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The Shadow Stage
83
changes of expression to depict two souls .1 far apart as the poles of the universe. Such pictures are beyond the powers oi make-up. One person playing two people is the commonest thing in moving picti but not in screen history have there been two such complete characters drawn by a single individual. Even a> fine an artist as ryrone Power who had a two part piece not long ago in "John Needham's Double" — is left at the post by Mis Frederick's tremendous, sweeping performance. I he insincerity, the evil beauty, the sinuous grace, the searing physical passion of Benedict's wife blaze in full luridity only when contrasted with the pale quietude and strong, passive affection of her gentle sis ter — a being whose very hue. motionless, tells a ston of suffering, sacrifice and purity.
For a long nine Pauline Frederick's indifferent work, in indifferent plays has made me regret her present drifting alter turbulent, current-conquering triumph of the past. Here, in a play no more original, and in two parts essentially no better than the average, she has done something which, if repeated in person upon a Broadway . would be one of the sensations of the year.
Karle Foxe, formerly of Tamp I.askv. is
really quite appealing as the coerced boj
lover, and Frank Losee is conventional!)
correct as the purse proud, doting husband.
Tins play evidences a powerful new
hand in Famous Players' direction. I he hand is Joseph Kaufman's. It i bj no means Kaufman's first picture here, but ii is the fust in which he has shown his old gait as a master of domesticity.
A PAR 1' from this smashing melodrama. **■ Famous is indeed neglible. For months this fine studio, glorified bj great
tradition-, has sent OUt the dullest, mo-t
conventional^ stupid plays I
This month, for instance, why such an optie bromo-seltzer as "The Daughter of MacGregor," or such a really dreadful, dreadful exhibition as "The Quest of Life," a solemn hilarity promulgating the prominent prancers, Maurice and his lady Walton?
If" you had a musical -how would you re*■ emit its female chorus from a home for the aged? If you had a grand opera would you get Raymond Hitchcock or Eddie Foy to sing it ?
Hut Vitagraph got its centenarian chorines, and launched Eddie Foy in "Lucia" — metaphorically speaking — when it presented Edward H. Sothern, certainly America's finest romantic actor, and one of the greatest romancers of modern times, in "The Chattel." Here is the type of play the late Charles Klein used to write for F.dmund Breese : the play in which the front character, havi'> _ walloped the stiff business world, trips over the pretty furniture in his own house, and falls flat. I do not pretend to know whether A'itagraph wished this onto Mr. Sothern or whether he wished it onto himself. If the latter is the case he should have been protected against his own folly by a diplomatic and soothing management. In his earlier years
Left to right: George Fawcett, Will Machin and Thomas Santschi, in "The Country God Forgot. "
Mr. Sothern was a great