the Captain and Anna Lehr have parts which enable them to hold the sympathy. Such characters are a delight to behold and these players make them as real as can be. Thomas Guise also has a grateful part; he is cast as Sergeant Hogan. The scene in which he comforts Billy on the night of the wedding is a charmingly human and pathetic one. These three players and the youthful star compel admiration. The many details which make this an exceptional picture cannot be touched upon, but considering them