Motography (Jan-Jun 1918)

278 MOTOGRAPHY Vol. XIX, No. 6 His constant cancelling of appointments excites the suspicion of his fiance, to whom he had been engaged merely for ambitious reasons. Norman entices Dorothy to his apartment under pretence of signing incorporation papers for her father's business, which Norman finances, and there begins his insidious campaign to possess the girl without the benefit of the clergy, and his fiance, warned by a jealous clerk who secretly loves Dorothy, discovers him with the girl in his arms. Dorothy's father dies and she leaves the city to forget while Norman, dissipating, soon becomes a wreck. His name no longer respected and his business gone, he collapses and is sent to a sanitariumTime brings Dorothy back to the city despondent, and Norman again in good standing. Dorothy struggles along while Norman, his genius reasserting itself, has built up another prosperous legal practice. Returning home one evening he sees the girl about to plunge into the river. He takes her home, and then follows the struggle within the hearts of each to do good, and finally realizing their love for each other the two embrace, rejoicing in their rejuvenation. "The Hopper" Triangle Picture Starring George Hernandez and Walt Whitman. Released February 10. Reviewed by L. J. Bourstein AN ancient and valuable Chinese vase may not often cause ^^ old friends to quarrel and disrupt the tranquilities of their homes, but it happens in this Triangle picture and provides a means of excellent entertainment. Unusual interest and wholesome comedy is injected throughout by the antics of a child who considers valuable antiques excellent playthings, much to the chagrin of the elder collectors. The story, written by Meredith Nicholson, starts from two different angles and then works to a single conclusion. One phase of the plot concerns the efforts of a trio of crooks to reform and then takes them into the lives of the main characters, two men who had made the collection of curios and valuable specimens of old pottery, their life's work. Of course there are the children of the two men, who marry much to their parents' displeasure, but with the aid of the reformed crooks all turns out happily and pleasantly and the two men are convinced of the errors they have made and return to their old friendship. George Hernandez and Walt Waltman have the respective roles of Wilbur Talbot and John Wilton, and accredit themselves favorably. Irene Hunt and Eugene Corey are their children, who enlist the aid of the crooks to end the feud between their parents. The story: Wilbur Talbot and John Wilton quarrel when it is discovered that the former had beaten his friend to purchasing a valuable vase which each had wanted as an addition to his collection. They attempt to compel their children to break their engagement, but are unsuccessful, and the two are married. Three years pass and the feud is still unsettled. Roger Talbot goes to his father to enlist his aid in a business venture. The elder Talbot refuses unless his son will give up his wife, who had gone to her rather at the same time seeking aid for her husband. The crooks are then brought into the plot. One of them, returning home, meets a detective from the east who had hounded him in the old days. Fearing apprehension, the crook, known as the Hopper, gets off the car and, seeing a roadster apparently without occupants, purloins it and drives home. There he discovers a child on the rear seat and takes it into the house. A locket identifies the child as the son of Roger and Muriel Talbot. Now we are brought back to the first pair. Roger leaves his father's home, and, not seeing his car, believes his wife had driven it home. Then his wife comes out, and, not seeing the car, believes the same as her husband. Getting home first, the wife discovers the Hopper in her apartment. Keeping the secret of the child from its mother, the Hopper is induced to enter the homes of each of the irate parents, steal a valuable specimen from each, and return them to Mrs. Talbot. Roger returns without the child, explanations are made, and then begins an all-night search. The robberies are discovered and each curio collector accuses the other. But then the Hopper comes up with the child and the two curios. He makes the final explanations, goes away happy, and the two old men are pacified to a point of continuing their friendship and uniting the two collections which had caused all the trouble. "Madame Spy" Jack Mulhall in Universal Special Production, viewed by Genevieve Harris T Re HIS is a timely picture and deals with the present spy problem in a comedy-drama fashion. There is a good deal of action, and Jack Mulhall masquerades in feminine costume during part of the play in a fashion which will greatly amuse the average audience. Donna Drew plays the heroine. The production as a whole is well done, acting, directing and photography, and it is interesting and pleasing enough to satisfy all patrons. In advertising, the comedy and the timely elements might well be emphasized. Jacks Mulhall, as the hero, gets a clew to a German spy plot, but in order to trace and foil it, he is forced to masquerade as a foreign adventuress whom the conspirators expect. Lee Morrison wrote the story. Douglas Gerrand directed it. The story: Robert Wesley returns home from a term at Annapolis and later learns that he has failed in his examinations. Robert's father is an admiral, and at a party given in their home, Robert overhears a conversation between two of the guests which arouses his suspicions. He learns that they are spies and are expecting the arrival of the Baroness Hulda, who will give them further directions. Robert had played feminine roles in college theatricals, and gets the idea of pretending to be the baroness. The real adventuress is captured by one of Robert's aids, and Robert deceives the conspirators for a short time. Then the real baroness, who had escaped, arrives. But Robert is able to put the entire band in the hands of the police. As a reward, he regains the standing lost through the examination he failed. Old friends quarrel about a curio. "The Divine Sacrifice" World Pictures Starring Kitty Gordon. Released February 4. Reviewed by L. J. Bourstein "THE underlying moral of this film is undoubtedly to show to *■ what lengths mother love will reach to assure the future happiness of her child. It is thoroughly dramatic throughout, and should appeal mostly to grown people in that it depicts the differences which ofttimes crop out of the question between man and wife as to whether or not there shall be children brought into life as a means of blessing to the home. The plot covers incidents which take place in this country and also in far-off Arabia. The market and theater scenes have been staged in capable fashion and the atmosphere of Arabia is strictly adhered to. There are many well-selected local exterior scenes which reveal some new sections of natural beauty within easy reach of the city commuter, and they afford a very attractive background. Kitty Gordon has earned an enviable position in screen circles due to her dramatic capabilities, and now her daughter, Miss Vera Beresford, essays to emulate her illustrious parent. Miss Gordon enacts the part of Mrs. Spencer and gives a convincing portrayal while Miss Beresford, although entrusted with a small part, does her little bit very satisfactorily. The supporting cast acquit themselves creditably. The story: Doctor Carewe is unhappy in his childless home, his wife being a society matron unwilling to sacrifice her popularity for the beauties of motherhood. He seeks solace in an orphanage, where his greatest pleasure is to comfort the children. There he meets Mrs. Spencer, the second wife of a notorious gambler, and her interest in the children brings many meetings.