Moving Picture World (Jan-Mar 1916)

622 THE MOVING PICTURE WORLD January 22, 1916 faithful characterization in Frank Belcher's playing of Madison, the unscrupulous architect, who hopes to profit by the ^lans stolen from his rival. The youth, presented with commendable naturalness by Mr. Duncan, is obviously weak rather than evil in intent, and as ■the story progresses we see how he is virtually forced to resort to criminal means. Only by stealing his father's estimate on an important contract is he able to pacify Madison, and then, thinking to please the woman who has infatuated him, he takes Scene from "Wild Oats" (Kleine-Edison). Ahe jewels from the family safe. The plot is so arranged that suspicion falls on the architect's secretary. Jessie's suitor, but of course fe is eventually cleared by Roy's confession. "Wild Oats" is the kind of a picture that an exhibitor need feel no ihesitaney in booking. "The Path of Happiness" Violet Mersereau Adds to Her Reputation in Red Feather Offering of Five Reels, Written by Elaine Sterne. Reviewed by Robert C. McElravy. THE girl of the woods is no longer a novelty in film stories, yet Violet Mersereau succeeds in infusing fresh interest into the part of this offering. In fact it is diflicult to reimember a screen performer whose appearance as a child of •nature has been more attractive and convincing. Her ingenuous and child-like acting are particularly fitted to this role. The presentation of this story has been carefully looked after .and the wood views are full of sunshine and scenic charm. There is a noticeable freedom from the over-sentimental, al Scene from "The Path of Happiness" (Red Feather). •though the innocent girl meets some severe trials as the piece Kjevelops. She is first seen living in the woods with her father and Grekko. a misshapen youth adopted some years before. She has no knowledge of the world and is a close friend of the birds and squirrels. Her father's death comes as a rude awakening. This is well pictured; the girl knows nothing of death and cannot at first understand what it means. The finding of the doll is also an excellent touch. The observer can see the fascination It has for her and understands the joy with which she carried it home. The bathing scenes were overdone, and will probably be cut. Then comes the city man, in search of health and forgetfulness, having just been disillusioned in a love affair. He meets Joan and is attracted to her. He teaches her how to read and the meaning of love. Grekko becomes jealous and makes two efforts to kill the intruder. In the second effort, he shoots the girl by mistake, but she recovers and the close is a happy one. Harry Benham, Sidney Bracey and Florence Crawford also appear in the cast. The photography is unusually good, adding much to the pleasing character of the production. "The Bait" Five-Reel Mutual Produced by David Horsley — Able Cast Works Under Difficulties. Reviewed by Louis Reeves Harrison. P.OORLT constructed, lacking in sympathetic interest and not built of five-reel material, '"The Bait" is interpreted by an extraordinarily fine cast, mainly a vigorous lot of men who put tortli their utmost energies to make the story a success. It is a case of splendid types trying their very best in a weak medium. The story gradually develops as that of the old-fashioned theatrical villain of the deepest dye, a human being without a redeeming trait, who triumphs to the last scene. He uses a pretty girl as bait in his border joint, though their relations are not made known until later on. Just before she is presented as the wife of an honest paymaster it is discovered through the dying confession of her father that he consented to a mock marriage between his daughter and the villain. The latter robs the honest paymaster; the victim is unjustly accused, and such is the outworn Scene from "The Bait" (Centaur). material regularly used in bygone one-reel photoplays, amplified into five reels by questionable means. A large amount of the padding consists of some ugly views of human life at its lowest, scenes between rough men and vile women in the combination bar. dance hall and gambling joint owned by the villain, scenes which need only be glimpsed for dramatic purposes. Here attention is fixed at the outset upon an attractive young rancher who is fleeced, but he soon vanishes, not to reappear until the last scenes. Interest is scattered here and there; two men not easily identified start out on horses from different places for different purposes, and one is later seen riding hard in the distance — which is he? The lack of clarity at times causes a confusion that is deadening to interest, and there are even scientific faults beyond reasonable excuse. One lighted interior at night is without color, while another, immediately following, is tinted a fiery red. Such is the five-reel example of what is denominated an "Edition de Luxe," a "Masterpicture," a challenge of comparison with the best. "The Trail of the Wild Wolf" Two-Reel Universal Program Feature Pictures Fine Winter Landscape and Tells Pleasing Story. Reviewed by Robert C. McElravy. WHETHER it is contrast with so many drawing room and beach scenes, or whether the mere sight of pure, white snow gives an added zest to a screen story, it is certain that winter pictures from the opening scenes have much In their favor. There is something about them that suggests robust adventure and perhaps unconsciously stirs the blood of the observer. For one thing, they are not apt to be overdone, for producing companies are not always so situated that they can fit the story and the storm together. This two-reel number, by Robert F. Hill, has a characteristic plot, such as one anticipates In stories of the great North