Moving Picture World (Sep 1916)

September 30, 1916 niiv mov ink; l'U ti;uk would pBaaB,aBB3mannnmnHBlimy' jjjmiiiiiiuiiiuiimnnnnff*' J : — -3 "-■■■'■'■■'.A/ Reviews of Current Productions itJ^ EXCLUSIVELY BY OUR OWN STAFF "77ic L/'^/j/ of Happiness7' Five-Reel Metro Photoplay, Written and Directed by John H. Collins, and Starring Viola Dana. Reviewed i>y Edward Weltsel. THE LIGHT OF HAPPINESS," produced by the Columbia Pictures Corporation, comes under tbe head of domestic drama. The action is confined with the boundries of a small Village, and the characters are such as may be found in any hamlet within a dozen miles of New York City. John H. Collins, who wrote the scenario and directed its production, keeps the ingredients of his dramatic kettle always on tho boil. The story opens without loss of time, and the supply of Scene from "The Light of Happiness" (Metro). incidents does not permit the action to lag. The one drawback to this desirable state of affairs, is the fact that all the incidents do not carry conviction. However, as no attempt is made by the author to lift his work into the higher walks of the drama, and he is content to tell a simple but interesting tale that does not trouble itself or the spectator with psychologic deductions or anything but the most elemental manifestations of love and hate, it is only fair to state that, in the main, he has accomplished his purpose with more than ordinary skill. The big dramatic moment of the screen play is cleverly devised, and there is no question of its power to grip the emotions. The locations, the handling of the mobs, and the "stage business" of the individual members of the cast, all add to the credit marks that go to the director. In plotting his play Mr. Collins has tried the dangerous expedient of two heroines and two heroes — and has come off reasonably well with such a handicap. The part played by Viola Dana is that of "Tangletop," the daughter of the town drunkard. Her father dies, and a young clergyman of the village takes her to his home. This starts a scandal, but the minister sends for his mother, hunts up the author of the lie, drags him to the door of the church, and makes him acknowledge his guilt to the entire congregation. Running parallel to, and interwoven with, this love motive, is the affair between the blind owner of Grey Towers and the grand-daughter of Elder Dean. "Tangletop" is persuaded by the rascally guardian of the blind man to trick him into believing that his sweetheart is unworthy of him. When the drunkard's daughter hears the minister preach a sermon on the text, "Thou shalt not bear false witness," after he has defended her good name at the door of his church, she realizes the wrong she has done and quickly makes amends. A double wedding is foreshadowed in the final scene. The power of the story to hold and to convince is at its lowest ebb during the scene where "Tangletop" tricks the blind man, and is at high water mark when the girl stands on the steps of the church and has it brought home to her that she also has borne false witness. While it is obvious that the part of "Tangletop" was written lallj i"i Viola I 'ana. the young lady's acting of the character justifies the author and all parties concerned. Miss Dana la fitted i»\ nature and artistic development to give life and charm to the untaught but warm hearted little waif who wins the love of t lit athletic young minister. Lorraine Frost as Mollle Dean, and Robert Walker as the Rev. Clyde Harmon, are the next most efficient members of the cast, and George Melville, Harry Unsen, Edward Earle, Jack Busby, Mona Kingsley, and Mrs. Wallace Brsklne demand honorable mention. "The Dark Silence" Clara Kimball Young the Star of a Five-Reel Peerless Photoplay Released by the World Film Corporation — The Battlefields in France Contribute to the Locations. • Reviewed by Edward Weitzel. THE scenario for "The Dark Silence" was made from a tale by Paul West, the present European conflict furnishing the background for several of the scenes. The development of the story during the first reel reveals nothing but a chain of commonplace incidents that do not always convince; then, suddenly, the clash of interests strike fire, and events move steadly forward to a compelling and unhackneyed climax. Mildred White, an American art student in Paris, becomes engaged to a wealthy young English sculptor named Ainsworth. Mildred has also fascinated Dr. Martinez, a Spaniard, who is celebrated for his treatment of the blind. Ainswortn is called suddenly to England by the illness of his father. He leaves without seeing Mildred, and Martinez has no difficulty in convincing her that her lover has deserted her. The means by which this is brought about is the weakest point in the plot. The Englishman returns to Paris in search of Mildred, and is led to believe that she has become the companion of the Spanish doctor. In desperation, Ainsworth enlists, is blinded in the trenches, and Mildred, now a Red Cross nurse, meets him in a field hospital. She does not disclose her identity, but nurses Ainsworth with such devotion that he falls in love with her in her new character of Jeanette, and, on his return to England, she accompanies him. Later, they are married. The big moment of the story comes when Ainsworth's Scene from "The Dark Silence" (World). sister learns of a celebrated surgeon who may be able to restore her brother's sight. The man is Martinez. When he hears the name of the patient, he hesitates; but his better nature triumphs. On his arrival at the Ainsworth home to perform the operation, he comes face to face with Mildred. She is terrified at the thought of her husband regaining his sight and learning her identity. She stifles this feeling, however, and urges Martinez to go ahead with the operation. After this has been performed successfully, the Spaniard completes his good work by telling Ainsworth the truth about his wife. The doctor returns to France and is killed in battle.