Moving Picture World (Jan-Mar 1914)

266 THE MU\IX(i PICTURE WORLD "The Adventures of Kathlyn." Sets Number Two and Three of the Selig Kathlyn Series, Which Comprises Thirteen Thrilling Photodramas in All. Reviewed by James S. McQuade. THE remarkable series of photodramas under the title. "The Adventures of Kathlyn.'' is based on Harold MacGrath's fictional -work of that name, the photodramatic adaptation being made by Gilson Willets, also a well-known author and literary man. The entire series forms a serial story in thirteen sets. The first set. already released, took up three reels; each of those remaining comprises two reels, making twenty-seven reels in all. The sets will be released so that two weeks will intervene between any one and that immediately following, thus requiring twenty-six weeks for the showing of the entire series. These films mark not only a new departure in production and in the method of treating a prolonged subject, but tliey will also establish a new standard for all who follow, in tlie domain of perilous adventure and thrilling photodramatic narrative. One thrill succeeds another so rapidly that the spectator is out of breath, mentally, in trying to keep abreast of thein : and the atmosphere of Orientalism that prevails throughout adds a feeling of mysticism that reminds one of the days long ago, when the "Arabian Nights" transported us into a new heaven and a new earth. Director F. J. Grandon has brought himself into the limelight by the art and skill shown in the action and settings of these photodramas. His task was arduous at all times, for the scenario demands the performance of big things and nice attention to detail. Massive exteriors and interiors, impressive spectacles and weird, grim ruins bear witness to this. T h e hoary, mouldering Parsee temple, with its lone, prowling lion, has a haunting influence on one's mind. The harem scene is finely set. The imposing durbar scene ; the great concourse of people, as they assemble to hear the final decision of the Council of "Three on the fate of Allaha's unwilling queen : the fete-day scene, and the arena, where she confronts a host of hungry lions, and her rescue from the burning pyre by the ponderous elephant are some of the other striking spectacular features of sets number two and three. In all these, Miss Kathlyn Williams, as the queen of Allaha, is the great compelling figure on which every eye is centered. She is the mainspring of the action and of interest; and she is so continuously beset by dangers and seemingly insurmountable odds that one unconsciously commiserates her on her fancied woes. But some of the dangers are not at all fanciful. It takes a stout heart and a fearless spirit to stand alone before twenty lions or more, not one of which is the proverbial circus lion — "all gums and no teeth." Miss Williams is fairly bewitching through it all. I don't think I have ever seen her in pictures to finer advantage. She is always equal to the demands of the occasion, and is always ready for other exploits. Other principals in sets two and three are Charles Clary, as Prince Umballah ; William Carpenter, as Ramabai ; Thomas Santschi, as Bruce Cthe .American hunter) ; Miss Goldie Coldwell, as Pundita, and Hurri Tsingh (a native Hindoo), as the high priest. All are to be commended for excellent acting, costuming and make-up. The opening scene of set number two shows the durbar, where the Council of Three decides that Kathlyn, on her refusal to become the wife of Umballah, shall be given a week's respite. During the week she rescues Ramabai from a false charge of murder made by Umballah and also frees his wife. Pundita, appointing the latter her lady-in-waiting, and Ramabai captain of her bodyguard. At the same time Bruce, an American hunter of big game, arrives in Allaha and proves a timely factor in the fortunes of Kathlyn. Still refusing to wed Umballah, at the end of the fateful week, the Council of Three decrees that Kathlyn must undergo two ordeals w-ith wild animals, which, if accomplished successfully, will entitle her to remain a maiden queen. The first required that Kathlyn should be human bait on a leopard's trap ; the second, that she should be cast into the arena with hungry lions. She escapes in both instances by the aid of Bruce, whose aid has been secured by Pundita. In the second test Bruce blows up the great arena by a hidden mine of powder, which he had placed there. The final scene in set number two shows Bruce rescuing Kathlyn from the arena. Number three continues the rescue, showing Kathlyn and Bruce fleeing through the forest on the backs of two two elephants. Kathlyn's mount takes fright at a babboon, just as Bruce had alighted from his beast to secure water. The frightened animal easily outdistanced that ridden by Bruce and carried Kathlyn to a town in a neighboring state, where she was immediately recognized b\' a high official and arrested. This official c o n demned her to die on a funeral pyre, on the ground that she had broken the laws of her own state by refusing to wed Umballah. Just in the nick of time she is saved by the arrival of her elephant, which had heard her cries. The elephant traveled all day. and at nightfall stopped at the ruins of a great temple. There Kathlyn dismounted and sought refuge in the ruins for the night. A huge lion, which made the temple his home, approached her, but she escaped by hiding in a great sarcophagus. In the niorning she was discovered by the high priest of the temple, who worshipped her as the high priestess. Food was brought her and she was appointed to keep the sacred fire burning day and night. The closing scene in number three shows Kathlyn fleeing for her life from the lion of the temple. Set number two will be released January I2th. Miss Kathlyn Williams and Scenes from First Picture of Series. THE SCREEN CLUB GOOSE SINGS. Just before the holidays, two brother screeners bought a fine, fat gander, intending to fatten him a bit more and to eat him on New Year's ; but the bird is still alive. By developing unusual talent he has won the right to be called a brother, and has been reprieved. The discovery of his latent powers came by accident when Brother Bob Daly one evening sat down at the piano. His gandership walked up and began a performance that Brother Daly describes as uncanny. It is uncanny, for. with the proper accompaniment, the bird sings — not quacks — sings. He opens his mouth and gives forth weird notes more like a horn than like a squawker. Daly says that he wants to book the bird in discriminating shows like Hammerstein's, for instance. The gander will accommodate his brother meinbers with selections to the extent of his repertory at any time when tliere is not too big a crowd. He hates to have the space around him darkened ; it looks dangerous. This bird shows native genius. He has positively never appeared in public and is wholly unknown in amusement circles ; but is surely destined to go down into history with the dying Swan. Philomel, the great nightingale, and llulbul. who sang to .\rabian lovers long ago.