Motography (Jan-Jun 1918)

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378 MOTOGRAPHY Vol. XIX, No. 8 up and Bart sees the deception. He kidnaps Hope but Keith follows in pursuit with a sheriff's posse. In a bloody fist fight Keith gets the best of it and Hope and Christie are revealed as sisters. His mission complete, Keith is ab.out to leave but thinks of Hope and changes his mind. "Which Loved Him Best?" Edna Goodrich in Mutual Feature of February 4. Reviewed by Genevieve Harris ""THIS latest Edna Goodrich feature is the most interesting and in many ways the best produced of the series. One element prominent in its composition is always sure-fire with the average audience — glimpses behind the scenes at the real lives of players and artists and other inhabitants of the land of Bohemia. The scenes which take place in a motion picture studio, an artist's studio and the cafes of the Greenwich Village quarter of New York City are pleasingly portrayed and have an air of realityThe story, too, is interesting. Miss Goodrich follows her usual custom of wearing a variety of very striking costumes. Her role, that of a motion picture actress who gives up her own career to aid the artist she loves, is the most fitting one she has had recently, and she makes the most of the opportunity it gives. Her style of acting is in keeping with the character. The entire cast, however, even the child player, seems to have caught the rather artificial manner of the star, and as a result lack spontaniety. Otherwise there is little to criticise in the offering and much to praise. Dell Henderson directed the play. Herbert Evans, Frank Otto, Charles Martin, Mirial Folger, Burt Busby, Nadia Cary, Thomas Wallace and Francois Du Barry are in the cast. The story: Doria Dane, a motion picture star, meets George Steele, a talented sculptor of Greenwich Village, who sees in her a source of inspiration, and obtains her consent to pose for him. Doria is attracted by his personality and genius, despite his irresponsible mode of life. Mrs. Schuyler, a wealthy widow, who maintains a "Bohemian" salon, is interested in George and is jealous of Doria's influence over him. Harry North, a sculptor whose studio adjoins Steele's, courts Mrs. Schuyler's favor and is jealous of her preference for George and his superior talent Under the influence of Doria, who has sacrificed her career for him, George achieves success, and with success comes egotism and neglect of Doria^ At the Greenwich Village Bazaar, George's attentions to Mrs. Schuyler convinces Doria that he has tired of her, and she returns to the studio, intending to leave a message for him that she is leaving his life forever. Entering the studio, she discovers North copying Steele's model for a statue of "America Militant," which he has completed for a prize competition, and which he considers his masterpiece. Some days later, when friends are in Steele's studio, admiring the statue, Doria enters and with a hammer smashes the masterpiece, stating that in that fashion Steele had ruined her life. Steele acknowledges his unfairness, and begs Doria's forgiveness for his neglect. She grants it, then reveals the fact that it was Harry North's copy she had ruined, not the original work. "The Wife He Bought" Carmel Myers and Kenneth Harlan in Bluebird Photoplay. Reviewed by Genevieve Harris CARMEL MYERS and Kenneth Harlan enact their roles in an interesting fashion in this picture, which is taken from a story by Larry Evans, entitled "One Clear Call." The main situation, upon which the story is founded, seems improbable, but if we grant that the hero would marry his enemy's daughter, merely for revenge, the working out of the story from that point is well handled. Harlan has a rather artificial role, but he acts it cleverly. Carmel Myers, as the wife, is very good. The direction, by Harry Solter, is first class. Harvey Gates arranged the scenario, and the story is well portrayed. The photography and settings are satisfactory. The story will have appeal for most audiences. It is not risque or over-emotional. Its scenes are handled with good taste throughout, and it is the sympathetic, human note which is emphasized. The story-' Hutch Valiant faced ruin at the hands of his business enemy, James Brieson. The shock of the disgrace killed him. Steele Valiant, his son, vows vengeance upon Brieson. Finally he ruins Brieson and threatens to send him to jail. Janice Brieson, the daughter, has shown her contempt of Valiant, and the young man tells Brieson that he will save him only if he will give him his daughter. Brieson refuses, but Janice offers to marry Valiant to save her father. After their marriage, Valiant, who hates Janice as well as her father, treats her with coldness and contempt. Janice grows to pity Valiant because of his loneliness. She tries to soften his disposition, but is unsuccessful and leaves him. Valiant becomes jealous of one of Janice's friends, but later he learns that Janice cared nothing for the man. In his relief, he realizes that he loves his wife. He goes to her, rescues her from a wrecked yacht, and the two are reconciled. 'The Planter" a Good Attraction, Exhibitors Report The tremendous success of "The Planter," the big Mutual Special production based on Herman Whitaker's striking story of life on a Mexican rubber plantation, in which the eminent Shakesperian actor, Tyrone Power, is starred, is reflected in returns from exhibitors. Power's virile and masterly characterization of the brutal planter in this strange, exotic story of the tropics, is one of the really forceful screen delineations on record. His adventure into filmdom proves that he is without a peer in certain roles, and his interpretation for the screen loses little of the strength that is his on the spoken stage. The box office drawing power of this production shows what can be done when the genius of the actor is allied with that of the producer in filming a literary masterpiece. Whitaker's novel was acclaimed as one of the most vivid expositions of Mexican plantation life ever written, and created a sensation when published in 1910. His book was the result of long residence in Mexico, and the story is of life as he observed it first-hand. The services Of more than two hundred men and women are involved in the production, while the cost exceeded $250,000. A brilliant cast, a strong story and gorgeous tropical scenery combine to make this a powerful attraction. Exhibitors who have shown "The Planter" are enthusiastic over it and report record-breaking box office receipts, and in many instances request return bookings. Frank I. Frayne, manager of the Palace Theater, Schenectady, N. Y., which is affiliated with the Strand, New York City, writes under a recent date : "It is with pleasure that I hand you herewith our check for 'The Planter.' You may refer any exhibitor to me and I will be pleased to give 'The Planter' a strong boost because it's a good feature and will 'get the money' for any house." Within a period of thirty days one hundred and thirty-five representative houses played "The Planter" for runs of three days to a week and without exception reported big business. Duncan Escapes Awful Death William Duncan, with his desire for realism even in the most dangerous of stunts, narrowly escaped death during the filming of a scene for Vitagraph's serial, "Vengeance — and the Woman." Duncan insisted upon going down to his arm pits in quicksand, but after the scene was made the company discovered it was going to be a difficult matter to haul him out. Joe Ryan threw a rope around Duncan's shoulders and all pulled, but to no avail. One rope broke. The second and last one available was tied to the saddle of Ryan's horse, however, and Duncan finally was pulled to solid earth. Wounds caused by the rope cutting into the flesh of his shoulders were dressed by a physician and he is able again to direct and play in the picture.