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Photoplay Magazine
Howard Hickman as Count Ferdinand in "Civilization. '
nique which made this picture possible. Thereare wall-battles with all the impedimenta of ancient verduning. outdoing anything in epic "Cabiria." The gnome village — a nation of miniature men — comes toward that Somewhere in Arabia hundreds strong, jogging absurdly on its score after score of donkeys : the reigning demoiselle of the fairies conducts the air with her demoniac baton — instantly it is a crusade, a mighty convoy of crossed and galloping white knights. There's t h e thrill of double exposure !
this pair of will-o'-the-wisp fortune is personated by Annette Kellerman and William Shay.
There's the pretty prologue to as grand a tale of nereids and necromancy, villains and voluptuaries, coryphees and combats as was ever wrought outside the Burton edition of The Thousand and One Nights.
If a cataloguer were sent to describe the articles in Captain Kidd's fabled treasure he wouldn't know what gold monastic cup or Aztec jewel on which to begin. I don't believe in writing a tale in a review, yet I don't know whether to jump in the middle of Brenon's picture and drill my way out with a hard pencil, or knock off specimen assays from its edges.
Seldom has any photoplay been conceived with such a wealth of varied material, with thrills so interspersed between moments of quaintness and closeup bits of expressive pantomime.
For sheer material size of spectacle. "The Daughter of the Gods" outdoes anything yet seen. The mighty plain across which white and black armies charge makes one wonder at finding so much dry Atlantic island outside Cuba. The crowds of citizens and soldiers — countless, almost — which surcharge the great squares beneath Brenon's long shots make one involuntarily applaud the discipline and military tech
Architectur
ally. "The Daughter of the Gods" is another Trov. Not merely a fortress, a wall and a palace were erected for its taking pleasures ; a whole city rose, with streets and armies for shooting, and. afterwar 1-. for fiery destruction beneath an omnivorous lens which sometimes likes its fodder cooked.
Miss Kellerman does little acting, but much effective posing, and feat upon feat of daring which leaves no margin for further exploits. If she passes her water-valor here, she dies. I doubt if ever again will she undertake to swim in such a storm over such infernal rocks as those she is horribly tossed upon in one of these scenes. N or will she do a more spectacular dive than her hundred-foot leap from one of the Brenon-built towers.
Nor will any more of Miss Kellerman be seen, for she performs the most of her finny duties with no adornment save an overplus of artificial hair.
From time to time producers have used nakedness as diversion or attraction, but Brenon has made a perfectly logical use. not of nakedness, but of nudity. One doesn't suppose that the belles of an oriental hammam wore Hickson swimming suits : the Persian poets don't suggest it. and AlmaTadema. for instance, doesn't portray it. Mr. Brenon's exquisite galaxy of hammam