Moving Picture World (Jul-Sep 1913)

THE MOVING PICTURE WORLD 515 a successful play on the theme of the unfortunate girl's love. The critic sees it and perceives for the first time the ignominious role he has performed, or possibly realizes that he has lost a valuable asset in the death of a woman's devotion, and the dramatist he criticized to the latter's ultimate advantage becomes an unconscious and indirect instrument of retaliation. The ends of justice may be served so far as the critic's conduct tow^ards the girl is concerned, but there is some cloudiness about the ends served between man and man. Appearances strongly indicate that the dramatist was theorizing his way to continued failure when the critic drove him to actual life for a theme and its presentation. Then, while the actor may dearly hate a critic, the man who does creative intellectual work is usually modest enough and wise enough to seek from critical sources such information as may better his product. The honest truth is that the supposed antagonism between playwrights and critics is a myth. Men of mark in both professions have usually worked in both; there exists a decided readiness among them to assist one another; one of the most agreeable phases of literary and critical work is a cordiality and helpfulness of relation. If there is any real enmity it is that of the "perfesh" for any and all critics. Scene from "Under the Daisies" (Vitagraph). On this account — I usually praise actors — I will not let the gentleman who impersonated an author in this play know how little he looked like a man occupied in tremendous intellectual concentration, such as is reqxiired by this review, nor the gentleman who impersonated a critic that'it is not the proper thing to give out an opinion by facial expression or otherwise in advance of publication, because both of these actors are entirely capable of doing anything they understand, capable of doing it so well that they do not hesitate to admit it. If, by way of creative criticism, I could benefit other actors by a few suggestions, I would show how the interpreters of this play might have made it more effective, but as performers rarely have time to read anything that does not pertain directly to themselves my helpful spirit would be dissipated on desert air. No one who has not been long engaged in critical and creative work, who has been heartsick hundreds of times over weak, stale, pointless, forced, artificial, theatrical productions, the other fellow's or his own, can appreciate what a pleasure it was for me to watch three interesting screen presentations in succession. Work that used to be spiritless toil is now becoming a pleasure, thanks to the intelligence and good taste of such leaders in production as the Vitagraph company. VITAGRAPH NOTES. Miss Mary Charleson, of the Vitagraph Players, has recently come East from the western studios and is now at the Vitagraph studios in Brooklyn. She is staying with her aunt. Mrs. Kate Price, at her home at Brighton Beach. Miss Charleson will be seen soon in a two-part feature, *'The Intruder," the first play in which she has taken part since leaving the West. Wilfrid North, the well-known Vitagraph director, is a golf enthusiast of the most pronounced type. He was re cently playing at Lenox, Mass., where he gave a splendid demonstration of the difficult points of the game. He is a frequent visitor to Dunwoodie, New York, and is the holder of three golf cups given by the Dunwoodie Golf Club. The advantage of types in motion pictures was very positively emphasized during the production of the Vitagraph Life Portrayal, "The Curse of the Golden Land." Miss Florence Radinoff, who impersonates the wife of the Russian immigrant, "Wolf Salzman," was obliged, in the performance of her part, to take her little boy through some of the cr<^wded streets of the Hebrew quarters of New York City. She was frequently stopped on her way by the Russian Hebrews of the district and asked whom she was looking for or where she was going. Fortunately, Miss Radmoff, who was formerly a Russian actress of note, was able to speak the Russian tongue and allayed their fears that she might be lost in a strange country, by stating clearly, she knew exactly where she was going and would not need their services in guiding her to her destination. They were so eager to show their readiness to help one of their own country people, they asked her when she had landed, where her husband was and whether she had friends here. She convinced them by her intelligent answers that she was well able to care for herself. She never betrayed who she was or the nature of her business and there was no knowledge of her real identity, so perfect was her make-up and glib was her tongue. The point that this incident enforces is, that the selection of the right type of player for the right character, is very important. It carries conviction to an audience, making them feel that they are witnessing a real insight into the life of those whom the story and the picture, "The Curse of the Golden Land," concern. Miss Ada Gifford, one of the latest additions to the Vitagraph Stock Company, is a well known favorite in many stage' productions. She joined the Vitagraph players six weeks ago and already her personality has ingratiated itself upon the screen in a very marked way. BOOKING "FROM THE MANGER TO THE CROSS." Harry F. Grelle, of Dersheimer & Grelle, Pittsburgh, Pa., was a caller at the office of the Moving Picture World during convention week. His firm has secured the Pennsylvania rights for the Kalem feature "From the -Manger to the Cross" and is now arranging bookings for exhibitions to begin in the early fall. Miss Ethel Grandin Playing Leads with the Universal Gem Company.