Moving Picture World (Apr-Jun 1917)

5i6 THE MOVING PICTURE WORLD Licensed ALL IN THE AIR (Lubin), April 7.— This is one of those rapid-fire, nonsensical pictures that appears to be the vogue — or "back to the old farce days" — just after the war. It is fathered by E. W. Sargent (.don't say that I said so) and causes general laughter throughout the entire unreeling. The old circus days will be recalled to baldheads and gray tops while reviewing this picture. It is finely pushed over by Raymond McKee, Levine Herman and Harry Rice. Exhibitors can book this offering with the confidence that it will please. Almost forgot to say Arthur Hotaling deserves mention for direction. THE BULLY'S DOOM (Lubin), April 7.— On the same reel with "All in the Air" is another offering directed by Arthur Hotaling and written by Frank E. Griffin, introducing some tough residents in a tough neighborhood. There is little that can be construed into comedy in this picture. The characters are well portrayed by Francis Ne Moyer, Frank Griffin and Jerold Hevener; that is about all that redeems it. THE PRICE OF HIS HONOR (Essanay), April 7.— This photoplay is along the lines of numerous others which have preceded it; a weak man and a true and self-sacrificing woman. There is nothing convincing in it nor is there a moral taught. Anguish seems to be the main theme, and in this respect it fulfills its mission. The leading part is portrayed by Richard C. Travers in an able manner. Ruth Stonehouse is his sweetheart, who sacrifices her own happiness and lives in a state of anguish for his sake. Lillian Drew is the typist, and Helen Dunbar is the mother; both do good work. This number will please. THE BLACK MASK (Edison), April 7.— This is the first story of the series to be captioned "The Man Who Disappeared." It is well produced and hai a gripping interest in the plot. Marc MacDermott plays the leading part in an artistic and dignified manner. It is a singular sort of a character, combining weakness with strength. He is addicted to the drink habit, but his inate pride sustains him to a great extent. He sacrifices his own interests for his sweetheart's brother, who involves himself in debt, and shoulders a worse crime to save the girl from sorrow. Miriam Nesbitt is the sister and Barry O'Moore the weak brother. It is a good offering. WHIFFLE'S NIGHT OUT (Pathe), April 7.— Did he get his night out? Through duplicity he manages to get away from home for the purpose of enjoying himself with boon companions, by pretending to go to the bedside of a seriously ill aunt. His wife finds the telegram from the "bunch," which he accidently leaves behind, and it enlightens her and she slips a little note into a magazine she gives him to while the hours away. He finds it and how he whiles those hours away is very entertaining. This is a worthy comedy, and finely produced. ANCIENT RUINS AT THEBES, EGYPT (Pathe), April 7.— A historical picture of travel that is of value, as it affords a peek into a remote corner of the old world that ninety-nine per cent, of the occupants of mother earth would not see otherwise. This is on the same reel with "Whiffle's Night Out." It is very educational. A MIX-UP ON THE PLAINS (Selig), April 7.— A Western pictureplay with a strong comedy element. It involves, in its development, a series of incidents in separate paths that blend together in a surprising and laughable way in the finale. The director deserves credit for good work in this offering, and the acting and camera work are up to the standard. THE TERMITE, THE INSECT ARCHITECT (Pathe), April 8.— On the same reel with "The Grafters." The Termites in form and habit closely resemble the ant, but their architectural feats are far superior to those of the ant, for the Termite builds a hill fifteen to twenty feet high. Every phase of their life and every incident connected with these curious insects is accurately portrayed in the film. THE GRAFTERS (Pathe), April S.— This is a laughable animated cartoon by J. R. Bray. It is on the same reel with "The Termite, the Insect Architect," and is very laughable and interesting, especially to the little folk. ANDY AND THE HYPNOTIST (Edison), April 8.— This is fifth of the Andy series and is about on a par with the others. Andy becomes a hypnotic subject. He is transformed into an Indian, and not being "snapped" out of the influence, proceeds to demonstrate the Indian proclivities. He scalps a wooden Indian cigar sign that belongs to a different tribe, as he imagines, and goes on the warpath, capturing paleface squaws galore. His mother eventually convinces him, in a vigorous manner, that he is out of his element. THE RUBE (Selig), April 8. — This photoplay was written by Harry R. O'Brien and produced by Marshall Farnum. It is crammed full of characters and exploits. Bunny Summers (Clifford Bruce), a country boy, who prior to going to college has grown into manhood, practically, and never has ridden on a railroad train — before or behind — think of it. The picture is well done photographically, but the development of the plot is too absurd for further mention. The picture will probably please those who are fond of football. THE BARGAIN HUNTERS (Essanay), April 8.— A very enjoyable and serious comedy, depicting the housekeeping experiences of a young married couple that bring back memories that haunt. The young wife deter mines to economize and attends bargain sales, where she purchases all sorts of household necessities at half price. The future results are very funny. 