The Nickelodeon (Jan-Mar 1911)

170 THE NICKELODEON. Vol. V. No. 6. of his life was the moment when he received a badge for his educational attainments. To prove that crime and an ignominious death resulted from this moment would require long and devious arguments, — an argument the film does not supply. But our quarrel with the moral of the film does not extend to its visual presentment. It is an admirable production containing many fine scenes both pictorial and dramatic. The leading character is enacted in able style. For some reason or other this actor seems to be especially good in man-hunts. His work in "The Foreman," ''The Spy," and now in "The Red Man's Curse," is well remembered for that particular trait. He knows how to project the anxious glances and panting despair of the hunted quarry. The film is especially commendable for its attempt to deal rationally and truthfully with Indian life. It is one of the few attempts on record. We have plenty of Indian subjects, but few truthful ones. The Marked Dollar. — Pathe. This story with its moral tag and good little girl who pleaded with the bad lady and saved papa from prison seems to have been taken from a Sunday-school book and placed in a Western setting. In more than one respect it verges on the childish. A commendable feature of the film is the sure-enough Western scenerv. Father Makes Himself Useful. — Lubin. A bright attractive photoplay to be performed in the polite comedy style, which it was in the main, but in several instances it wasn't. Reference is made to the under-the-table episode and to the later scene where the tormented husband snarls his brow and clenches his fist and takes on "something terrible." These are violations of all polite probability and afford striking examples of Lubin's besetting vice — the tendency to make things too broad. Lubin comedy is ever verging toward farce, and Lubin drama toward melodrama. This tendency is so persistent that it seems to bespeak a calculated policy, a consistent endeavor to render all dramatic action unmistakably clear and obvious even to the most unenlightened. It is possibly true that this was a wise policy in the good old days when picture shows were given in barns and store-rooms and audiences were new to the art; but such conditions prevail no longer ; everything has progressed, and audiences are not as obtuse as the Lubin policy would imply. The Lubin company itself has progressed. Its progress has been one of the noticeable features of the last few months. The Lubin photography is as fine as any — truly "clear as a bell" ; and the material features of recent productions have seemingly improved with every release. "Father Makes Himself Useful," with its scene after scene of rich, substantial interiors, is a case in point. But Lubin will never come into its own until it gives up its old vices. It must reform that tendency to broaden everything, to force dramatic situations, to hammer down points with a pile-driver. Along with its material improvement it must have a spiritual improvement. The most successful and prominent American film-makers have mapped their course of future progress along lines of refinement, dignity and restraint. The ideals of the photoplay are to be the same as those of the legitimate drama. Lubin has all the material facilities and live acting ability to win itself a leading place in the goodly company of progressive makers, but it is liable to hover around the tail of the procession unless it undergoes a change of heart. The Transgressor. — Nestor. A good picture, holding stronginterest. The story has a pleasing swing, with a touch of pathos to give it heart-stirring qualities. It is acted with rare fidelity and produced with careful attention to detail. Photographically, the picture is good, and this happy combination makes the reel a pleasing one. A Wreath of Orange Blossoms. — Biograph. A type of drama that is much favored by the film makers. Somebody is on the verge of yielding to temptation when they catch sight of some object associated with better moments of their past life, which reacts morally on their wavering mental state and prompts them to resist the present temptation. It provides a good dramatic expedient, particularly adaptable to the requirements of the motion picture in that the moral reaction is rendered visual through the agency of the material object. It is such a good expedient that there is a tendency to over-use it; but it ought to be reserved for good plays — plays that are in other respects up to the same level — and not used conventionally and indiscriminately to tone up mediocre plots. This Biograph plot is a good one, with all the necessary elements of a strong, well-motivated drama. The more one thinks of it, the more one admires it. In fact, it comes out better in retrospect than it did in the actual performance. This can be accounted for, perhaps, by the fact that the young wife's luxury-loving motive was not very clearly brought out. There, was a string of scenes in the middle that were intended to develop this feature but the action, was vague and indefinite and the meaning only became clear in the light of later events. At the time it looked merely like a development of the old Triangle. A string of scenes like this without definite meaning is not often found in Biograph subjects, whose special strength is specific action. But the temptation scene comes out strong and clear and makes a tense climax whose elements of conflict are of the mental order, and, therefore, of the highest order. The final episode with its indications of a complete change of heart and courageous outlook toward the future, is effective also. The actress gave an excellent performance throughout. She is the possessor of a finished and competent method and has a charming personality. The others were good also. Before passing on let us ask the meaning of that setting that was framed in a curtain through which the villain passed and was seen to carry on a. telephone conversation. That curtain frame is one of the queerest contraptions we have ever seen on the motion picture screen, and seemed senseless. It looked like some spinster's dream of the elegjance and mystery of bachelor quarters. Of Interest to the Trade By L. F. Cook New York Letter Some opened wine, others opened the window, and the correspondent opened his mouth in amazement at the magnitude and elegance of the first ball held by the employees of the Sales Company. If all dances are as enjoyable as that one, we want to go to at least one a week. About 10:30 P. M., that part of New York around the corner of 125th street and 7th avenue began to realize that something unusual was afoot, and wondered what could cause such a multitude of $5,000 limousine cars to unload their precious freight in front of the Alhambra Hall. Not one or two cars, but flocks of them, if that is the right term for a number of autos, blocked the wide avenue ; but everyone was on their good behavior and the reserves were unnecessary. Arriving in the hall itself, one was impressed by the decorations, which were merely. an indication of the spirit with which all parties affiliated in any way with the Sales Company had taken hold to make this occasion a great success. To attempt to give a detailed account of all that happened would be too great a task for our unworthy pen, and the natural limitations of a man's mind precludes the possibility of describing the costumes worn by the ladies. So we must ask permission to class them in a group, and say that they were all there, adding a most pleasing effect to the ensemble — whatever that is. Entertainment was furnished by the films of the various manufacturers, as well as by illustrated songs. At 11:45, Mr. Brulatour, ably supported by Mr. Miles, led off the grand march, after which until an early breakfast hour the merriment was unconfined.