Moving Picture World (Jul-Sep 1912)

44 THE MOVING PICTURE WORLD "ROMANCE IN OLD KENTUCKY" (Eclair), June 25.— A picture of romance and moonshine in a backwoods setting. It shows us mountain folk; the heroine being the daughter of a moonshiner. The coming of a young stranger to the valley is the cause of a lover's quarrel. The new comer is, however, a revenue officer. The rather complicated story and the characters who act in it are made very convincing. The backgrounds, scenes in the woods, and in and around a little cabin, are often very beautiful. Several moonlight scenes are of exceptional quality. It is a good picture, one that is likely to please. "THREE MEN AND A GIRL" (Eclair), June 27.— A love story in a boarding house. There were other boarders, but these four stand out as principals. The heroine is made an especially desirable girl; two of the men, the hero, who is an inventer, and the villain who is rich, are in love with her. The third man is the inventor's friend who saves first his invention and then him from the schemer. The story's best quality is the freshness of its development; but there is a good deal of very true humanity in it. The acting, especially of the boarding house keeper (Mrs. Stewart), is very good; Miss Tennant, as the girl, and the three men also do excellent work. The photography is fine. "LITTLE HELPING HANDS" (Powers), June 26.— The little heroine of this picture belonged to the children's "Helping Hand Society." She meant well in what she did; but her accomplishment in the way of helping others makes a laughable comedy. But the helps that she did that really convince, are much more amusing than those that do not. For instance, she helps a stray dog to a good dinner— it is the meat intended for the family. The little player however, is, herself, charming and makes the picture very good entertainment. It is well photographed and will be liked very much. Some of the scenes are beautiful. "HOMES OF CLIFF DWELLERS" (Powers), June 26.— On the same reel is this, a very clearly photographed series of views of prehistoric habitations in the West. It is a good picture. "GETTING RICH QUICK" (Majestic), June 30.— A travesty based on the gullibility of some mortals who believe they can get something for nothing. The opening scene of the comedy, where the members of the firm, in their desperation to raise sufficient small change to pay for the insertion of an advertisement calling for a partner with $10,000, shake by the heels some of their employes — at least the masculine contingent — brings forth laughter. "PAPA'S DOUBLE" (Majestic), June 25. — Good comedy, especially at the finish. Herbert Prior and Mabel Trunnelle take the leading parts. "THE KNIGHT AND THE FRIAR" (Majestic), June 23.— A comedydrama based on the days when the strong took what he wanted — if he could get it. In this case the knight wanted a girl, and he got her. The friar was subjected to indignity as a means to that end, and in this respect the film may not be popular in all communities. "MEALS BY WEIGHT" (Majestic), June 23.— On the same reel as the foregoing is this burlesque. The point of the comedy is the charging for the increase in weight at the conclusion of a meal over the scale register prior to the repast. The hobo, by loading up with a brick before eating, was able to claim a rebate after eating. The idea may have been a fair one, but in this case it was much overdone. A man of average size will not weight 360 pounds with a few bricks inside his coat. "A CHILD'S INFLUENCE" (Imp), June 27. — A picture showing how a family's happiness was saved by the influence or perhaps more truthfully the needs of a child. Miss Jane Fernley and Mr. King Baggot play the child's parents. While a friend, played by Mr. Shay, is visiting them, the husband finds that he is needed at his mines and is absent for over a week. During this time the man remains with the woman and child and his attentions become something more than friendly. Glimpses of the rough mine, where the husband is, are given and are very good; also we see glimpses of the home. This house and its environment make some very lovely pictures. The acting is very simple, natural and effective; it gives convincing strength to the rather melodramatic story. It is a good picture; one likely to please all kinds of audiences. "DAWN OF NETTA" (Nestor), June 24. — A love story not very clearly named; it is rather sentimental, and in its situation, just a bit old-fashioned. Its plot is well articulated, telling a clear story; but