'FRAID CAT (Vitagraph), April 8. — An exceptional and pleasing offering, featuring a superior and natural little actor that many would be pleased to grab out of the picture and hug-up. His name is Bobby Connelly, and to say he is cute, does not do the little gentleman justice; he is finished. Tefft Johnson as daddy Jim, Doroth Kelly as mother dear and Albert Roccardi ably helped Sonny Jim along. This is an enjoyable picture. THE LITTLE SHERIFF (Vitagraph), April 9.— This shows Buddy Harris as the sheriff's son. He takes down the forbidden gun and rounds up a bad man, with the aid of his dog. The story brings much laughter and applause, although it is poorly constructed in places. Buddy himself is very pleasing in this number. An unusually good child story. FINE FEATHERS MAKE FINE BIRDS (Melies), April 9.— A comedy, done in an entertaining manner. The wife, in order to disillusionize her husband, hides the wig and other apparel of the songstress and raises an alarm, exposing her to ridicule. Not entirely new, but quite amusing. BATTY BILL WINS A BABY (Melies), April 9.%-This, on same reel with above, shows the efforts made by Batty Bill to get rid of an unwelcome baby. Trick photography and plenty of action help out the offering, which proves very enjoyable. WHEN A WOMAN GUIDES (Biograph), April 9.— A typical political story, in which the mayor is induced by a girl political worker to inspect the tenements. He finally agrees to this and as a result forces passage of the cleanup bill. This is well acted and nicely pictured. The tenement scenes could have been more representative of conditions existing. The film has an excellent purpose behind it and is quite forcefully presented. SNAKEVILLE'S NEW SHERIFF (Essanay), April 9.— Another of this amusing series of Western comedies. Slippery Slim, being at outs with his wife, is made sheriff against his will. He succeeds in capturing Reno Bill after a series of entertaining incidents. The photography is good and the film generally pleasing. THE FIRE JUGGLERS (Selig), April 9.— This picture has an unusual plot and one that is not without a good motive. It illustrates the troubles sometimes encountered by women who allow themselves to become enamored "of celebrities. Mrs. Leavitt's experiences with the artist proved a needed lesson and she was glad to return to her husband. This is well photographed and handled in a pleasing manner. AN EASTER LILY (Vitagraph), April 10.— This is an amusing picture in black and white. Little Bobby Connelly (Sonny Jim), whose natural and artistic acting is wonderful, rigs up Lily, the colored washlady's little daughter, with an Easter outfit and escorts her to church and into the family pew with a dignity worthy of his General-uncle, as Sonny denominates him. This picture is a real comedy, and Elaine Sterne, the author, is to be complimented for evolving the story. Tefft Johnson, in the direction, has done full justice to the details. Ada Utley as Lily is the acme of naturalness. The cast, without exception, is eminently satisfactory. This picture will please any audience. RED HEAD INTRODUCES HERSELF (Selig), April 10.— This is heralded as a comedy and supposedly the first of a series to be introduced. If the display of nether limbs on the part of the "Red Head" can be construed into comedy then the picture is funny. The idea conceived by Mr. W. E. Wing, the author, is fair to middling, but Norval McGregor has made the mistake of placing the title role. Not that Harriet Notter is not clever in the part, but she is too elongated and mature, and it is an injustice not only to her, but to the picture. Many absurd scenes are introduced also. On the same reel with "All Mixed Up"; rather coincidental. ON THE BRINK (Lubin), April 10.— The moral flavor of this story is questionable. It exploits the vacillating and weak nature of a woman that carries to the spectator, as the picture develops on the screen, a feeling of disgust. There is in the finale a rather redeeming episode, chanced by the husband, to bring his wife to a realization of her folly. A well made and reasonably acted picture. HUBBY'S NIGHT OFF (Kalem), April 10.— This photoplay is on the same reel with "Gertie Gets the Cash" and concerns a newly wed couple in their first deception toward each other. How it works out in the finale to mutual confessions is interesting and amusing. John E. Brennan and Ruth Roland are the husband and wife and play the parts very naturally. The burglar deserves mention — he is a knockout. GERTIE GETS THE CASH (Kalem), April 10.— An impossible plot, that is laughable nevertheless, rendered by Laura Oakley and Ruth Roland in the leading roles. Matilda Grimkins, an old maid (Laura Oakley), offers her niece $10,000 on the day she is married. The niece (Ruth Roland) determines to get the money without encumbering herself with a husband. How she accomplishes this is weird and wonderful. HICKSVILLE'S FINEST (Biograph), April n.— Each cop was tested. When Inspector Beans called for a photograph of the force at headquarters, it was up to them to look powerful. Good makeups are invented, the inspector is impressed and investigates. There is a hurry call, and the force comes to grief. RINGS AND ROBIERS (Biograph), April 11.— This offering is on the same reel with "Hickville*s Finest" and on the same par; one is about as amusing as the other. Some of the characters are almost human.