Picture Play Magazine (Sep 1917 - Feb 1918)

124 The Screen in Review listed my attention. This ancient aunt, sitting there like a Nemesis as the young girl unfolded her love story, particularly attracted me. I suppose that I had been somewhat lethargic and had failed to concentrate, for I scarcely knew the name of the picture when this character of the old aunt compelled my attention. I wondered who she was. The role was so well done; it had so much force and magnetism. Even the young girl seemed pallid and uninteresting. Aunt Patricia "intrigued" me. And that is where Miss Jane Cowl has the laugh on yours truly. Aunt Patricia zuas Miss Cowl. This actress, who is so popular in the "beauty column" as Sarah Jane's ideal, actually ventured to appear at the beginning of "The Spreading Dawn" as an old lady reading the diary of her youth — which diary formed the story of the new film. I am bound to say that I had never credited Miss Cowl with such character possibilities. The part was really admirably acted. In its way, it was a gem ; and when Miss Cowl arrived at her youthful role — as the diary started — I was filled with surprise. Here is a "pretty" actress who, casting aside her good looks, achieved a much more reliable success without them. As the young girl of the diary, Miss Cowl was not nearly as interesting. Nor did those much-vaunted good looks lend themselves willingly to the screen. In fact they were not in complete evidence. The story, simple and sugary, should nevertheless make an appeal. It is neatly told and has some excellent scenes. One portraying the burning of a theater proved to be most realistic and thrilling — one of the best fires I have seen in pictures, and how many have I seen ! It is, however, in the impersonation of the old aunt that Miss Cowl shines. If I had never seen her before, I should treasure that piece of work as something distinctly noteworthy. "Madame Who" (Paralta) THIS is really a most exciting story by Harold MacGrath, It is quite unusual for an extremely long picture to hold the interest to the very end and to keep an audience good throughout its many reels. Its heroine is a girl who becomes a Confederate secret military agent in order to avenge the death of her father and brothers on the Northern army. There is the secret meeting of masked men in an old warehouse, to which she secures access ; there is her capture by the masked men, and her enforced marriage to one of them; there is the situation of a girl married to a man of whose identity she is ignorant; there is her appearance in Washington to ascertain the movements of Grant's army against Richmond ; and there is a finale that makes you palpitate. Mr. MacGrath has made tense melodrama of what might have been farce, for the only thing the girl knows about the man she has married is that he has a curious mark on his wrist — and six of the masked men have the same mark ! ! ! "Madame Who" is a particularly excellent picture. Miss Barriscale can give points to many a star who relies upon her "emotional possibilities." The "close-ups" of Miss Barriscale's horror-stricken features are most vivid and admirable. It is the best piece of emotional work that I have seen in many a day, and some of our "legitimate" stars might feel proud of it. Scenes in a night camp, and a view of a burning city and its evacuation, with rioting and pillage, lift "Madame Who" into a prominent position. I should say that it is a distinct advance in the picture art — and I emphasize the word "art." Here's my hat off to Miss Barriscale.