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Photoplay Magazine
Clara Kimball Young and Conway Tearle in a scene from "The Common Law. ' ' Here is a genuine celluloid novel. It has a perfect cast and an environment which bespeaks not only gentility, but absolute reality.
other things and preachments, an attack upon the arrogance of "Foundations," and that tyranny of some organized charities which makes their favored more victims than beneficiaries. In its essence, the modern tale seems to me a dull, commonplace movie melodrama. In it Mr. Griffith seems to lose his perspective of character. He makes commonplace types and personifications, not his usual creatures: thinking, feeling men and women.
Mae Marsh and Robert Harron portray victims of poverty, lack of education and evil surrounding. Both are driven from tin.' home town by strike participation. The hoy turns cadet — eventually reforms to marry Mae. His underworld master. "The Musketeer of the Slums." frames him criminally for this desertion, and. in the language of the caption, he is "intolerated away for awhile." In the interim, the Musketeer endeavors to "make" the boy's wife, who has lost her baby to intolerant uplifters. In the grand encounter of
Musketeer. Musketeer's girl, boy and wife, the monster is shot, the boy is blamed though tlie mistress did it. and the capital sentence is carried out — nearly, but not quite — in the perfect gallows-technique of San Quentin penitentiarv.
Best in tlie modern spectacle are not the dull details of things that happen, but the lifelike performances o\ those to whom they happen. Mae Marsh's flirtation in court with her husband as the jury deliberates his life away — she a scared, drab little figure of piteous noncomprehension — here is a twittering smile more tragic than the orotund despairs of Bernhardt. Miriam Cooper, as the Musketeer's mistress, gives an overwhelming pastel of jealousy and remorse. All actresses who honestly provide for home and baby by the business o\ vamping and gunning, would do well to observe Miss Cooper's expressions and gestures. Miss Cooper is police dock — she is blotter transcript. Her face is what you really see some nights under the green