Moving Picture World (Jan-Mar 1915)

February 27, 1915 THE MOVING PICTURE WORLD 1287 Comments on the Films Licensed THE STRAY SHOT (Biograph) Feb. 8.— Western melodrama in which the story is developed around an odd incident. A bullet, discharged in a scuffle, goes through the ceiling and wounds a man in the room above. It is a one-idea plot revealing nothing unusual save the happening mentioned. Isabel Rea, Curtis Cooksey and William J. Butler play parts that permit little characterization. SUSPICIOUS CHARACTERS (Edison). Feb. 8.— William Wadsworth and Arthur Housman are two very easy-going burglars who make a joke of a good-natured policeman. TTiey rob a home at their leisure and meet interference without concern. Faster action would improve the film : but, as it stands, it is good for several laughs. SWEEDIE GOES TO COLLEGE (Essanay) Feb. 8.— This time Wallace Beery (Sweedie) enters a girl's college where tuition is to be given in return for labor. As a baker's assistant Sweedie nearly burns two men in the oven and then passes on to other experiences shared with the girls at a midnight supper party. Finally there is an embarrassing mistake in identity when Sweedie leaves. The story is loosely constructed ; but offers a few humorous incidents. PAT'SY BOLIVAR NO. 7, "Patsy in a Seminary" (Lubin), Feb. S.— The seventh of the Patsy Bolivar episodes takes Clarence J. Elmer (Patsy) to a seminary where he is in turn a gardner and a physical instructor. Some of the scenes showing the' girls in mannish gymnasium costumes playing follow the leader hold the attention. They are the best part of the picture for the plot is of small moment. . HEARST-SELIG NEWS PICTORIAL NO. 11 (Selig) Feb. 8.— Excellent winter scenes in this issue show ski jumping and playing tennis on the ice. The Kaiserhof hotel fire in Chicago is fairly well pictured and strong in their human appeal are scenes of the bread line waiting at the Knickerbocker Hotel, New York. Much of the war section is devoted to scenes in German cities where life proceeds as in times of peace. HEARTS TO LET (Vitagraph) Feb. 8.— Because of a love letter sent by a friend for inclusion in a book the novelist is writing the novelist's wife believes him to be untrue and the upshot of the misunderstanding is a divorce. As presented here the cause seems inadequate and the reunion of the estranged pair is needlessly protracted. Leo Delaney and Leah Baird playing the principal parts under the direction of William Humphrey are the film's best assets. OLIVE'S GREATEST OPPORTUNIT-Y (Edison) Feb. 9.— For the last of the "Olive's Opportunities" Series the characters are taken to a winter house party in the country. Olive's gypsy father is drowned in the lake (he actually slips out of sight between cakes of ice) and, to close the film, and end Olive's maidenhood, there is a pretty church wedding. Mabel Trunnelle and Edward Earle make a pleasing couple in a somewhat sketchy story. A ROMANCE OF THE NIGHT (Essanay). Feb. 9.— Adapted from a short story, the action in this melodrama is fast and to the point. A young man who thinks romance is dead is unexpectedly called upon to succor a beautiful young woman and her father. There is some stiff fighting in which Richard C Travers and E. H. Calvert figure. Ruth Stonehouse is the girl. A fair melodrama. MR. PEPPERIE TE;MPER (Kalem) , Feb. 9.— The episode in this split-reel farce, showing the antics of a man with a nasty temper, are loosely joined together, hut draw a few thoughtless laughs. The action is spirited. On the reel with "The Mexican's Chickens." THE MEXICAN'S CHICKENS (Kalem). Feb. 9.— Burlesque of fair quality closing a reel with "Mr. Pepperie Temper." Rebel soldiers steal chickens belonging to a Mexican general and because he fails to take the joke in good part he is blown sky high by a huge cannon. A passable subject. HIS SOUL MATE (Lubin), Feb. 9.— George W. Terwilliger has written a quite unusual scenario that makes an odd rather than a humorous picture. Wavering between the charms of Dolly and those of Polly, a young man dreams that he marries each in turn, that both die and that he meets them in Heaven. His stenographer also is within St. Peter's gates, and she, it seems, is his soul mate. It is not so much a comedy as a fanciful notion picturized. Ethel Clayton and Joseph Kaufman are in the cast. ROPING A BRIDE (Selig), Feb. 9.— The story told here is of the slightest, and in lieu of incidents advancing the plot there is much padding. Rivals for the hand of a girl determine to settle possession by a roping contest. Apparently the young woman accedes to the plan, but in the end she dismisses both of the suitors. Scenes are laid in the West. The Selig sub-title writer introduces the word "rivaltry." THE LIFE HISTORY OF A SILK WORM (Edison), Feb. 10.— Opening a reel with "The Tailor's Bill'' is this instructive study of a silk worm during all stages of its development. THE TAILOR'S BILL (Edison), Feb. 10.— The individual perform ances given by Arthur Housman and William Wadsworth are better than the story provided by Elizabeth Miller in this half-reel farce. The plot Is woven around incidents preparatory to and following a masque ball. One of the guests (Housman) refuses to pay for his costume and is hounded by Wadsworth, the irate costumer. Cora Williams and Richard Tucker make the most of the secondary roles. THE FABLE OF "THE GOOD -PEOPLE WHO RALLIED TO THE SUPPORT OF THE CHURCH" (Essanay), Feb. 10.