Motography (Jul-Dec 1917)

July 7, 1917. MOTOGRAPHY 45 The actors all do fine work. Sydney Ainsworth plays Robert Strickland, a much more human role than those usually given him. He is entirely satisfactory. Little Mary McAlister has the important part of Doris Strickland, and plays it beautifully. It is a peculiarly emotional role for so tiny a player. Barbara Castleton is pleasing as Mrs. Strickland. Harry Dunkinson and Patrick Calhoun, as the attorney for the defense and Trask's secretary, respectively, are excellent. Others in the cast are Director Young as Trask, Corene Uzzell as his wife, John Cossar, the prosecuting attorney, and Richard Baker, the judge. There is no question about the high entertainment value of the picture in whatever theater shown. The First National Exhibitors' Circuit, Inc., controls the play. The Story: Gerald Trask is shot dead in his home, and Robert Strickland is on trial for his murder. Mrs. Trask and Trask's secretary, Glover, see Strickland fire the shot. The Trask safe is rifled and a large amount of money stolen. The motive seems to be theft. Strickland pleads guilty and refuses to make any defense. He fights any attempt on the part of the lawyers to solve the mystery. At the trial, against his will, his little daughter is called to the stand. The testimony of Mrs. Trask, of little Doris Strickland and finally of Mrs. Strickland, reveal the story of Trask's villainy and of his wronging of Mrs. Strickland through a false marriage when she was a very young girl. One member of the jury stands for a verdict of guilty. The others desire Strickland's acquittal, believing him right in avenging his wife. The one member wishes the robbery explained. A recall of witnesses and cross-examination prove the secretary guilty of the theft, and Strickland is acquitted. 'The Man Who Was Afraid" New Bryant Washburn Play Released July 2 by K. E. S. E. Reviewed by A. E. Curtis BRYANT WASHBURN'S newest feature, "The Man Who Was Afraid," made by Essanay and released by K. E. S. E. on July 2, should strike a vulnerable spot in the public in small cities. Metropolitan folk are in a position to see more uniformed troops and absorb more of the military atmosphere of preparation than the dwellers in the cities of quality rather than quantity. That is why it is probable that small city audiences will go more eagerly to see "The Man Who Was Afraid" than will big city patrons. We can readily imagine some such report as this in the "What the Picture Did for Me" department of Motography in the issue following the release of the picture: The Man Who Was Afraid (Essanay) with Bryant Washburn. "This picture went big, on account of the interest in war at the present time and the talk about slackers and because Bryant Washburn is getting to be a favorite with my patrons." — A. Booker, Any Theater, Medium City, U. S. A. The play is well produced and follows the book sufficiently to satisfy those who have read the latter. There are some goose pimples in the battle scenes but the real thriller is the leap over the cliff into the water. Bryant Washburn reaches home in the coward role and also is, of course, an heroic hero when the time comes. The mother who goes the limit to save her boy from going to war is a human, if not an everyday, character, and she is very well done by Frankie Raymond. Margaret Watts, who is Washburn's sweetheart, looks like a small town girl, Which is as it should be here. The army scenes are very interesting. Here's a bird's eye view of the story: Young Benton Clune is not a coward at heart. He is a victim of over-zealous mother-love which has grown to exert too great an influence over him. When the President's call to arms comes, Clune's regiment of national guard joyously prepares. Mrs. Clune, however, is terror-stricken. She induces Benton to resign from the unit. His comrades brand him a "slacker," and the girl he loves spurns him. The regiment moves off to the war. Lacerated by the taunts which greet him on all sides, Clune's manhood finally asserts itself. Tn desperation he defies his mother and hastens to the front. He finds his regiment in a desperate plight. The enemy, in overwhelming numbers, is threatening to annihilate it. The colonel calls for a volunteer to make a perilous trip for reinforcements. Those who had jeered at Clune hold back from what seems inevitable death. The man they had called "slacker," however, steps forth. His trip through the enemy lines forms a series of hair-breadth escapes but proves successful in the end. Thus Benton redeems his honor and wins the girl he loves. Bluebird PHdToPLAYrP/ere/tf Dorothy Phillips BLUEBIRD STAR I N 59 FIRESof REBELLION Written and Directed By IDA MAY PARK BLUEBIRD Photoplays have found a permanent place in the heart of every fan. The stories are strong, wholesome and brilliant. The stars are selected solely for how well they fit into the part. "BLUEBIRDS" are created— not cut on some flimsy pretext to exploit a certain star. This care with the quality of the "BLUEBIRD" product is well recognized by patrons and they turn out in force on the night "BLUEBIRDS" are advertised. Appoint a certain day each week as a "BLUEBIRD DAY"— try it for a month and watch the rise in profits on that day. Book through your local "BLUEBIRD" exchange, or BLUEBIRD Photoplays 1600 Broadway NEW YORK