Motography (Jan-Jun 1918)

1202 MOTOGRAPHY Vol. XIX, No. 26 it is not so clever from the viewpoint of the average fan, but its romance and neat plot place it among the best work of these twin stars. Stars — For once the acting honors go to Miss Bayne, who is charming and full of "pep," while Bushman is little more than a background for her. Production — Very thorough and attractive. Photography — Excellent. There are no stars upon whose drawing power exhibitors differ more widely, but wherever pictures by these players have any drawing power, this ought to prove their best attraction in months. * * * * The Only Road — (Five reels) — June 3. — Featuring Viola Dana. A lively western romance with a flavoring of melodrama. Nita, who is supposed to be the daughter of a brutal Mexican and his browbeaten wife, is known by Ramon Lupo, an unscrupulous lawyer, to be really the daughter of Clara Hawkins, a wealthy ranch owner. The child Viola Dana in the Metro picture, "The Only Road." was taken from her when it was born by her father, who was embittered by the fact that she had eloped against his will. To get hold of Mrs. Hawkins' money, Lupo tries to persuade her to marry him. Failing in this, he bargains with the Mexican to marry the girl to his son Pedro. Meanwhile Bob Armstrong, son of an old friend of Mrs. Hawkins, has been sent west because he was a failure and scapegrace in the east. He helps Nita escape from the Mexicans, but is pursued by the Lupos and is about to be lynched by a mob when he is rescued by the sheriff and judge, who insist that since he ran away with the girl he must marry her. After various adventures Nita's identity is established and everything ends happily. Director, Frank Reicher. Cameraman, John Arnold. General effect — A rather original yarn, which could have been made more tense by keeping the girl's identity a secret until the last reel, but still sufficiently unusual to hold the attention. Star — Miss Dana has much the same sort of part as she had in "Riders of the Night," a pathetic and yet comical figure. Support — Excellent. Production — A good, typical California outdoor atmosphere. Photography — Fine. This is the kind of picture upon which the "movies" thrive; not too high-falutin' nor yet too lowbrow, and so it is a good average attraction for any kind of house. Paramount The Firefly of France — (Five reels) — June 23. — Featuring Wallace Reid. A war interest picture dealing with spy plots and full of adventure. Devereux Bayne, a wealthy young American, voluntarily joins the French forces, before America declared war upon Germany. He goes to France and all his movements become involved with those of a man named Jenkins and a young woman, Esme Falconer, in such a manner that Bayne believes the girl, whom he learns to love, is a German spy, and Jenkins a secret service man. At length they all meet at an old chateau in France, where a mysterious French patriot, called "The Firefly," has successfully eluded his pursuers, and here, after many adventures, the story straightens itself out. Director, Donald Crisp. Cameraman, Henri Katoni. General effect— This story is full of "pep" and mystery, will appeal to the patriotic spirit of the times, and provide good thrills every few hundred feet, especially at the close. Star — Wallace Reid has always been a good actor and now he seems to be coming to the front as a star, for his work entitles him to the honor and he has a winning personality. Support — Unusually good, including Ann Little, Raymond Hatton, Charles Ogle and other Lasky players. Production — This is a typical Donald Crisp picture, very thoroughly done. Photography — Excellent. This ought to be one of the best money-getters of the general run of pictures this month, though it is unwise to make too strong a play just now on the patriotic or war appeal of five-reels, when there are so many big war-time specials out. This production can stand on its own merits, •the war interest being merely an added attraction. Vitagraph The Soap Girl — (Five reels) — June 17 — Featuring Gladys Leslie. One of the best Vitagraphs in months; a clean novelty. Marjorie S'anford's father made millions in soap, and she wants to get into society. Sanford thinks it can be done by advertising, and contributes heavily to charity, but before this can have its full effect, father overplays the advertising game by putting his child's portrait on his cakes of soap, which bars Marjorie for keeps. Meanwhile she and Richard Van Ruhl, nephew of the dictator of the set which has banished Marjorie.^ fall in love, and the aunt and nephew quarrel over the girl. Marjorie discovers that the Van Ruhl fortune was founded in selling rum to the Indians, and she gets her father to take revenge by buying a distillery and putting pictures of Mrs. Van Ruhl on the bottles. Mrs. Van is about to bring a suit for damages when nephew turns up and marries Marjorie, giving her the right to' use the name. There is finally a reconciliation. Director — Martin Justice. Cameraman — Arthur Roxx. General effect — A snappy society drama, full of pep and comedy, well acted and thoroughly consistent. Star — Miss Leslie's best work since she has been starred. SupportVery good. Production — Vitagraph interiors need toning up, but otherwise the picture is well dressed. Photography — Good. This is the sort of production that everyone will like, for while there is no blood and thunder to give them the creeps, it tickles all the time, and that is just as good, if you have anything like an intelligent patronage. It is a safe bet. Wallace Reid in the Paramount picture, "The Firefly of France."