The Photo-Play Journal (May 1916-Apr 1917)

PAGE 20. THE PHOTO-PLAY JOURNAL FOR NOVEMBER, 1916 -viiiiHiiiiiiiiiiiiiin 1 to do both heroic and comical. And it is m what he does and the way he does it ■ that makes "A Prince in a Pawnshop" = worth your while. The silent trend in J the Vitagraph office is similar to that ] obtaining in the Metro, viz., bad selecjj tions in manuscripts are made too fre| quently, and there is too little judicious ( editing. 1 T^INE Arts erred in casting "Diana B of the Follies," a five-reel feature | issued as a Triangle release. This pic | ture is woefully below the Triangle stand B ard, and it is to be sincerely hoped that S carelessness is not being allowed to creep jj into any part of the photoplay world to B become one of its deterimental trends. m Just the same carelessness does manifest | itself in this particular film, especially jj in the direction. Several shortcomings | could be cited, but the most annoying B instance is in the library setting in which B several scenes are staged. These cover ( a period of three years. Yet a dictionary B always at the student's elbow appears to | be precisely in the same position, and is 1 opened at the same page throughout the B whole time. However, Lillian Gish in I the title role acquits herself quite cred B ibly. The same cannot be said of the | majority of the others in the cast. "Di | ana of the Follies" has to do with a B theoretical and studious father's at ■ tempts to lift Diana from the level of B show life as exemplified in the Follies. B It is not explained whether or not offense V is intended for Ziegfeld's Follies. Nevertheless, Diana cannot be prevented from returning to the art she loves, and she triumphs to the extent of becoming the star of the show. There is some love interest interpolated, but it is not satisfactory. ALESKA SURATT seeks to build up a character novel to her customs in "The Straight Way," in which she plays the part of a decent woman who suffers and who deserves pity therefor, but Valeska only seeks to accomplish this. She does not succed, for her talents run so strongly toward the vampire channel that she fails to convince anyone of her sincerity in acting. She must come quickly to the conclusion that her histrionic ability lacks the versatility she would like to establish. William Fox, the producer, has simply committed a common error in choosing this scenario for the exploitation of his star. This is one of the erroneous tendencies of the day among film manufacturers, and it is to amazing to note that there is no celerity whatever in the activity to find a panacea. Valeska, mind you, is a success as a "vamp." A NOTHER instance of displaying wanton indifference to the quality of the story of the play is furnished by the Mutual in its five-reel feature entitled "Dulcie's Adventure," which was concocted solely to exploit the talents of illllllllllllllllllllllllllllllllllllllllllllllllllllllli Mary Miles Minter, and which could not possibly be utilized for any other purpose. The net and regrettable result is, you are asked to sit through the entertainment which borders on entertainment only when the star is on the scene. The story itself claims little part of your attention ; it is simply what Miss Minter does that interests you. But then, if the producers cannot be brought to realize that this is all wrong, what is the use of harping on it ? "A Corner in Colleens," another late Fine Arts-Triangle release, is truly a delightful comedy drama in which the thread of romance intertwines happily. The locale of the story is in Ireland during the Dublin riots. Bessie Barriscale has the principal role, that of Shamrock, a veritable tomboy who gives her various suitors a merry chase before she is finally won over to wedlock. Much praise is due C. Gardner Sullivan, the author, for not only the continuity of his story, but for the clever sub-titles which abound and which are flashed on the screen invariably at the opportune moments. There are at least twenty occasions for hearty laughs, and there are several serious moments which rise to a high pinnacle of dramatic appeal. "A Corner in Colleens" is a clever photoplay which really entertains one royally, and it should be seen and not merely read about. Doris Grey Expects To Be Old and Gray Before She Learns Much About Moving Pictures iim » ■ in '.Mini! If you ask an old motion picture man he will tell you : "The Phenoms never make good. You hear a lot about them for a few months, and then they mysteriously vanish." The old motion picture men are right. But Doris Grey, the Thanhouser star, is the rule-proving exception. Doris entered motion pictures under a great handicap. To most would-be movie actors it would seem that she had a clear field in a race to glory, but she didn't. She started amid a flare of fire and a blare of trumpets, for she was chosen as the prettiest girl at the motion picture exhibitors' ball in Boston, and was promptly signed by Edwin Thanhouser to appear in a feature play. Doris was thrown in the water and told to swim out. That's why she had a tough assignment. Other motion picture actresses enter their work gradually, learning the art as they go along until finally, when they venture into deep water, they are able to breast the waves. But Doris ; they just said to her: "You're the most beautiful girl in Boston. Perhaps you're a moving picture actress. At any rate, before the eyes of the critical populace, we're going to find out." "What Doris Did" was Doris Grey's first venture. The public was ready to scoff. They didn't. They admitted, reluctantly, that Doris showed some promise. But, death watchers that they were, they waited, fully expecting her to fail the next time. Doris didn't fail. The experiment was a success, and now, after trying her in various roles for eight months, Edwin Thanhouser has signed her to a long-time contract. Ernest Warde will be her director. Doris Grey is a good-humored, sensible r^fjm0 !*' •■■".'' ■ / DORIS GREY ^ • "AV . 'IH ' 'i .liMTII.I-N' Villi IIIIIJI , ,1" .ill <,«». |. illilin; little girl who hasn't yet quite grasped the importance of all that has happened to her. "Have you learned all about motion picture acting?" I asked her. She gasped. "Learned all?" she exclaimed. "I have learned practically nothing. I'm working hard, though, and by the time I grow old I may have mastered a few of the less intricate details. I'm just trying hard, that's all." A Futile Interview With Sydney Drew "What do you think of comedians?" "I think golf is a great game." "Who are the greatest screen comedians in your opinion ?" "It helps my appetite a lot — golf does." "What do you think of your several imitators?" "No, I haven't been playing golf very long, but I am not short on enthusiasm." "Do you miss the applause when acting before the camera ?" "One good golf game is enough to take Grouch out of the cast of 'Experience.' ' "Do you expect to ever play serious parts for movie fans?" "If any one ever gets onto my secret stroke, they'll lose games as efficiently as I do." And Sydney Drew refused to be quoted further on the subject!