Photoplay (Apr - Sep 1918)

102 to reform the son of her boss and marry him. Mabel manages to carry the plot with her irresistible comedy, but whenever she leaves it, it drags interminably. THE HEART OF A GIRL— World "The Heart of a Girl" is the first World picture to feature Barbara Castleton and Irving Cummings. It tells a story of love and politics in which a girl first wrecks and then rescues her lover's campaign in ;ress. The plot has just enough material to show the promise in these new co-stars, who look and act exactly like a couple on a magazine cover. YOU CAN'T BELIEVE EVERYTHING—Triangle "You Can's Believe Everything" is a breezy summer idyl with the entire cast appearing in bathing suits most of the time. A society girl compromises herself through the rescue of her lover from drowning; they are married however, and the veranda gossip is stilled. Gloria Swanson as the heroine manages to look attractive even when dripping with water, as she is almost constantly. The bathingsuit scenes are amusing and innocent enough except for a "Neptune's banquet" in which the party gets very rough. TO HELL WITH THE KAISER — Metro It is impossible to say anything too bad about William of Berlin. So when the climax of the Metro picture, 'To Hell With the Kaiser," shows that arch fiend in the nether regions, where His Satanic Majesty abdicates in his favor, there is no libel. The story leading to this desirable consummation, is not strikingly original, except that it shows William getting his tips direct from the devil, garbed in his well-known habiliments. It is a story of brutalities and atrocities, all too true. Olive Tell is the lovely heroine, who helps put the Kaiser where he will eventually go in truth, if hell there be. OPPORTUNITY — Metro Viola Dana is at her best in comedy. "Opportunity" is hers. She masquerades as a boy, encounters difficulties, and marries the principal one at the end. Her wide-eyed wonder at her adventures is delightful. Hale Hamilton, lately seen with May Allison, again proves that Richard Rowland knew what he was about when he drafted this large, genial person into films. SANDY — Paramount "Sandy," with Louise Huff and Jack Tickford, has caught all the spirit of adventurous youth that made the book so popular. Most of us remember the freckle-faced Scotch lad who began his career as a stowaway and later marries the girl who befriended him. The story is delightfully developed by George Melford in a series of lovely pictures. It is one of the best of the Pickford-Huff romances. Ihe Shadow Stage (Concluded from page 80 J SHARK MONROE — Artcraft In the first reel of "Shark Monroe," William Hart appears as a skipper sailing a very rough ocean in a series of extremely beautiful sea scenes. After this the setting changes to his well Ifriown habitat in the far North. It is an excellent far North picture about a good bad man who kidnaps a young girl to protect her. But Hart fits so perfectly into the "Sea Wolf" atmosphere that it seemed a pity to take him off the ship. TINSEL — World In "Tinsel," Kitty Gordon is a mother with a past and Muriel Ostriche is her roguish daughter. Her attempts to teach her child the difference between a roue and a good man are so thorough that she is obliged to rescue the girl from the roue. Kitty Gordon looked particularly stunning in a series of "which-is-mother-andwhich-daughter" poses. In A Nutshell "Shackled" (Paralta)— Louise Glaum as a magdalen, beautifully gowned. W. Lawson Butt, loving her grimly in spite of All. Intense domestic melodrama, well developed but a bit too hectic for the high school age. "Smashing Through" (Universal) — Herbert Rawlinson smashes through five reels of desert scenery. Is assisted by express trains, motor cycles and innumerable wild bronchos. "Find the Woman" (Vitagraph)— O. Henry's "Cherchez la Femme" amplified into screen form. Alice Joyce wistful and lovely, in the role of the persecuted primadonna. She turns hisses to applause, winning the audience and the rather negative hero. All this against the sultry, languorous background of a New Orleans summer. "Kidder & Ko" (Pathe)— Bryant Washburn having fun with amnesia; he feigns loss of memory and wins a fortune and a girl; humorous variation of an oft-used theme. "We Should Worry" (Fox) — Jane and Katherine Lee as mischievous youngsters who prevent their pretty aunt from marrying the villain of the play, and thwart a buglary; pretty silly stuff. "The Only Road" (Metro)— Viola Dana as a missing heiress, saved from villainous plots by Casson Ferguson, in adventures which bring out all her pretty wistfulness and quaint comedy talent. "The Model's Confession" (Universal) — Mary MacLaren, beautiful and dramatic, in a foul story which culminates with a father making "love" to his own daughter, while ignorant of her identity; National Board of Review please write. "The Claw" (Select)— Clara Kimball Young decorating a story in which Jack Holt is redeemed and killed in rescuing Milton Sills from South African savages; picturesque and clean. "Which Woman" (Bluebird)— Priscilla Dean embellishing a snappy crook story of a jewel robbery and a vanishing bride; Ella Hall as a rather awkward heroine. "A Little Sister of Everybody" (Pathe) — Bessie Love among labor agitators, marrying the young mill owner and making everybody happy; clean and mildly thrilling. "The Voice of Destiny" (Pathe) — A man is murdered and the identity of the thief revealed by Baby Marie Osborne playing a dictaphone record; a stupid yarn, badly acted. "The House of Gold" (Metro)— A story in which not one character acts like a human being except Hugh Thompson as the handsome hero; too complex to tell in the brief space to which it is entitled; Emmy Wehlen starred. "Nine-Tenths of the Law" (Independent)— Mitchell Lewis repeating his wellknown fighting French trapper impersonation by means of his curiously formed lower lip ; the child is saved and the bad men killed. "Her Body in Bond" (Universal) — MacMurray showing how long she can hold out against a seducer. "Hell Bent" (Universal) — Harry Carey riding, shooting, fighting, and trudging across the desert; hot stuff. "The Girl in His House" (Vitagraph) — Unscrupulous father of pretty girl swindles house from hero; happy ending in house that caused the trouble; typical summer-fiction plot, typically acted by Earle Williams and Grace Darmond. "Closin' In" (Triangle) — William Desmond as a noble athlete suffering for another's crime; vindicated thrillingly in the last reel; enlivened by several miningcamp fights in which the hero proves that he is as muscular as he is noble. "The Mortgaged Wife" (Universal) — Again the fable of the passionate employer who saves his embezzling clerk from jail on the grounds of the clerk's wife joining his household; only in the end Ihe marries Dorothy Phillips, thereby showing a great deal more intelligence than the author of the story in toto, (not meaning that the tale is clownish, though of course — ) "The Fly God" (Triangle) — Roy Stewart in a "Red Saunders" story, where a fly decides a jury's verdict; typically "western." "The Painted Lily" (Triangle) — Alma Rubens acting as a gambler's decoy in a mechanical melodrama; just another movie. "Tangled Lives" (Triangle) — "Tangled" is hardly the word — "scrambled" would be more to the point ; a melodrama of suicide and unfaithful wives; Harry Morey towering above circumstances. "One Dollar Bid" (Paralta)— J. Warren Kerrigan as a slave of liquor, sold to a girl under an old southern law, reforming, and marrying his purchaser. "The City of Tears" ( Bluebird) — Carmel Myers offering to sell herself for the liberty of the man she loves, but not being required to complete the deal; suggestive melodrama, decorated with the vivid Myers personality. "Tempered 'Steel" (McClure)— Petrova in another melodrama in which she thinks she killed a man and didn't; where's the producer who knows how to exploit the Petrova talent?