The Moving Picture World (Apr-Jun 1913)

THE MOVING PICTURE WORLD 703 mam Comments on the Films ]JI!l!!lllllililllllll!lll Licensed "THE BROKEN VOW" (Cines), May 2.— This two-reet picture is a genuine feature. Above all else are the backgrounds. They will appeal to all sorts and conditions — and they prove what can be accomplished by a director of artistic taste. Showing these backgrounds to full advantage is splendid photography. The tinting of sunlight is especially striking. The interiors, showing the home of the cattle owner, are elaborate and rich. Throughout the first reel there is a succession of pastoral scenes. There is a large flock of sheep in the opening. A little later we see a big herd of cattle on the way to market — the scene where they ford a stream is unusual. The picture of the rural lovers as they sit by the edge of the great cliff, the drowsy hound by their side, would be a setting for a painting. On the dramatic side the picture holds all the way — straight from first to last. The climax is tragic and sudden. The cattle owner who has lured the shepherdess from her old lover and installed her as his wife is bound against the tree under which the girl and the cattle herder had plighted their troth; the herder, who has returned to the estate after an absence of two years, takes the wife in his arms and jumps into space. The picture ends abruptly. "THE WANDERER" (Biograph), May 3.— A mystery picture, like "The Top Floor Back," or, "Annie Oimbs Upstairs," or "Little Sunbeam"; but unlike the latter, it has no real characters. The "wanderer" is a strolling musician whose artistic soul longs for the perfect note. The effect of his self-sacrificing life, symbolized in the influence of his music when heard by evildoers as it passes below, like Pippa, in Browning's poem, links two or three human lives together; but not at all dramatically. Henry Walthall is the musician, outcast like the true artist, and he marries Mae Marsh, who is woman and therefore also outcast. Of course, we, in our statement, are cruder than the picture, as the mind is cruder than the soul. Besides these, there are Lionel Barrymore and Claire McDowell, a couple in trouble who also overhear the strains. This gives Miss McDowell a chance to become most truly tragic heroine, but no chance to become a personality. We have used mueh space to say merely this. The picture is only art, not life. It stands on its scenes and they are fine. The photography is not as good as it should have been. "BILL'S SWEETHEART" (Edison), May 3. — In a rough barroom in the West we find the heroine of this picture, an American girl, being played for and won at cards by a Greaser from a trader who owns her only by right of his having found her when a baby and brought her up. Then the noble hero plays for her and wins her from the Greaser. We can't see that the people like this sort of stuff and are somewhat pained to see it coming from Edison. "THE CRAZY PROSPECTOR" (Essanay). May 3.— A good offering. There have been one or two something like it long ago; but that won't hurt it any. The situation is tragic and true enough to get across with a punch. The prospector is only silly, is pegging away at a cliff where he thinks there is gold. At the bar they laugh at him. He really finds gold. His daughter tries to keep him from blabbing; but he slips away. She finds him at the empty bar; all the "bunch" has gone to register his claim; but Broncho Billy, the stage driver, helps her. It is well put over. "THE WAYWARD SON" (Kalem), May 3.— A melodrama with nothing new; yet it seemed to interest the audience. The wayward son, disowned and down-and-out, gets wind of a plot to rob his father. He "gets in bad" before he and the girl are able to warn his father and then comes the capture of the thugs. It is intelligently played by the Western company of the Kalem forces and the photography is first class. "CLARENCE AT THE THEATER" (Lubin), May 3.— A farce bit almost too slight to notice seriously. "FIXING AUNTY UP" (Lubin). May 3. — On the same reel is this farce in the well known style of A. D. Hotaling*s company. We found it fairly entertaining ourselves and it seemed to please the audience. Aunty, played by Mae Hotely, won't let her three nieces get married to their three lovers till she is herself disposed of in wedlock. George Reehm writes to his dad, Robert Eurns. to come and marry her. Tired of widowerhood, he comes; but is repelled by her looks, so the girls "fix her up" and she comes out 01 it a most charming young woman. Dad is now glad he came. E. W. Sargent is the author. "GENERAL SCOTT'S PROTEGE" (Patheplay), May 3.— An Indian story pictured in beautiful backgrounds and fairly well photographed. There is action in it; but the action isn't new. Where Indian stories are not too often shown, this will make a good offering. It didn't take very well here. "A MIDNIGHT BELL" (Selig), May 5.