Motography (Apr-Dec 1911)

May, 1911. MOTOGRAPHY 95 Recent Films Reviewed The Justice of Claudius. — Pathe. The principal interest of this film lies in the remarkably fine settings. It is a Roman subject and the era is pictured with' breadth and completeness. The depth of the settings is unusual and they are arranged with much art. The illusion is quite convincing. The story is rather artificial and certainly distasteful. Melusina's passion for Manus is too monstrous to win sympathy. Melusina's ending was very impressive, the producer cleverly suggesting the horror of it without presenting the ghastly details. The actress of Melusina brought splendid physical endowments to the role, creating a vivid picture of that scarlet queen. The Chief's Daughter. — Biograph. Over-acting spoils this piece in several places. There is an amount of emotional pressure that the situations do not warrant. Too. much of that agitated face business and the ''effective" pause — two Biograph expedients that are sometimes a virtue and sometimes a vice. They are not used here with good taste. The story is a dramatic one and would have created a good impression if the producer had refrained from forcing it. The Indian squaws chasing the philandering hero like a pack of Nemeses provides a novel and effective ending. The hero marred it, however, by his almost hysterical terror. There was no sense in his falling down so often. The scenery is very picturesque and the photography bright and clear. Winsor McKay. — Vitagraph. That Winsor McKay undertook the stupendous task of drawing a motographic series of pictures numbering 4,000 is almost unbelievable ; but here we have them and there seems to be no other explanation for the unique performance. It is a delightful film, stirring just as much amusement as it does wonder. Everybody should see it. Little Nemo is there with all his attendant sprites and their stunts are vastly entertaining. It looks like the Sunday comic supplement come to life. The effort is entirely successful and reflects credit on all concerned. The Atonement of Thais. — Gaumont. An art film of the first water. There is poetry in it and spiritual suggestion. The production is artistic in all points, coloring, mounting, and sequence of events. The action moves with a measured dignity with an effect somewhat like that of music. Deliberate and dignified acting adds to this impression. The part of Thais was played in beautiful style by an actress of undoubted superiority. Thais' penitence had an elevated simplicity such as French pantomime seldom shows. No frenzied abasement and sweeping of arms, almost no gestures at all — yet she fastened the attention and held it spellbound. The death scene was consummated in perfect taste, the faintly-glowing halo just hinting at an apotheosis ; none of the customary Little EA'a effects. The poetry and artistic restraint of the film place it on a high pinnacle. Italian Coast Scenes. — Gaumont. Remarkably clear steady photography gives this film value aside from the subject, which is a scenic, also good. The scenes have been taken at a distance, yet every detail stands out sharp and clear as if through a telephoto lens. The little Italian towns nestling up against craggy headlands with waves rolling up almost to the cottage doors form a series of pretty pictures. Strike at the Mines. — Edison. A rambling story not very connected nor very clear. Its heart is in the right place, however, and the effect is pleasing. The hero part was rendered in a straightforward and manly way, and so was that of the sub-hero. With two such admirable and thoroughly plausible heroes no wonder the film is pleasing! The "mob" scenes are handled with extreme skill, both as to characterization and group management. They act with a collective spirit that is convincing. The settings display a great amount of care with respect to realistic detail. Altogether the film is very life-like. The Fall of Troy. — Itala. A most pretentious production — probably such a huge and difficult one has never been undertaken before. Being so large it could scarcely be perfect in all details, and several jarring notes are struck; but on the whole the effect is impressive and even awe-inspiring. Scene after scene of vast dimensions and great pictorial beauty are unrolled before the spectator's gaze and the drama takes on truly epical proportions. As an illustration of Homer's Iliad it is entirely worthy. Of course much has been omitted, but the main story is given from beginning to end with perfect clarity. The Paris and Helen theme is skillfully interwoven with the larger war drama and gives a specific and human touch to what would otherwise be a mere spectacle. The final scenes are truly wonderful with a lurid beauty and suggestion of colossal destruction. The spectator's eyes are riveted while he breathes forth exclamation marks. The film reflects vast credit upon Itala for the magnitude -of the subject and its highly artistic execution. It will be remembered as one of the greatest films in motion picture history. Coco. — Pathe. A monkey actor who has little difficulty in arousing as much laughter as a Broadway comedian. He is a cute little fellow and his stunts provide evidence in favor Of the Darwinian theory. The film is decidedly worth seeing. Easter Babies. — Vitagraph. A cute little Easter subject with something of the flavor of "Consuming Love," the Kate"Greenaway success. The little tots please the grown-ups and act remarkably well considering their tiny years. The film has humor in it, and is in all ways delicate and pleasing. The Haunted Sentinel Tower. — Edison. Some strikingly picturesque scenes and a romantic melodrama give this film a strong appeal. The action is decidedly dramatic, creating much excitement. Where the husband attempts to extort a confession from the wife by various subterfuges, the interest of the audience is whetted to a fine point. It is an effective scene, admirably played by Miss Trunnelle. The Morro Castle scenery is rich in pictorial qualities of which the camera man has taken every advantage. The photography is the best that Edison has shown