Photoplay (Jul - Dec 1919)

Pnoix)PL.\Y Magazine — AnvKHiisiNc. SKrrioN The Shado^v Stage (Continued jrom page tisj plot. Included in lhi> nve-reel fraius. ako, i> the actual air-collision which >tirrtd Hol Aood a lew months ago. Two machines, vriorming at a great altitude fur Houdim's play, accidentally crashed toi:ether and fell to earth wrecking themselves, but fortu aely nut killmg any ol their occupanl>. n Forrest — who, at Triangle, was known \" K' -v.an — is a deli>;hlful ingenue lead .1 Harry's adventures; and the . :: -, also, Mae Busch — reappearing ■i.r nearly two years' absence, she was for.rly at Keystone — Arthur Hoyi, Tully Marshall and Augustus Phillips. "The World and Its Wonun" iGoIdwyn . ■ re b Geraldine Farrar's premier efiort for 0. It is an imposing, huge->cened play ■' '-hevik Russu, written by Thompson in. and produced with true n»agnin .. .y Samuel & Co. There is a mighty rner of the Nevsky Prospekt, and a vista the Petrograd Imperial Oj)era which are '. ond criticism, either in detail or sumptu -nes6. The story itself, after some effec c first passages, does not especially con oe. The trouble b, I guess, that wild or u ha\x erased to amuse us or the iiewspapiers. Lou .^ > -~ on the screen, playing a Prince. hb wife, and the e.xcel Knt »u; . company includes Edward nnelly and Naomi Childers. Bill Henry"* UnceParamount ). Charles Kay in hb droll portrait of the earnest young inierurban. And the ptortrait b limned in . finest, truest shades. Mr. Ray b to be .nd, first as the bicychns vendor of an trie vibrator; the \ibrator business being rally stamped out. the sales-agent passes to many other adventures. Julien Jo -jon wrote it. Jerome Storm directed it, : Edith Roberts played it. Genuine en •.ainment. The Dark Star" (Cosmopolitan-Parajnt'. Robert W. Chambers" melodramatic . el, made even more melodramatic. It . rather pfmlot produaion, but it doesn't •.vince. Marion Daxis, pretty, willing • inert, has the principal part. The ship n b more or less an absurdity. Wagon Tracks' (Ince-.Artcraft). WilS. Hart deserves unstinted praise for admirable artbtry which characterizes production throughout. In the first it b a resolute attempt, and a successooe. to escape from the routine "Westwhile still telling a Western story, narrative itself b of no great consebul the period of tne forty-niners reproduced magnificently, from the great ':!vaits which formed at the headwaters of Nfi^-^uri to the far traib in the dust at the foot of the Rockies. I •e the probability of any cara•. -..i iia'.ii departure from hb flock to pursue a private feud. howe\-er intense, but rth.r-A^io I have only recommendation in -C5. ir?" (Goldwyni. Mabel Xormand, ■. role of hotel slavey, with the isness. adventurousness and hu :-:h a makebelieve pwrson. Miss i appears despwrately frail — you'd ■-• ihb thin, big-eyed little girl p person of a season or two hais eained a certain sense of and in addition to demonstrating r comic ability b at its best here. I.andb b. an excellent foil for her. not a •'Mickey." but it b the be*l I.' sng Miss Normand has done since •Mickey." •*The Hoodlum" ^Fir't National i. Mary Pickford devotes her hiehiy artL-tic efforts, a trrm^nriously fine production, and clever dirrctr.r >v\ Franklin to a story which b not Uiifvahlc. and distinctly not true to life. Gel me right on thU: it b the stor>' which b wholly at fault. Mary's own work b beyond reproach, and let mc say, indeed, that in its finely mingled appearance of both care and abandon it b something wliich many a lesser actress of much larger he.'id could study to great advantage. We have a New York East Side which >miply tloes not esbt, because the author wrote of a mythical dbtrict, but neither the director, nor the star, nor the producer was at fault in tlib. .\ll these have bettereti the material. The cardinal error lay in the selection of a slorv which, after all, leaves a suspicion of nu-rc >illines3 which would have been a certainly if a person less famous than — no, not at all ! — if a pierson less conscientious and hardworking than ^rary Pickford had set it in a film frame. ' Hi-arisease" iGoldwyn). The old stagr .-tory of the stolen op>era, doubtless rcmcni berx-d by a gn-at many of you. The production b perfectly life-like, and the action of the principab, headed by the continuallybetter Tom Moore, and including .Vice Francb. Rosemary Theby. Sydney .\insworlh and dainty Helene Chadwick b a leisured and gracious delineation of a saccharine reminbcence. "The Hushed Hour" (Carson). A story in which each of four children reviews his or her life, as the case and se.\ may be. while silting reminbcently by the coffin of their dead father, sounds off-hand like a bit of Russian -modernist gloom. I do object to the gloom of the fundamental idea, but at the same time I must applaud the daring which prompted the use of the story in the first place, and further. I have nothing hut praise for the handling. The cast, in which Blanche Sweet b featured, is superb. "The House Without Children" (State Rights). .\ crude, awkward handling of an awkward story which was intended to have a large wallop and a grand moral purpose. "Deliverance" 'State Rights). Etna Ross, a wonderfully sweet and wonderfully clever little girl, b the real star of this photoplay, which, by the way, b the film upon which Helen Keller, that genius of adversity, worked for so long under the direction of George Foster Piatt. The Ross baby plays all the child episodes of Mbs Keller's life, and her sweetness and rare simulation of a being deprived of both sight and hearing are alike extraordinary. Mbs Keller herself b a marvel of intuition and mechanical perfection, but I think the slorv-, the human interest, b almost spoiled by the enormous amount of propaganda so unnecessarily inserted into the last reels. "The Peace of Roaring River" (Goldwyn). That Pauline Frederick b really a great dramatic actress b proved every time she step)s before a camera. Her material varies, however, and this sample b just ordinary. Miss Frederick lifts the thing tremendously by the sheer force of her magnetic feminine personality. "Told in the Hills" (Paramount). Robert Warwick, in a fairly successful adaptation of Marah Ellis Ryan's popular story. "The Mblcading Widow" (Paramount), .\n improbable but nevertheless highly enterlaininc feature, if I might judte from the antics of the audience that watched it with me. Billie Burke handles the principal part with admirable comedy resource. Tlic piece b an adaptation of "Billeted." ".A Society Exile" (Paramount). .An illogical story, with a good many unnecessary things besides the plot. It features El'ic Ferguson, but the net result U away l>elow p<ar. compared to her recent pieces. "The Career of Catherine Ba'-h" (Paramount). There arc some who don't like Catherine Calvert's acting, and there are r^ '/ RestorG the ijouthful beauty ofi^ourhair P\emember how preiiy your hair used to be — how soft and glossy — full of lights and shadows. It started turning gray before you Study realized what was happenino — Your I 11.7 Sithouede '"*'" y°^ thought is was too lale to do anything and submitted regretfully — -Why ? It is every woman's duty to be young looking and pretty. • Make your hair young again — soft — fresh looking — lustrous. 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