Moving Picture World (Jul-Sep 1911)

626 THE MOVING PICTURE WORLD Licensed. "For He's a Jolly Good Fellow" (Essanay), August 18. — Probably this film will give an idea of how some men act toward their families. Fortunately it illustrates an exception rather than a rule. This man forgets his wife's birthday, goes out with some friends when he promised her to come back and the baby dies, presumably because he was so bad. At least, he takes it so since he asks forgiveness for his misdeeds and promises to stay home with his wife in the future. "The Blacksmith's Love" (Selig), August 17. — In this film the story of Enoch Arden is told over again with a variation upon the original theme which may or may not add interest, according to the views of the individual. Two men go to war. One is apparently killed on the battle field and the other is wounded. The wounded man returns home and ulti times controls even desparadoes. A sheriff captures his man. On the way to jail they have to ford a river into which the criminal falls. He is manacled and helpless and in danger of drowning. The sheriff releases him and his life is saved. Indians attack them and the two fight side by side, vanguishing the savages. The time arrives when only one bullet is left, and that is in the desperado's gun. The sheriff is at his mercy. He can kill him and escape, but recognizing that the sheriff saved him from drowning he gives over the precious pistol and goes peaceably to prison. This is no mawkish and sentimental sheriff. He doesn't allow the criminal to escape, but he probably believes when he leaves him in the jail that the man, desperate though he may be and a menace to the society with which he comes in contact, has still some elements of what constitutes a man and that he deserves something better than imprisonment. "The Inventor" (Gaumont), August 15. — This film is one Scene from "The Blacksmith's Love" (Selig). Scene from "Jealous George" (Selig). mately weds the supposed widow. The man left for dead is revived and as his mind is a blank, is sent to a sanitarium. In two years he is cured, has his memory and returns to find that his former friend has married the supposed widow and that they have a child. Unlike the original Enoch Arden this one does not leave them in blissful ignorance of his presence. He makes himself known and the shock of the recognition is a dramatic scene well acted. The woman, torn with conflicting emotions, allows old-fashioned ideas of honor to prevail, places the baby in its father's arms and goes with her lawful husband. "The Local Bully" (Melies), August 17.— It is difficult to understand why a story of this character always pleases an audience so well, but it does. It tells of a Western bad man who is literally driven out of the settlement by the cool nerve of a stranger. First the terror was knocked down, even as he flourished his revolver. When challenged to a duel with shot guns he dropped his gun and ran. The tenderfoot was a hero. When he opened his sample case his sales were enormous. Clearly he understood the gentle art of advertising. "Two Fools and Their Follies" (Melies), August 17.— A farce presenting the experiences of a husband and wife. When she went to the city he indulged his fancy for booze. She indulged hers for absurd dress and returned with a harem skirt. When she discovered the booze there was trouble and things were lively in the vicinity of the pair for a time, but when the excitement had cooled down they both swore "never again," while the boys looked on and witnessed the solemn objuration. "Man to Man" (Vitagraph), August 16. — In this film we are given a glimpse of that innate sense of honor which some of those melodramatic impossibilities which most audiences seem to like. A poor inventor is about to sell his invention for a low figure, when his wife and children find a rich man's purse and return it to the owner. He becomes interested in the family and buys the invention for a large sum and gives the inventor a position at a good salary. The story is well told and but for its improbability would deserve greater credit. The test of interest doesn't fail, however. The audience shows plainly what it thinks of the picture. "The Leopard" (Pathe). — A very tame but lively leopard takes part in this picture, which is of the usual rough and tumble description. One part of the picture most certainly has life. There's a tame monkey and when the leopard sees this he gets after it in earnest and the monkey gets out of the way without formality. "Chrysanthemums" (Pathe). — This is chrysanthemum time and this film is very seasonable. It makes a pretense of giving instruction in the care of chrysanthemums and does accomplish something along this line. As a picture of these glorious flowers, the film is a beauty. "Saved from the Snow" (Selig), August 21. — Very beautiful pictures of a great pine forest, choked with deep snow drifts, seem the most attractive feature of this film. The story is simple and is made clear. The players carry through their parts intelligently, but rather theatrically. The picture of the wife wandering through the forest is not effective. It hardly could be made so, for the camera has no means of showing us how big the woods are, nor how dreadful it is to be alone in them. "The Trapper's Fatal Shot" (Pathe). August 16.— In this picture, among three or four lovely scenes, there is an extremely pathetic one. The trapper and his little daughter