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THE MOVING PICTURE WORLD
869
"THE TWO ORPHANS" (Selig). Reviewed by Jas. S. McQuade.
SELIG'S massive production of "The Two Orphans," in three reels, will be released September 25, 26 and 27. The drama has been enacted by the Eastern company under Producer Turner's direction.
At a private exhibition of the films, I was impressed with the variety and magnitude of the settings, which, I understand, occupied the stage carpenter and his force tor many weeks. The Pont Neuf is viewed as a seemingly substantial structure, with the waters of the Seine flowing and rippling under it. The garden in the demesne of the Marquis De Preales, at Belair, showing the gay crowd of revelers and the midnight duel scene, is a splendid spectacle. The gloomy, spacious interior of the Salpetriere prison is another realistic scene, as is also the interior of the old boat house on the Seine, in which the blind Louise is held prisoner by the hag, La Frochard. Another scene which merits special mention, because of the atmosphere it conveys, is that of the French village, near the home of Henriette and Louise. On the morning of their departure for the great city the quiet street is awakened into life. Quaint vehicles and rustics pass by in convoy, and a flock of geese, which has evidently been diverted from the homeward path by the unusual sight, is chased across the square by the boy keeper. The interior views of the city mansion of the Count De Linieres will also bear close scrutiny in their designs and furnishings.
One is chiefly impressed, however, by the fine characterizations offered by the members of the Selig company in these films. The acting of all the principals is worthy of high praise. The two orphans, Henriette and Louise, are in the capable charge of Miss Kathlyn Williams and Miss Winnifred Greenwood respectively. In the garden scene at Belair, where Henriette is at the mercy of the brutal Marquis. Miss Williams sustains the role with commanding dignity. Indeed, in all the situations in which she appears, her acting is consistent and convincing.
A pretty bit of realistic acting — small in itself, but of much artistic value where painstaking detail is necessary — is done by Miss Greenwood when, as the blind Louise, she rushes back up the steps of the Pont Neuf in search of her kidnapped sister. That stumble and fall make the scene thoroughly natural.
Miss Myrtle Stedman, in the role of the Countess de Linieres, shows that she is an accomplished actress in society parts. The La Frochard of Miss Lillian Leighton is such an envenomed old creature that one sometimes almost forgets that it is only acting. Miss Adrienne Krowell will create great waves of sympathy for Marianne, the outcast, a part sustained by her with nice discretion.
The Jacques of Leighton Stark, in conception, interpretation and makeup, is a compelling ruffian. Pierre, his crippled brother, is pathetically sustained by James O. Burrell. Everyone who sees these films run off will admire the acting of Tom J. Carrigan, as the Chevalier, and of Charles Clary,
Scene from "The Two Orphans" (Selig).