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

PAGE, 22. THE PHOTOPLAY JOURNAL EOR DECEMBER, 1916 else. Briefly, the story is little more than a long-drawn-out quarrel and reconciliation, but deft pens have unfolded it so adroitly and so cleverly that it constitutes a gripping narrative from first to last. See "The Heir to the Hoorah," and you will get better acquainted with that elusive "sprite" called Delight. HpHE Triangle habit is to press into service every possible artifice or realism to create unusual atmosphere for the most of their pictures. For instance, it always seems that Triangle horses travel at a faster rate of speed and with more reckless abandon than any others. It may be there is a wizard on the job who knows some deep, impenetrable, secret method whereby nags can be made to trot along like race steeds. At any rate (exceedingly fast in this case) Thomas H. Ince has performed wonders in his production of "The Return of 'Draw' Egan," in which William S. Hart covers himself with glory. In this feature is apparent throughout the sure hand of the master who appreciates the value of artistic subtitles with the same knowing zest as he does the value of sound plot and faultless action. The story is simple enough, and it lacks extraordinary qualities, but the way in which it is developed and worked up by the director makes this one of the best western photoplays of our time. And Actor Hart is fast succumbing to Hum?i Being Hart — he is becoming more natural at the expense of his erstwhile overdrawn and altogether unreal intenseness. It is an expense the artist should be delighted to pay. Illllllllllll! CHANNON Fife took two long strides toward establishing himself as one of America's foremost exclusive photoplaywrights this month. "The Rainbow Princess," with charming little Ann Pennington in the title role, and "The Reward of Patience," with equally as charming little Louise Huff in the stellar part, contain certain original ingredients which reveal Mr. Fife's literary talents and screen craftmanship to an advantage. True, there is plenty of the trite in both efforts, but invariably a new "twist of the wrist" is introduced in ample time to save the situation from the commonplace. Young writers of Mr. Fife's stripe should be encouraged by every photoplay producer in America, because he actually devotes his whole time to the one field, and his diligent study of the art of visualization is abundantly evident in his every play. Besides, he has become a past-master in attaining a faultless continuity of story — something fifty per cent, of the pictures nowadays totally lack. We have taken the trouble to investigate as thoroughly as we could the cause of so much irregular narration in modern photoplays, and it is our honest opinion as a result that directors are to blame in a majority of cases. There are too many directors who imagine they can improve upon stories, and in their attempts they disrupt the plot. It seems to us the nervous tension coincident with directing a company would naturally tend to render most any man unfit to plunge into the delicate structure of a well-written story with any chance to ameliorate it. More respect for and less "cussing" of the author might help matters a great deal in more than one studio. A NEW star rises across the horizon. She is a wee slip of a girl, winsome, petite and vivacious. And her name is Bessie Love — a lovely name for a lovely gel. She is put forward by the Triangle as the "principal principal" in a thrilling romance entitled "A Sister of Six," and while the general text of the story reminds one of "Hulda From Holland," minus the Dutch atmosphere, the feature is peculiarly timely because it deals with a Mexican situation of years ago — in 1860, to be precise, the scenes being laid in California and having to do with the transition of that state from Mexican to American rule. Nothing is more appealing on the screen than the note of childhood when properly attached to a wellexecuted "little mother" idea. In this film Miss Love goes Mary Pickford as Hulda a couple better by being big sister to an even half dozen kiddies. There is an abundance of exciting action in "A Sister to Six," telling how a villainous Mexican, aided by bandits, endeavors to obtain possession of the lands belonging to these children who had been taken to that country from New England. Finally there is a most stirring battle in which mounted Mexicans and a horde of others make an attack on the ranch house of the little tots. By a trick the big sister and her proteges had been deprived of protection, but they put up an admirable fight until help arrives. It is a quite attractive play, and Miss Love displays some most promising talents which bid fair to carry her high in the public favoi llllllllllllllliiillllilllllillllllllllliiiiil The Wager {Continued from page 12) Jim" awaiting her and in a state of high mental anguish, aggravated by a knowledge of her daring adventure. The couple had scarcely ceased to fondle each other in ardent greeting when Detective Duggan broke rudely into their apartment and attempted to arrest both. "You're fooled again, Duggan," Daisy told him triumphantly. "Oh no I'm not ; I saw the whole transaction with my own eyes, and you're going to prison this time," the officer insisted. "If you think I am, just put vour peepers on this document," Daisy replied as she unfolded the indemnity which bore Commissioner Stone's own signature. Duggan read it in uncontrollable surprise. Then he challenged the genuineness of the paper, and with consummate audacity he tried to snatch it away from Daisy. In the fight which followed this act, Duggan succeeded in handcuffing Jim and making him his prisoner, but Daisy escaped through a window and over the roofs of adjacent houses. An exciting race between Daisy and Duggan ensued. The sleuth turned Jim over to a uniformed policeman and devoted hi supreme efforts to intercepting Daisy before she could reach Stone, but the girl beat her pursuer into Stone's office by a narrow margin. However, she found it necessary to slam a door in the officer's face in order to accomplish this. "Tell every 'bull' in town I've gone straight in spite of Duggan," commanded Daisy as she tossed the jewel case to Stone. "You've turned the trick, eh?" "Yes ; it was my last and easiest job." Stone was still felicitating with Daisy over winning the wager through her cleverness when Duggan gained access to the room. "Did you sign that indemnity she's flashing, Commissioner?" Duggan asked excitedly as he advanced to Stone. "I did," the latter admitted unruffled. "Well, sir, may I suggest that it puts Daisy in a position to cause you a great deal of trouble among the reformers whei, by showing a signed document, she ca'n make it appear that you are in league with crooks?" "Ah, how stupid of me ; I hadn't thought of that," Stone replied as he lapsed into serious thought. Then he suddenly turned to Daisy. "Give me that paper," he demanded of her. Daisy did not reply at first, but it was obvious to her from the inception that she would have no alternative. She must relinquish the document, although she felt sure it meant the vanishing of her last hope to escape punishment. "Well, I guess I've got to give up my only protection and depend on you being as square as I've been," she finally told Stone as she handed himthe1 indemnity. Stone struggled through a long mental debate. He wanted to make sure of the safe course for him to pursue, but finally he gave Daisy credit for having played square when she could easily have done otherwise. He had just announced his decision to permit Daisy to go her way unmolested when the telephone bell rang and he heard the excited voice of Thorpe, who, talking with comical rapidity, enlightened the commissioner as to what had happened to him. "You lose," Stone yelled into the telephone as he burst into a roaring laughter. " 'Diamond Daisy' Doyle turned the trick." Thorpe was so evercome when recollection of the wager returned to him that he literally fell away from the telephone. He was released from the asylum immediately when Stone explained to the superintendent the circumstances, and two hours later the commissioner had induced both Thorpe and Chandler to give their checks, put up for the wager, to Daisy for the purpose of taking Jim away where he could regain his health. "Hand these checks to Daisy Doyle or leave the force," Stone ordered the disgusted Duggan, who was forced to relegate his prejudice in order to hold his job. Daisy and Jim departed from the city at once, going to the country, where Jim wa<; speedily restored to his old-time good health. A subsequent wedding helped to make life perfect for the two reformed "crooks." From the photoplay of George D. Baker, produced by the Rolfe Photoplays, Incorporated, and released by Metro Pictures Corporation, Featuring Emily Stevens.