— As in other George Ade fables, the humor here is pointed and intelligent. Small town audiences, in particular, will find a pardonably exaggerated portrayal of actual happenings in the experiences of the Helping Hand Society that organizes a festival at a total expense of $2.oO. The receipts are $41.60, but, even so, the affair is pronounced a success. A George Adeish wording of the sub-titles adds greatly to this creditable offering. THE OLD SLIPPER (Selig). Feb. 10.— An artificial melodrama which must be accepted in its extravagant entirety, or not at all. A slipper thrown from the window of an apartment is the means of saving a young woman from her aunt and uncle, who have designs on her fortune. Critical audiences will find the story unconvincing. Lillian Hamilton, Robyn Adair and E. J. Brady are in the cast. BREAKING IN (Vitagraph), Feb. 10.— Elaine Sterne provided familiar material for Wilfrid North, the director of this film. A wealthy westerner takes his daughter East that she may break into New York society. With one accord society makes excuses ; then Papa gets even by joining the Big Six of Wall Street. Scenes on the stock exchange are exciting and the cast is a strong one, including Ned Finley, Lillian Walker. Rose Tapley and Darwin Karr. GETTING RID OF A NEPHEW (Biograph), Feb. 11.— Weak burlesque based on the career of a ridiculously stupid young man, who, after revealing his incompetency in a photographer's studio, is reduced to ashes by a high explosive. The attempts at comedy in this half-reel burlesque leave an audience unmoved. THE BIG NIGHT (Biograph), Feb. 11. — Better than its companion piece on the same reel. "The Big Night" is mildly entertaining at times. It is the old story of a husband who sneaks away to enjoy a burlesque show. His wife arrives before the removal of the last veil in "The Dance of the Seven Veils" and drags him out of the hall without ceremony. SLIM THE BRAVE AND SOPHIE THE FAIR (Essanay), Feb. 11.— First rate comedy of the kind customarily supplied by Victor Potel. Harry Todd, Margaret Joslin and Ernest Van Pelt. Slippery Slim's wild driving of a stagecoach over uneven roads and through rivers is something of an accomplishment. Disguised as a desperado. Slim outwits his old time rival. Mustang Pete, and wins the regard of Sophie. THE MASQUERADE HERO (Mina), Feb. 11.— Only the most receptive of audiences will appreciate the comedy in this film. In a well-filled theater it passed wfth never a titter, because there was really nothing to laugh at in the story, or the acting. The plot is childishly simple and one does not find the brisk action that may cover up the lack of deeper qualities. ON THE ALTAR OF LOVE (Vitagraph), Feb. 11.— Very well acted and pleasing in its total impression, is this romantic, sentimental depiction of artistic life. There is little novelty in the story of a young woman, who presents her masterpiece under the name of her blind sweetheart, an unsuccessful artist ; but the situation takes on some freshness as acted by Maurice Costello, Estelle Mardo and Thomas O. Mills. THEIR DIVORCE SUIT (Biograph), Feb. 12.— Granting as a premise the foolishness of the young married couple in this picture, the way in which they work out their domestic trouble is reasonably diverting. Having decided on a divorce, they live together until the necessary money is saved and then, of course, there is no divorce. TTie characters seem fairly natural as presented by Irene Howley and Jack Mulhall. HAM AND THE SAUSAGE FACTORY (Kalem), Feb. 12.— Lively action with plenty of slap-stick humor should make this film a popular attraction. The idea has been used often enough, but not in precisely this form. Two hoboes feed dogs to a machine that grinds out completed sausages, retaining the color of the original dog and some of the animation. Unquestionably, the picture will excite laughter. AN OBSTINATE SHERIFF (Lubin), Feb. 12. — An ordinary western melodrama in which a sheriff objects to bis daughter marrying her cowboy sweetheart, and in which the cowboy wins favor by rescuing the girl from desperadoes. Several incidents in the story are made effective, settings are attractive and the cast is adequate with Velma Whitman, Melvin Mayo, Ray Gallagher and George Routh in the principal parts. THE PERFUMED WRESTLER (Selig), Feb. 12.— Broad comedy that makes its first appeal to the not over delicate men in an audience. The perfumed Wrestler wins the great match because his person so reeks with the odor of limberger cheese that his opponent is overcome. The bout is amusing and the picture in its entirety is consistently handled in a low comedy vein. WHEN GREEK MEETS GREEK (Vitagraph), Feb. 12.— As the producer of this comedy and the principal player, Sidney Drew, furnishes most of the entertainment, for the story is not especially strong. The incidents go to show how, to test the love of the woman he is going to marry, a man assumes all sorts of annoying maladies. Jane Morrow, the woman in question, remains faithful under the most trying circumstances. WHEN FATHER INTERFERED (Lubin), Feb. 13.— In the last half of this comedy, acted in the chief roles by Arthur Johnson and Lottie Briscoe, the author departs from hackneyed precedents and offers a