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The Shadow Stage
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PnoTOFi.vv MA(iAziNK— Ad\ertisin(; Section
1 1 I
THE ADVENTURER— Fox
William Farnum has evidently made up his mind that he had better be an out-andout romantic actor. He seems to be most at home in an outlandish costume and as the hero of wild adventures that took place in the time of never-was.
In "The Adventurer" he is a gay, dashing, high-spirited Italian who enacts all sorts of romantic episodes for the love of a lady. It is a costume picture and a bit stilted and old-fashioned. Producers haven't yet taken advantage of modern stage settings, such as are seen in "The Jest" in presenting period plays. Whey they discard wigs, posing, tawdry costumes and fantastic settings, we shall see a new popularity of mediaeval stories on the screen.
THE STRONGEST— Fox
The story of "The Strongest" was adapted from the novel "Les Plus Forts" by Georges Clemenceau, the "tiger of France," written in a moment when he believed that the pen was mightier than the sword. In advertising it, William Fox says that it was the work of the "man who penned the Peace Treaty." Evidently the Peace Treaty is not yet available for scenario purposes or else it is too cumbersome to handle.
However, we failed to find a story of any great distinction in "The Strongest." Its chief merit lies in the fact that it has one dramatic stiuation. Claudia, who supposes herself the daughter of a harsh and avaricious war profiteer, has been captured and is held in ransom by a group of Bolshevikily inclined workmen. She is held prisoner in a cabin (or maybe it is the trusty old mill), just like a Griffith heroine. By the exigencies of the plot, some one must rush forward to carry the terms of peace to her captors. The supposed father falters and hesitates. The real father, an aristicrat and idealist, rushes forward and is shot. The girl is saved, — and marries an American.
R. A. Walsh produced this story. He was a little out of his element. Evidently he tried to make the story as French as possible and so very often the action and the acting is stilted. For the most part, the cast is made up of newcomers to the screen. Renee Adoree is pretty, if you like French girls, and Carlo Liten and Harrison Hunter have important roles.
DANGEROUS HOURS Ince-Artcraft
"Dangerous Hours" is a propaganda picture. It was made under the immediate direction of Fred Niblo, under Thomas H. Ince's supervision. Donn Byrne supplied the story and C. Gardner Sulhvan wrote the scenario.
As propaganda, "Dangerous Hours" is negative.
The story concerns the redemption of a parlor Bolshevist, — a nice boy who gets in with a lot of Russians and wants to stir up trouble in a New England industrial centre. A girl, who is a 200 per cent American, persuades him that it is all wrong, Trotzkv, all wrong. However, it is easier to start a mob than to stop one. Hence we have a swirling climax produced with a great deal of dash.
Lloyd Hughes, who is a star by now, plays the reformed Bolshevist and Barbara Castleton is the girl. Jack Richardson and Claire Du Brey, a couple of experienced villains, are the plotting Russians. Who re
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