Motography (Apr-Jun 1916)

May 13, 1916. MOTOGRAPHY 1111 Then we have the scenario by Aaron Hoffman. The story is along conventional lines, but it has been well executed and there is no doubt as to its entertaining power. All honors of painstaking direction go to Francis J. Grandon. A pleasing part of this production and one which adds greatly to its artistic side is the unique treatment given the majority of subtitles. In the place of stationary poster effects for bearing out the spirit of the subtitle, appropriate animated backgrounds are used. In the balance of the cast are Arthur Hoops, Evelyn Brent, Pierre Le May, Catherine Calhoun and Philip Hahn. Jean Servian, an artist, who has been the recipient of a great kindness at the hands of the wealthy Geoffrey Vane, marries him out of gratitude, but without love. Later Jean comes to the city to visit an old artist friend, Rosa Derbley. The latter has gone away, but her brother, just returned from Paris, is at the studio. Jean and Derbley become intimate, and as the wife is staying in town for a time, they see much of each other. One night after a theater party Jean succumbs to the man's artful persuasions and then becomes aware of his true character. She returns home penitent and it is not long before she learns to really love her husband. Some time after Lucille, Jean's step-daughter, meets and falls in love with. Derbley. Vane gives his permission to their marriage. Jean, to prevent this calamity, tells her story to Lucille, only to have the girl turn upon her. This failing, she confesses to her husband, who refuses to forgrve her. Derbley, afraid that his plans will not develop, pretends to be sick and writes for Lucille to come to him. The girl goes to his studio to find that he has tricked her. The wife arrives to find Lucille getting worsted in a desperate struggle. Then Jean enters the fray and while she and Derbley wrestle for possession of the revolver, it explodes, killing Derbley. "A Stranger in New York" Three-Reel Selig Comedy Featuring Otis Harlan. Reviewed by Genevieve Harris THE stage play of this name by Charles Hoyt has been adapted for the screen by Gilson Willets and produced by T. N. Heffron. After beginning as a straight comedy, the threads of the plot are tangled recklessly as the action quickens until the farce becomes mostly slapstick. The plot deals with a book agent who persuades a wealthy Chicago millionaire to lend him his name and prestige for a short time in New York City, promising him to increase, by judicious "bluffing," the value of stock in a "prune juice" company which the millionaire owns. Otis Harlan has the role of the book agent, A. Stranger, a jovial vagabond, who forces himself on the millionaire, I. Collier Downe, with a volume of "Success Secrets" at the moment when the slump in "prune juice" stocks threatens his ruin. Opening the volume at random, the agent persuades the millionaire to follow a text stating the value of a good "bluff." He offers to impersonate I. Collier Downe in New York and to advertise the value of "prune juice." The rest of the play deals with his escapades in New York City. The action is swift. One complication leads to ^r ^" ^ and at the same time advertise prune juice. He is successful in sending the market price of stock up but since he keeps all the money the real I. Collier Downe becomes suspicious and comes to New York. The masquerader has him arrested as a lunatic, but he escapes and proves his identity, with the result that "prune juice" stock at once declines. The supporting cast of players includes Robert Bolder, John Charles, Emma Glenwood and Grace Darmond. "Soul Mates" American-Mutual Masterpicture Released May 8. Reviewed by Genevieve Harris "THIS play is especially interesting because it introduces *■ William Russell as a director. He also played the leading role in the drama and the character he created, Lowell Sherman, dominates the play. It is a most carefully worked out study of a man of high character and fine instincts who another in a breathless fashion and while the fun is of the obvious kind and there are many inconsistencies in the plot, the play will doubtless keep an audience in good humor throughout. A. Stranger's idea is to make himself notorious is deceived by the vain, deceitful woman who is his wife and by the man he thinks his best friend. His revenge and his final happiness when things are at last straightened out and he finds a woman who is more worthy of him, forms the theme of the play. The story is developed in a leisurely fashion during the first half and then events move very swiftly. Much emphasis is laid on scenes which show Sherman's character as contrasted with his wife's. While Sherman is romping with Tommy, the son of Cyril Carr, his friend, Alice Sherman and Carr carry on a secret love affair. Incidentally Sherman comes to admire Carr's wife, who is distinctly different from Mrs. Sherman. Sherman's secretary, Cooper, has always disliked Alice, and he arranged to have Sherman discover her and Carr together. His plans go wrong. Carr escapes and Cooper is wounded instead. Then he tells his master the whole story, including the trouble which Alice brought to Cooper's brother before she was married to Sherman. Embittered by the faithlessness of his wife and the treachery of his friend, Sherman conceals the fact that he has discovered them and plots to ruin Carr financially. He accomplishes this, and Carr, who is cast off by Alice when his money is gone, commits suicide, leaving a note to his wife in which he declared that Sherman was justified in his course. When Alice learns that her husband knows of her disloyalty, she leaves him. Later their marriage is annulled. A letter from Tommy calls to Sherman's attention the fact that in ruining Carr he had left his wife and child unprotected and he takes an interest in them which, some time later, leads to his marriage with Mrs. Carr. The supporting cast is very good. Leona Hutton gives a finely drawn picture of Alice Sherman. She avoids overdrawing the type and yet brings out the hard side of her character which lies under the gaiety. Charlotte Burton is a most effective contrast, as the sincere, kind-hearted wife of Carr. Harry Keenan portrays Cyril Carr well, and Dodo