Motography (Jul-Dec 1917)

September 8. 1917. MOTOGRAPHY 531 sion and trying to support a little orphaned girl named Lindy. Although the latter is snubbed by the other girls of the town because s >or and bcr name is questionable, the young minis in her and helps to bring it out. Lindy, save her guardian from the harsh old landlord. take* monej from the church, intending to replace it later. The discrepancy is discovered later and naturally enough the girl's bitterest persecutor is the hypocrite landlord. But the minister proves he is worthy of his calling. He not only administer severe rebuke to the hard-shelled members of his congregation, but be commends the girl for her righteous motive and puts her in the place she deserves in the community. Rev. Clarence J. Harris, the author, can congratulate himself on providing the screen with some good, enjoyable entertainment and teaching some good lessons on the side. Joseph Levering's direction accounts for a good deal of novelty and realism throughout. The picture is a good one from the standpoint of acting. It is evident that Marian Swayne is improving rapidly. The fans who have been watching her will probably agree that in the role of Lindy in this picture she has completed" the best part she has yet done for the screen. Carl Gerard is very interesting as the young minister. Others in the cast are Lucile Dorrington. Sam Robinson. Bernard Xiemeyer, Charles MaoDonald. Mrs. Allen Walker and Olive Corbett." Most of these people, either naturally typed, or made up, help the country town atmosphere substantially through their characterizations. Re 4 'Mother Love and the Law" Dolly Matters Starred in Crystal Photoplays, viewed by Genevieve Harris CAPITALIZING the notoriety of the star player, and using her own story as the basis for the photoplay, this state rights picture, produced by Crystal Photoplays, under the direction of George A. Siegmann. will have an undoubted interest for the many people who followed the sensational case in the newspapers. This publicity alone would make it a drawing card in certain localities. And although the play as presented is not particularly sensational, it will hold the attention and appeal to the sympathies of those it attracts. Seven reels are allowed for the telling of a story which could be set forth in less footage and the result is a certain dragginess, especially in the first part. The latter part has more rapid action. The story is set forth in a straightforward, narrative fashion. Acting, the directing and photography are satis f acton,', though not remarkable. The picture is best fitted for the middle class audiences. Critical patrons will not be enthusiastic over it. although some of them may accept it as a novelty, since it is to a certain extent a dramatization of a real life occurrence. O. A. C. Lund wrote the photoplay and plays the part of Jimmy Harwood. Dollie Ledgerwood Matters plays the part of the persecuted heroine. George A. Siegmann, who directed, plays William Bernard, a sympathetic lawyer. Mabel Bardine in a "vamp" role. Patrick Calhoun as a dishonest lawyer. Thomas Flynn and F. D. Wood also have part in the story. The story: In brief, the picture sets forth the career of Marion Leyden, who is adopted by a wealthy family, the Marshalls. and who, after the death of the wife, marries Mr. Marshall, much her senior. Marshall dies shortly before Marion's child is born. Marshall's brother and his family scheme to get hold of the fortune that is left. Knowing that Marion's baby is the rightful heir, they try to prove, before a law court, that Marion's own l>ab\ had died and that another had been substituted. In the first trial, they are unsuccessful, but they appeal the ease, and through briber>. win. and Marion's baby is given to another woman. Jimmy Harwood. who bad formerly loved Marion, comes t" her aid. He obtains a record showing that it was not Marion's child which died, and although his enemies trap him and almost kill him. he escapes, and after a wild auto race arrives in time to win the lawsuit for Marion, and the baby and fortune are given her. The Guardian Five-Reel Peerless-World Drama Released August 27. Reviewed by George W. Graves IX "The Guardian" the acting of a competent cast outweighs any other element of the picture in worth. The story, while will doubtless appeal to those who want melodrama and are not particular whether it is "mere movie" melo Scene from World's "The Guardian." drama or any other kind, is only lukewarm as far as providing real interest is concerned. This is due not so much to the lack of a good plot as it is to ineffective, and, in some parts, decidedly amateurish treatment. It is evident that the scenario might well have been improved upon. In production, the picture is every bit up to a high standard as a program offering. Montague Love has a part to which he is well suited. Tune Elvidge, who always gives sterling renditions, appears again very much to the advantage of the picture, and Arthur Ashley, William Black and Robert Broderick have prominent parts. "The Guardian" owes a great deal to these players who add to its stock of realism even when the story seems quite bound to detract from it. On the whole, on account of the sincere work of the cast, the picture may be styled an acceptable program offering. There is at least plenty of action, and one or two thrills arc provided. The trial scene. 'The Italian Battlefront" Official War Pictures of the Italian Government — Reviewed by Genevieve Harris DICTCRES which show with wonderful vividness the diffi*■ culties which the Italian soldiers must overcome and the splendid fashion in which they are doing their share in the great war are these battle views in the Alps which have lately arrived from the scene of action and are presented under the direction of William Moore Patch. In Chicago the film is being given a most artistic presentation at the Auditorium Theater, with special musical accompaniment arranged by Carl Bernthaler. The pictures are divided into three episodes, part one showing Italy's warfare in the Adamello, at the top of the snow-clad Alps, thousands of feet above the level of the sea; part two showing the battle of Gorizia: part three showing Italy's warfare in the sky and on the sea, the defenses of Venice, and the Italian aircraft, motorboats and submarines. Closing pictures show various Italian army units cheering the entry of the United States into the war. The subtitles of the pictures throughout