is such as one would expect in a novel rather than in a drama. Its characters are interesting people of wealth and culture, and its center of interest lies between a young lady and her father's friend, who is at once her guardian and fiance. The guardian breaks the engagement, only to find that she really loves him. The backgrounds are very pretty, being mostly in a very well appointed home. The acting is of high order and at times very praiseworthy indeed. It is a well photographed picture that will please and entertain rather than one that will make a deep impression. "QUEEN OF MAY" (Republic), June 25. — A very charming little player, a girl of about twelve, takes the leading role in this distinctly pretty picture of a big May Day party held in Central Park. This party was given by the "Rep" Company to the stage children of the city and this half-fairy story was made up and acted to give human interest to pictures of it. The little girl is made the daughter of a stage scrub woman. She knows about the party; but can not get a ticket, because she has never "played" on the stage. However, she gets her chance and is a big success in a real play as Oliver Twist. She is then invited to the party and elected its queen. It is well photographed and interesting, a picture that will please. "REAPING THE WHIRLWIND" (Nestor), June 26.— A strongly dramatic picture of passion, set in Western backgrounds that are somewhat rough and primative. It is an effective human and truthful story yet its rather trying situation is handled in a clean, wholesome way. Indeed, the moral wisdom of the story is one of its highest qualities. Four people have prominent roles in it — two couples, with the flirtatious wife of one man and the light-headed husband of the other woman as the victims of their own folly. That all concerned become victims before the end need, hardly be said. It is a tragedy of disillusion; there is no killing in it. The characters are drawn in a vivid, clear-cut way, showing much imagination in both the producer and the players. The scene closing and photography could hardly have been improved upon. It is a desirable picture. "HER FATHER, THE SHERIFF" (Republic), June 22.— A melodramatic picture in which the heroine's father, a Western sheriff, proves weak and lets bank robbers persuade him to take a hand in a big haul. The sheriff's brave daughter and her eastern sweetheart track the robbers and, in their hiding place, find the sheriff. He is conscience stricken and repent-. The story is smooth, fairly convincing and interests; but although the players are human and natural in their acting, there is little or no true character drawing. The figures do not live apart from the story they tell. The camera work is good. "LOVE, WAR AND A BONNET" (Imp), July 1— Marguerita Fischer plays in this picture a Southern belle. Her lover, played by Mr. Pollard, is a captain of Dixie. Mr. Lyons plays a Yankee spy who, chased by the captain, breaks into the grand old Southern homestead. He finds the bonnet, newly trimmed, and half-disguised in it and a cloak, manages to steal her horse. The girl, herself, gives chase on another horse. The captain has seen the man and is also following him. A complicated series of incidents follow so fast that the mind isn't given a chance to see anything inconsistent or unconvincing; but is carried along with a sweep. The photography is excellent. It is an acceptable picture of a war-time adventure. "WILLY WANTS A FREE LUNCH" (Eclair), June 30.— A picture made in France with a very small boy in the role of ragged Willy. So small that, like a mouse in a furnished room, they have a hard time catching him. It is a very farcial picture, and trick photography plays an important part in it. It will surely make a roar of laughter. There is nothing coarse in it and it is clearly photographed. "WOMEN'S WORK IN OPORTO" (Eclair), June 30.