Photoplay (Apr - Sep 1918)

is so full of inconsistencies that the spectator feels a distinct mental superiority to everyone connected with the production, and then when the end comes realizes that all the flaws he discovered were logical and necessary. This sounds intricate, but it is quite simple, and because it is mysterious, no part of the plot will be revealed here. The scenario, by Roy Somerville, is remarkably clever; the story was by Charles Dazey. The cast is headed by the brilliant trio, Irene Castle, Warner Oland and Milton Sills, who nearly made even "Patria" good. Caesar Gravina, an Italian comedian, is worthy of being starred. This is an opportunity for a producer who wants to turn out comedies that do not rely upon acrobatics for their effect. STOLEN ORDERS— Brady William A. Brady's first production since leaving World is an eight-reel version of the noted melodrama, "Stolen Orders." The original has been transposed into an American plot, bringing all its thrills with it and adding a few more. The general effect is an Ivan shocker superimposed upon a Pathe serial. The acting of Montagu Love, the charm of June Elvidge, the four remarkable fur Bets of Kitty Gordon, and the innate nobility of Carlyle Blackwell embellish the action. It is another proof of the fact that five reels suffices for almost any story. PEG O' THE PIRATES— Fox As "Pay Day" satirizes melodrama, "Peg o' the Pirates" burlesques the familiar tale of the Spanish Main and the kidnapped damozel. It would make a wonderful libretto for a musical comedy of the Gilbert and Sullivan sort. How the burly and bewhiskered desperadoes step lively to the trickeries of their dainty captive must be seen to be appreciated. It is Peggy Hyland's best work since she came to these shores two years ago. Frank Evans as Captain Bones is a truly terrifying gent. "The Triumph of the Weak" (Vitagraph) — Alice Joyce as a mother who steals to save her child from starvation, goes to prison, is paroled, marries without telling her husband the truth, and is blackmailed by a former confederate; a sombre but vivid role for Miss Joyce. The Shadow Stage (Continued jrom page 82) "Her Decision" (Triangle) — Gloria Swanson proving her right to stardom in the story of a stenographer who marries her employer to get money to save her sister from disgrace; the only J. Barney Sherry as the employer. "A Daughter of the West" (Pathe)— a melodrama in which the principal characters are known to their intimates as Daredevil Gordon and Rawhide Pete; "Baby" Marie Osborne and Sambo provide atmosphere. "Wolves of the Border" (Triangle) — Roy Stewart — is a story of a triangular feud involving neighboring ranchers and a band of outlaws; it is hard to believe there can be so much shooting in the wild west and so little killing. Perhaps this bad marksmanship is what makes the wild west so wild. "True Blue" (Fox) — an English remittance man unexpectedly falls heir to an earldom, deserts his American wife and young son, and the son grows up hating his father, only to heap the proverbial coals of fire at last; William •Farnum as the son; an artificial story with little heart in it, except for the first reel. "All Woman" (Goldwyn) — Mae Marsh in a very diffuse story of small town politics, dissipation and intrigue; this star has yet to find the director who understands how to make the most of her pathetic winsomeness. "The Street of Seven Stars" (Le Luxe) — the too common mistake of trying to put everything in a novel into a picture, resulting in chaos; Doris Kenyon, smiling and pretty, but lacking in dramatic force. "The Firebrand" (Fox) — Virginia Pearson as a Russian princess in a story of the, betrayal of Russia by aristocrats; very thrilling. "Cecelia of the Pink Roses" (Graphic Films) — Marion Davies in a story where hardly anything happens until the fifth of the seven spools; pretty but tiresome. "Reclaimed" (Harry McRae Webster) — Mabel Julienne Scott, one of the most beautiful and talented of screen actresses in a melodrama so silly that it is almost as funny as the Drews' "Pay Day," though not intentionally so. "Blue Eyed Mary" (Fox)— A typical bit of June Caprice confectionery, in which a sweet ingenue reconciles a long estranged father and mother, and, of course, marries. "For Sale" (Pathe)— Gladys Hulette in the oldest movie story in the world — the poor girl who marries her employer in name only to get money for a worthless sweetheart, and finally falls in love with her husband; Miss Hulette doing her best work in her worst story; Creighton Hale as the husband. "More Trouble" (Pathe)— Frank Keenan as a comedian; a son comes home from college, followed by a flood of debts which he disowns, precipitating a melodrama of high finance; clean, lively. "A Broadway Scandal" (Bluebird) — Carmel Myers looking a lot like Constance Talmadge in a clean, snappy melodrama which is twice as long as it needs to be. "Lend Me Your Name" (Metro) — Harold Lockwood playing both of a pair of grown-up twins, and changing places with himself, in a hilarious farce comedy; Bessie Eyton and Pauline Curley as the sweethearts of Lockwood and his other self; a mistaken identity yarn, taken on the gallop, with beautiful backgrounds. "A Game With Fate" (Vitagraph)— Stalwart Harry Morey and beautiful Betty Blythe in a story you wouldn't believe if I told you; a man bets he can get himself sentenced to death on circumstantial evidence, for a crime that was never committed, and nearly goes to the ch3ir for it. "Viviette" (Paramount) — Vivian Martin as the storm center between a jealous lover and his more polished brother; intensely emotional, but clean and beautifully done. "Love's Conquest" (Paramount) — Lina Cavalieri, the beautiful, as a duchess of sixteenth century Athens, who finally succumbs to a noble-hearted though lowly lover, who serves her faithfully at his dire peril; rather ponderously acted. "Ace High" (Fox)— Tom Mix in a thrilling melodrama of the well known Northwest, saving a child from death in the snow, saving her from a foster father and marrying her. "A Square Deal" (Mutual) — Margarita Fisher in a light comedy proving something or other about the proper place of a wife being the fireside. "The Man Hunt" (World)— Ethel Clayton as a gentle cave woman; she woos and captures a protesting lumberman, who is determined not to fall in love with her. A pleasing picture. WHEN MEN BETRAYAbramson -Ivan "When Men Betray" is the reason for censorship. It has an assorted lot of villains who go methodically to work to "betray" every woman in the cast. These affairs range from the wealthy matron and the clubman to the maid and butler, but all are equally tiresome and disgusting. Gail Kane did her best with an absurdly tragic role. It is a picture which should be kept from children and adults both. If it was passed by the National Board of Review, the board may as well go out of existence for all the protection it is to the public. 102 By Staff Reviewers BELIEVE ME, XANTIPPE— Paramount Wallace Reid and Anna Little have made "Believe Me, Xantippe" as engagingly foolish as it was on the stage. The adventures of the inventive young man who commits forgery on a bet that he can elude capture, lend themselves delightfully to screen comedy. The sub-titles make the most of occasions for slang. OLD WIVES FOR NEW — Artcraft It is extremely difficult to build up a pleasing romance upon a foundation of divorce. Add to this difficulty the displeasing fact that "Old Wives For New" contains scenes of disgusting debauchery, and you can appreciate the failure of this elaborate, beautiful and well-acted picture. A man of fine instincts, whose wife becomes lazy, slovenly, and horribly fat, falls in love with a woman of his own type, and eventually everyone is happy. There is some power displayed in the telling of the story, but it leaves a nasty taste. The cast is remarkable — Elliott Dexter. Wanda Hawley. Florence Vidor, Theodore Roberts, Marcia Manon, Helen Jerome Eddy. Edna Mae Cooper. Gustave Seyffertitz.Tully Marshall. Cecil B. DeMille directed, and seemed to revel in the most immoral episodes. (Continued on page 104)