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Concerning Invisible Stars
When Lillian Gish now appears you know she is due for a beating. She gets it in "The Greatest Question." A Society for the Prevention of Screen Cruelty to Lillian Gish should be organized. This fragile, spiritually illumined girl is a fine tragedienne, ever emotionally true. It is a mistake to let her droop, forever a broken blossom.
Spiritualism may be a great question, but not as advanced by Mr. Griffith.
Charles Ray, in "Red-hot Dollars," is the whole shou
way around the globe. His circumnavigation is stopped by the plumber's fist in his frontispiece.
Such is the substance of Harold MacGrath's story, but not of Allan Dwan's. The director has pictorially hypnotized you into a state where logic matters not. Since my typewriter will not transcribe in pictures, I refer you to Mr. Dwan's camera, which does.
It is radically unfair to claim that the visible stars are all slackers in raising our month's quota of entertainment. Charles Ray in "Redhot Dollars" is the whole show. I have said I would rather see Mr. Ray amble around the screen without a play than any other star in the best play. From this you may guess I am partial to Mr. Ray. I am, but when he is made to pass off such counterfeit as "Red-hot Dollars," I weaken.
It's one of those stories about a poor boy working in
In "The Fear Market," Alice Brady runs
„, . r~„T,r . a 1 1 down the owner
I he appearing stars of Marys Ankle are Q^ a scandai
Douglas MacLean and Doris May; the non sheet.
appearing is Irving J. Martin, who originated
the animated subtitle by which the letters are made to register
almost as much emotion — if not more — than the actors !
The jazz duo, MacLean and May, maintain the pace set in that delightful A. W. O. L. spree, "Twenty-three and OneHalf Hours' Leave." Mr. MacLean plays a youth out of college with an M. D. degree.
Douglas MacLean is our best little farceur. He has brisk breeze and a smile like Douglas Fairbanks', yet different because they are his own. Watch this star grow. He's going to be one of the big few. Doris May is decorative rather than active, and, as such, excels. That unscreened star of star discoveries, Thomas H. Ince, selects and develops talent wisely. Air. MacLean and Miss May will travel singly some day.
Speaking of the unseen, we now have with us spirits of the other world in "The Greatest Question," advanced by D. W. Griffith. I scarcely include them as unseen stars. In fact there is nothing stellar about the picture. It is sensationalism in the guise of spiritualism with subtitular quotations from the Bible. The familiar climaxes of the Griffith machine are evident. There is the scene of innocent youth being attacked by degenerate age, while suspense is held by a race-to-the-rescue. I think that nothing more foul has been depicted on the screen than this episode. Besides offending decency, the picture insults the intelligence by its utterly unconvincing and maudlin ending — the tearful conversion of the wicked old couple,