— Oporto is a Spanish city. There seem to be many women living there, and they are all workers. The loads they carry are astonishing. These are regular street scenes, and we see but few men. "PICTURESQUE PORTUGAL" (Eclair), June 30— Here are a few well-photographed pictures of peasants and peasant life in the newest republic of Europe. It includes some lovely views of the Valley of the Duoro, a mountain torrent. The three on the same reel make a good release. "ANIMATED WEEKLY" June 17. — Our reviewer was not able to catch this weekly topical; but it is said to contain ten items. The washing of ranch cattle in Wyoming; Pacific Coast college boys making new records for jumping; the fancy diving and swimming of a human mermaid; a view of a trade boosting train in Canada; new gowns from Paris; a diver at work repairing a ship in New York harbor; Oakland motor races; the departure of America's Olympic team; a novel hydroplane race in Italy and a series of views of a spirited athletic meet in Munich, Germany. "THE AIRMAN" (Ambrosio), July 5. — The early scenes of this picture were taken from a balloon, ascending. Following these, we see a very well suggested accident; the airman falls into an Alpine winter scene and is rescued by a St. Bernard dog. It is a very clever and amusing picture. The photographs are very good. "LEGEND OF THE CRYSANTHEMUM" (Ambrosio), July S-— A poetic fairy story of old Japan. Trick photography and delicate, graceful scenes leave a very delightful impression. It is an unusually charming picture. "THE GIRL BACK HOME" (American), July 1.— Some fine photography in a story of a miner in love with a girl in the East, but who made love to two girls in the West. The sweethearts of the girls were anxious to slay him, but the girls deterred them. Then when one of the latter learned he had been making love to the other she started for him with a revolver. While she was threatening him the second girl from a distance fired a rifle and killed the Easterner, whether by mistake or intention is not absolutely clear. "BEFORE THE WHITE MAN CAME" (Reliance), June 29.— A tale in which no white man appears, containing some striking scenery and some striking scenes — one which will hold interest. "A MAN'S DUTY" (Reliance), July 3. — A story of the Civil War— of son against son — and a Northern mother and Southern father. It fell to the lot of the father to sit in court martial on the son, arrested as a spy. He was condemned to death, and is reprieved in the "nick of time." There is plenty of action in the play. "RIP VAN WINKLE" (Reliance), July 6. — Washington Irving's famous legend, made so by Joseph Jefferson, has been filmed, and will make a valuable addition to the available list of school subjects. The story covers two reels. It follows more the lines of the play than those of the book, but it is to be regretted that old dog Wolf is omitted from the film. The first scene is of the village tavern; on a board in the background is conspicuously posted "Rip's score." Rip is being plied with drink by the wily tavernkeeper, and between steins he plays with the children, the same old, lighthearted, good-for-nothing, who will work for everybody hut himself, laid down in the book. When Rip returns to his home he finds Dame Van Winkle in one of her choicest fits of rage. The lightning shows at the window when the gale blows the shutter ajar. The t.vo young Van Winkles are watching their father as he caresses their mother and tries stealthily to abstract the maternal purse from the pocket of the ample apron. Detected, repulsed, and enjoined to "Get out and don't come back!" Rip goes out into the black storm. Dame Van Winkle repents, but her calls fail to reach the ears of Rip. The second reel opens with Rip in the mountains, carrying his long-barreled gun. This weapon, by the way, is not a flintlock; it is a percussion-cap affair, an invention of many years following Rip's anteRevolutionary days. We see the runtlike, elflike, bewhiskered bowlers at • play; they induce Rip to "take something," which, as always, was not difficult— and Rip sleeps. The awakening of the sleeper and his return to the village, his stop at the tavern and the scenes at his home, where he is reunited with his family, his once sharp-tongued wife now as meek as formerly she was vitriolic, and the ejection of the master of the house ad interim, are all well done. "THE FLAT UPSTAIRS" (Majestic), July 2. — A comedy which will bring to the mind of many flatdwellers experiences with boisterous upstairs neighbors. Herbert Prior and Mabel Trunnelle take parts; the hamfatter is good; the old clothes man is funny. "THE BURGLAR ALARM MAT" (Majestic), July 2.— On the same reel as the foregoing is depicted how a burglar alarm connected with the doormat worked all right when the mat was stepped on, which apparently every innocent person did, to the consequent disturbance of the slumber of . the household. The burglar, however, stepped over the mat, and, after wrapping up the silver in the spread which he removed from the sleeping ^ couple and taking the household revolver from beneath the pillow, cut the connecting wire and carried away the mat.