— The story of this old, rural melodrama is pretty widely known and as well liked. It has an old-time plot and is a popular, rather than an artistic offering, with plenty of the good, old horse-play. It didn't take strongly with a Broadway audience in the afternoon; but there were many that seemed impressed and we believe that it will go well in most places. We like the adaptation as acted and produced; the characters are pleasing. Clara Dale is nothing else but charming in the role of Annie Gray and Theodore Gamble makes his Ned Olcott a fine, manly lad. T. J. Corumerford makes up into a perfect Squire, although his playing offered not enough contrast; he didn't seem sensitive at all times. Edith De Yalnaaseda, as the school teacher, adds much to the pic ture's charm. Lillian Leighton is a motherly Mrs. Gray. John Lancaster looks his part in the role of the justice of the peace. These are capably supported by a large cast. The producer is Charles French. The camera work is of good quality. "THE TENDERFOOT'S MONEY" (Biograph), May S.— There is freshness in this offering, though it deals with mining village doings that many pictures have shown. There's an idea behind it and it has a touch of irony which is uncommon enough to be acceptable. The "money" was "come by" in some evil way and we are not sorry to see the tenderfoot lose it. We watch it as it changes hands, until it finally rests with the least dishonest man, who dishonestly keeps it. The photographs are very clear in most of the scenes and the backgrounds (a bit of rocky mountain country) are worth seeing. Henry Walthall, Claire McDowell, Alfred Paget and others have roles. "THE ANT-LION" (Patheplay), May 6.— A short picture showing how this creature lures his prey. "THE CHATEAU OF BLOIS, FRANCE" (Patheplay), May 6.— Fine views of this great structure on the River Loire. It is to be regretted that all of the views were of different wings and that there was none of the whole. "A TANGO TANGLE" (Essanay), May 6.— There is shown in this picture what we may believe is an authentic demonstration of the dance about which there is so much discussion — and which will go far to confirm all that has been said against it, especially in the opinion of non-dancers. In this respect the film may be said to be educational. The picture contains nothing other than the dancing to raise it out of the ordinary, either in acting or otherwise. "THE JUDGMENT OF THE DEEP' (Lubin), May 6.— This picture is laid by the sea, the views of which will interest some. The story is nil — mechanical, almost painful. Where there is opportunity for acting, on the part of nearly the entire cast it is overdone — melodramatic, stagy. "HATCHING CHICKENS" (Selig), May 6.— A very short reel showing a chick working out of its shell. This is the second chicken release from the same manufacturer in five days. "A WELDED FRIENDSHIP" (Selig). May 6.— On the same reel. A picture without a thrill in it. There is at first a lapse of five years, followed shortly by another of twenty years. There is also a lapse of memory. The story is called an Alaskan romance, but somehow you don't feel as if you were in Alaska. Kathlyn Williams, in a dual role, has the lead. "WHEN GREEK MEETS GREEK" (Edison), May 6.— This story is written by Mary Fuller, and she and Charles Ogle have the leads. It is a pretty story and will be heartily enjoyed. The work of Miss Fuller and Mr. Ogle is of their best. Miss Fuller portrays a stenographer who has a will of her own; she is continually at odds with a somewhat forceful employer, who has a son in love with her. When the time arrives, however, she tells the son that not only does she care nothing for him, but, in answer to an insinuating remark, for the father either. There are several comedy situations. The climax, in which the two leads hold the stage, and in which the stenographer discovers she really does love the employer, is finely carried out "OMENS AND ORACLES" (Vitagraph), May 6.— This is the third of the Belinda series. It is written by Eliza G. Harral. It will make a lot of fun in a great many houses. The character work of Miss Florence Radinoff as the boarding-house keeper is excellent. Norma Talmadge as Belinda is good. There is a competent cast. "PEDRO'S TREACHERY" (Lubin), May 5 — A picture of the Mexican border by Romaine Fielding and his company. The story is not original or planned to be most effective. The photography is very clear in most of the scenes. "THE HEART OF AN ACTRESS" (Kalem), May 5.— There is little that is new in this story and it is not convincing as probable life. It has been acted with dignity and grace and perfectly photographed. As an offering, it stands on its scenes, not on its unbelievable storv. Alice Joyce plays the actress who tries to give back her lover (Tom Moore) to the other girl, in whom she has found an old benefactress. "AN OLD ACTOR" (Selig), May 5.— An old story done in pictures; it makes a good, interesting offering. In the story, the actor is described as playing in Hamlet. He is found to be too old to play the grave digger and is discharged; but comes back at night, puts on Hamlet's robes and dies on the throne. This makes very appropriate the quotation, "After this is silence." The picture makes the drama "Richelieu," and, even in this, the quotation is not very much out of place; but we think that the story was better as first told. This old actor is played well by Frank Clark and he is ably supported by Bessie Eyton, H. W. Otto, T. Santschi and W. Hutchinson. Colin Campbell is author and producer. "SINGLES MENDS THE CLOCK" (Vitagraph), May 5.— A dull offering which made very little laughter. When J. Lackaye mends the clock it goes backward; but that was the only real laugh in the picture this morning. There is a bit of acting in poor taste which made one or two laugh. Flora Finch has a role. F. Thompson produced it from the script of Eliza Barrel.