Moving Picture World (Jan-Mar 1914)

THE MOVING PICTURE WORLD 291 "Rebecca the Jewess.' A Six-Part Version of "Ivanhoe," Under the Brand of World's Leader Features. Reviewed by Hugh Hoffman. ONE of the great pitfalls for the motion picture interpreter of standard literature is the pre-supposition that everybody has read the book or is at least familiar with the story. While it may not be generally observed, the world is changing in regard to its reading. In America, particularly, life is lived too fast to allow of the reading of Ions books. This applies to the rising generation as much as it does to us of older years who are in the thick of the fight. The age of invention has produced such a vast list of conveniences and amusement facilities that life is just one (omitting the adjective) thing after another. There is no time to read long books as there used to be. Before the advent of the electric light, the trolley car, the phonograph, the playerpiano, the linotype, the automobile, the Tango, and other things, real and continuous diversion was a rare thing. One of the few dependable amusements of the past generation was the reading of books. The longer the book, the longer the amusement, hence long books were written and most everyone reii them. Scene from "Rebecca the Jewess" (World's Leader). The linotype has produced a world of snappy books and clever magazines. These, with the other inventions, divide our time to the exclusion of the longer works of Dickens, Scott, Hugo, Dumas and others. And last of all comes the motion picture to claim the spare time of the world at large, which it gets in a great measure. We often hear the motion picture spoken of as the educator of the masses, and that one of its missions is to afiford the poor and ignorant an insight into the wealth of the world's literature. To that we heartily agree, but it is certain that the poor and ignorant are not the only ones who are shaky on classic literature. The younger generation has not the time to read that which was at the disposal of us of a former generation. Therefore, if the motion picture is to preserve these classics for a busy world, it must not pre-suppose a previous readmg on the part of the spectator. The principal critical point against this version of Walter Scott's "Ivanhoe" is just that. It takes for granted in a large measure that each and every spectator has read the book. Most of us older folks have read it, but so long ago that it is almost forgotten. That is not so bad, but to one who has never read the book it is easy to imagine that the production in its greater part will be pure Greek. This is not saying that the defect is fatal, so far as this production is concerned. There are sub-titles that explain the action sufficiently to save it from being a puzzle, but they cut off too quickly. A slow reader would get no more than half through with any one of them when it would vanish and leave him as helpless as before. That is the technical fault with this picture, and a fault so easily remedied that all that has been said should not be construed as a condemnation. The chances are that when the promoters of the picture read this criticism they will quickly double the length of the titles and the trouble will have disappeared by the time the exhibitor gets the picture. Considering the picture as a production it can be said that the good outweighs the bad. There is an absence of detail in the photography that is a little annoying, due to a granular effect that obscures sharpness. It is what might be termed a "dark" production. There is also a strange mixture m settings. The exteriors are very real and show glimpses of genuine solid English castles. The interiors of those same castles, however, are painted on limp drop curtains that sway before air currents. This, explained by the promoters, is because the interiors were taken on the stage of the Lyceum Theater, London, using the cast of the Lyceum Theater Company which was playing the piece there at the time. On the other hand, there are some fine features about the picture that help to make up for whatever deficiencies there may be. There are some big battle scenes in the storming of the castle that are impressive on account of the immense number of people used. The exteriors generally are very fine and for that we should forgive the interiors, which are helped out by some highly commendable acting. The best character of all is Rebecca, played by Miss Edith Brackwell. She looks the part and acts it in a most human way, interpreting it with much fidelity and not once overdoing it. Next best is Rowena, by Miss Nancy Bevington. What she had to do was done well and was enhanced by her physical charm. Isaac of York, by Hubert Carter, though obviously made up, soon caused one to forget that fault and see only his work, which was of the best. "Ivanhoe," by Lauderdale Maitland, Sir Brian by Henry Lonsdale and Front de Boeuf by Austin Milroy, were capably done by actors of evident high experience and intelligence. EDWARD EARL. A Forceful but Modest Personality in the Nicholas Power Establishment. THE growth and development of the business of many of the firms now prominent in the moving picture industry has been phenomenal and it has been no easy matter to provide for the financial requirements occasioned by such rapid growth. The ac' companying cut is that of Mr. Edward Earl, the prominent New York banker, who is the treasurer of the Nicholas Power Company. Mr. Earl is connected with large financial interests, is a director of several important New York corporations and president ■of a large downtown bank. He has been associated with Mr. Nicholas Power for a number of years, and through this close connection has become deeply interested in the development of the motion picture art along the best lines. Mr. Earl is ever busy with his varied duties and evidently averse to publicity. Mr. Earl has had much to do with the splendid system of efficiency and thoroughness which characterizes the Powers plant from the office boy up. He has had much to do with establishing the confidence which for a long time past the name of Powers has inspired all through the industry. Edward Earl. PRODUCER AND LEADING LADY MARRIED. Director Edw. J. Le Saint, of the Selig forces in California, and Miss Stella Razeto, leading lady of Mr. Le Saint's players, were married on Christmas day at the home of the bride's parents in San Diego. Miss Razeto was recently severely injured by a stage coach accident, and had only been out of the hospital a few days when the marriage took place. Mrs. Le Saint does not intend to allow matrimony to interfere with her art, and will continue to scintilate on the motion picture screen. Both bride and groom are immensely popular in the Los Angeles picture colony, and have been the recipients of many gifts and congratulations.