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April 13, 1918.
MOTOGRAPHY
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across the state line. Roberta and Prudence plan to have Judith found there alone, but they relent and rescue her. Roberta finds one of the church deacons at the dance hall and threatens to expose him unless he aids her. He announces that he and Roberta have investigated conditions and have decided that Lilyville must provide dancing parties for its own young people if it is to keep them out of mischief. So Roberta achieces her object and finds fun among her own friends.
"Mrs. Slacker"
Gladys Hulette and Creighton Hale in Pathe Feature. Reviewed by Genevieve Harris
■"THERE is dramatic material in this story, but Agnes C. Johnston, author, and Hobart Henley, director, have worked it out in a light fashion so that it becomes an improbable but entertaining comedy drama. Perhaps it is just as well, for Gladys Hulette is associated with corned) dramas in the minds of photoplay fans, and her admirers will not be disappointed in her work in this play, even though the plot strays from probability.
Creighton Hale plays opposite Miss Hulette in this offering, but his role is not a very sympathetic one, until the end. His name, however, should prove a drawing card wherever Pathe serials have been shown. Paul Clerget, that excellent French character actor, is also a member of the cast. As usual in Hulette plays, there are a number of children, character types and animals to lend comedy and pathos to the picture.
As a whole, the picture is satisfactory. It is well produced by the Astra studios and it is clean, wholesome and cheerful. It is not a wonderful picture, but it will entertain the patrons of the neighborhood house, children and grown-ups, who come to see Gladys Hulette and Creighton Hale. If it is more of a comedy and less dramatic than its title suggests, they will probably enjoy the comedy and not complain.
The story: Gladys Hulette is Susie Simpkins, who lives with her uncle, a drunkard, and supports herself by taking in washing. One day she meets Robert Gibbs (Hale), son of a wealthy family. This young man is of a very timid disposition and she has only contempt for him until one day he saves her from drowning. She changes her opinion of him and he becomes a hero in her eyes.
Susie is very patriotic and organizes amateur theatrical performances among the children for the benefit of the Red Cross. When the call for volunteers comes, she expects that Robert will at once enlist. He asks her to marry him, and she agrees. They are secretly married, and then she learns that he did this to avoid being called in the draft. She begs to be taken in his place. In her patriotic work, she learns of a plot to blow up a munitions plant and she tries to give the alarm. The plotters capture hen, but Robert arrives in time to free her and foil the plotters. His patriotic fervor is aroused and he decides to fight for his country in the army and his family, realizing that Susie is a heroine, promise to take care of and educate her.
'The Bluebird"
Artcraft Production of Maeterlink's Classic, by Genevieve Harris
Re
UXDER Maurice Tourneur's direction, "The Bluebird," which was loved as a stage production, becomes a motion picture. Anyone who has seen or read the Belgian poet's lovely play will appreciate how well pictures could interpret the fancies, and also how wonderful a picture it would make if handled with artistic feeling. These people need only be told that it has been done just as they would wish, with all its beauty, fancy and truth preserved, that it has gained by being translated into pictures, in order to understand how fine this offering is. There is only praise to be given director, players, photographers and all others concerned in its making.
Those who are not familiar with the original play have a surprise in store. They are to learn how vivid, interesting and beautiful an allegorical story can be. This is really a sort of a fairy tale, but it is not "make believe" so much as it is an unusual way of looking on life. For the story is real, is founded on life, in which we are all seeking the "Bluebird" of happiness of one sort on another. In this story the two children, in a dream, set out to find their "Bluebird." A fairy leads them through the adventures which follow, and they visit the spirit world, the kingdom of night, the homes of those who have died, the halls where wait the souls of those still to be born, and other mystic regions. And the spirit of real things becomes apparent to them, the soul of fire, of light, of water, for instance. These
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transformations are handled beautifully through the camera tricks of double exposure, and the beautiful photography makes the entire picture seem like a fairy dream.
The allegory^ underlying the story is very simple. It will not be over the heads of even an audience of children. The children, in fact, will be delighted with the picture, but not more so than their elders, who will appreciate both the truth of the play and the great amount of careful, artistic work necessary in the working out. The more high class and critical the audience, the greater the success of the picture, but all audiences with any love for the beautiful will be pleased.
The little children who play the leading roles. Tula Belle and Robin MacDougall, are well chosen and are clever, attractive little players. The cast is very large, but each member is worthy of praise. The production as a whole is one which marks another step forward in the artistic progress of the film w7orld.
Pauline Frederick in a scene from "La Tosca: