Motography (Apr-Dec 1911)

96 MOTOGRAPHY Vol. V, No. 5. us in a long while. This first Cuban release gives promise that "Edison will more than repeat its former successes in that sunny land. Robert the Silent. — Pathe. Some graceful dances by a beautiful girl add pleasure and novelty to this film. She is evidently a professional, as every move is full of charm and practised skill. Her dances are nicely woven into a drama that is appropriately romantic and has an ending of considerable power tending toward the melodramatic. The production is of an historical nature, showing some pleasing scenes. The film is colored. Madame Rex. — Biograph.' A stagy piece worked up with many Biograph tricks that make it fairly convincing. There is an effort to show a French period of the early nineteenth century that is not entirely successful, but commendable in that it adds a pictorial .quality to the scenes. The minute Biograph actors get "costumes" on they act self-conscious — that is the principal difficulty with the film. Two girls in the role of convent misses gave an animated performance, however, that was delicio.us. This is the best part of the film and makes. the whole worth seeing. The Two Fathers. — Lubin. Several dramatic and well-acted scenes give power to this drama. The climax was beautifully done, the heroine quite naturally resenting the interposition of her real father and seeking the protective arms of the man whom she had always regarded as her father. There were none of those long lost child instinctive recognition effects which have become conventional in such cases. It would have been very easy for the producer to end the film right there on the old conventional throb. But the Lubin Monday producer is above such cheap tricks, and he carried the scene through to its logical conclusion. The happy ending of the next scene was apparently tacked on" against his will as it dangled considerably and failed to explain much. The daughter's change of attitude seemed too abrupt, and the foster father's financial difficulties still lacked a settlement. Mr. Johnson gave an artistic and dignified performance; Miss Lawrence played second fiddle with nice skill. The production is worthy and the play worth while. A Card of Introduction. — Edison. A cardinal rule of the drama states that a playwirght must not mystify or keep secrets from his audience. Like all general rules, however, it needs to be broken on occasion, and here is one of the occasions. The joke would have been immensely more effective if it had not been explained in advance. Who, in telling a story, would give away the point first? We all know better than that. But the editor of this film, hidebound by an old rule, saw fit to insert a sub-title making that very blunder. The film consequently falls flat and the whole effect is marred, not to say ruined. The material presentation is adequate, and our old friend Bumptions comports himself in the usual way. Lost Years. — Gaumont. A subject none too pleasant, but acted with exceptional skill. Every part is played by an artist and the ensemble is perfect. The leading role is taken with a power and mastery that would excite admiration on the legitimate stage. It is French acting of the very best type, which is super lative praise. The production has an artistic merit equal to the acting. It is a modern family drama, and the atmosphere of wealth and breeding is skilfully suggested. All connoisseurs of the photoplay should visit the film in order to see what can be done. An Orphan's Plight. — Essanay. Quite an oldfashioned type of piece, reminding one of an Alger book. The characters are terribly good or terribly bad, and it is all rather childish. To be complete, the picture should have shown us the wicked step-mother burning in hades, or something like that. It's scarcely moral to leave her enjoying the insurance money with such devilish zest. The explosion that killed off her husband was certainly accommodating. The star part is taken by a young lady who strives earnestly all the time and achieves some success. The film is not likely to overwhelm Essanay with laurels. In Kwang Tung Province, China. — Eclipse. Not as picturesque as we expect to find China. The camera man has confined himself principally to* scenes which show the effect of occidental influence upon China. This is all interesting enough, but one would scarcely travel to China to see such things. The film will disappoint those who expect to see something bizarre and oriental. Solving the Servant Problem. — Eclipse. Rather funny, though the actors are not nearly as funny as they aim to be. The idea is not bad, and the trick features please. The Sheriff's Chum. — Essanay. There is a resemblance between this release and another Essanay "A Sin Unpardonable," but this one lacks the stark simplicity that made the other so strong. It is an interesting drama, though, well presented and well acted. The pantomine between the wife and her admirer was very expressive. The scene where the hero went into the hut of the desperado and brought him out hand-cuffed without any fuss or ado, was also impressive, speaking volumes for the hero's nerve and perfect confidence. One expected to see the scene played in a "Tracy's last stand" manner, but the spirit of restraint was even more effective. From a dramaturgical standpoint the scene was also effective, as the absence of violence served to heighten the struggle in the last scene. The last scene made a strong climax, being enacted with great energy and earnestness. The fight was ever so much better handled than the similar fight in "A Sin Unpardonable." It is a Western subject and the action is violent, but one would hesitate to call it melodrama. It is too convincing and downright human for that. It shows life under circumstances in which violent conduct is justifiable. A Knight of the Road.— Biograph. One of O. Henry's stories cleverly westernized. The plot is dramatic with a capital touch of humor at the end. The tramp element is novel and the excellent type characterizations afford striking proof of the Biograph stock company's versatility. The climacteric scene is rushed through too fast, thereby losing effect; otherwise the piece is presented in good style. The Winning of the Stepchildren. — Vitagraph. A human little drama such as might really happen. The position and problems of a second wife are doubt _____