Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD 777 is not without its thrilling moments. When the mother enters the burning house to rescue her baby, one fairly holds one's breath until she staggers out with the child in her arms. This scene has been ably handled, the simulation of a house on fire being so real that one fairly trembles for the safety of the mother as she gropes her way to the cradle through the smoke. Indeed, one almost forgets that it is a picture. As portrayed the story makes a strong demand upon the sympathies. The girl and her lover are not to be denied their happiness, yet one cannot fully condemn the lonely father who has lost the one object of his love — his only daughter. It is a selfish trait of human nature, but one that is of frequent occurrence. But, if the father seems to be unnecessarily obdurate, it must be remembered that the man who wishes to marry his daughter is but a farm hand, possibly unknown to him, in which case he would be justfied in opposing the marriage to the last. The character depicted being the stolid, determined type of man, it follows naturally that he should refuse to forgive and to answer the appeal of his daughter in her moment of dire need. Such unrelenting characters are not unknown, albeit they seem to be extremely severe. That he has a heart, proof is given in the final scene, when father and daughter are once more united. There is a noticeable absence of superfluous sentimentality with which some producers would burden a story of this kind. Only one discreet love scene is given, for which the producer has our thanks. There is also a death scene which is robbed of much of the customary horrors by the omission of the agonizing throes of final dissolution — a treatment of an unpleasant subject that is highly commendable. As a whole, the production is of the highest class and marks a distinct advance in the character of the work of the Imp Company. developed and in itself effective, but the last is the most important. The scenes of this are very carefully planned and pleasing. One quality in which they excel is the impression of background continuity. Of course they were taken in the same grounds, but what is more to the point, the way they were handled gives the sense of their being within sight of each other. This may not have been true, for in one scene the Indians are chasing Carlotta and her maid away from the gate and in the next are seen chasing them toward the gate. But nothing at all out of the way is noticeable at this point. The change in direction is a possibility and the action too engrossing for small considerations. The girl is captured at the gate and is rescued by her grandfather. This brings about a reconciliation. This picture is praiseworthy. It is not constructed on the plan of the drama. Many of Shakespeare's historical, epic plays also are not; his "Henry the Eighth," his "Henry the Fifth." They are good despite weak construction; perhaps they hold more in that form than they could otherwise. It is debatable. "DON RAMON'S DAUGHTER" (Kalem). CARE for the minutiae in a picture tells. Atmosphere is an intangible quality, but, though often neglected, is the only means of giving a sense of naturalness to pictures of a bygone day. The sense of naturalness is very strong in this very carefully staged picture of the romantic and courteous life of southern California before the Gringoes came. This sense is carried over to the spectator very subtly. _ At first he is conscious only of pleasure. If he be in a critical mood, and attempts to analyze it, he will suddenly awake to the fact that there are Murillos and Velasquezes on the walls of the Di Garcia home. Then his eye, using this as a clue, will discover other things in keeping in the stage settings, in the acting, furnishings and deportment. All belong with the state of culture in that locality at that time. The picture seems truthful, whether it truly be so or not. The story, thoroughly romantic, is restrained and there is little in it that is not poetry. It is made effective, although not a closely constructed drama, by an atmosphere that perfumes and colors the interesting narrative, which is kept clear. Don Ramon casts Manetta, his daughter, off because she is determined to marry a poor youth. This scene takes place in a garden. The youth is also there and Don Ramon is very angry, but acts with restraint and the scene does not leave in the spectator any sense of unreality. The youth and Manetta are married; both die and their baby daughter, Carlotta, is adopted by Donna Loretta, wife of Don Jose di Garcia, who lives in a distant part of the country presumably. These scenes are quickly passed over, leaving the greater part of the film for picturing the dramatic part of the story, which opens when this baby girl has grown up to be of about her mother's age at the time she was married. The Garcias don't know who this girl Carlotta is; they have only a locket, her mother's. The son of the house has fallen in love with her. At this point Don Ramon, Carlotta's grandfather, writes to his friend, Don Jose, that he is coming to visit him. Carlotta looks like her mother; her grandfather when he comes recognizes her. The scene where Don Ramon and Carlotta meet brings into the picture a new situation. Her attitude toward the old man is quite natural, human and typical, but we had not been prepared for it. It was not even impressed upon the spectator that she knew of her mother's sad story, much less resented it. This divides the picture again, making three clear cut parts, not integral acts, but three episodes. Each of these is clearly "THE NINETY AND NINE" (Vitagraph). *TpHIS is one of those rare and good pictures of which we * could wish a larger supply. It is a picture that every one can see, enjoy, and profit by. While classed as a drama it is also worthy of being classed among the "educationals" because of its many beneficial points, and other lessons, making it acceptable in either day or Sunday school. The story is a twofold one, it is seldom that two stories can be told with such a unity of purpose as we find blending so harmoniously here. In a well-to-do family there is a prodigal son, whose drinking propensities bring sorrow to the home. It is a sad sight to see a bright young man coming to the family table in a state of intoxication. Although the father seems harsh in his manner he cannot be blamed for ordering the young man from the room. Determining to leave home despite the pleadings of his mother and sisters, he packs his valise and goes out into the world. We next find him Scene from "The Ninety and Nine" (Vitagraph). far away working on a farm, where all the indications are that he is using the strength of his young manhood in the development of both muscle and character. The farmer's pride is his flock of sheep; he sends them forth in the morning, counts them upon their return in the evening. On this particular evening one lamb is missing. At this time the father with his family are upon an automobile tour. Their machine comes to grief near this very farm; while the chauffeur is making the necessary repairs the occupants take a walk. The father meets the farmer and joins with him in the search for the missing lamb, which he is successful in finding, not, however, without serious reflections upon his own missing son.