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Concerning Invisible Stars
67
a steel plant or some such place. He saves the boss' life and is adopted by the wealthy gent. Of course, he falls in love unwisely with the daughter of old Muir, who was defrauded some way by the wealthy gent, Charlie's adopted dad. It is up to Charlie and the girl to bring the antagonists together. This they do at the end of five reels.
Mr. Ray is a great artist, but there are too many Rayisms in this picture. It would seem as though the star had become conscious of his unconscious mannerisms. "Redhot Dollars" was coined too rapidly. Mr. Ray did not have time to develop his own part nor the bits of business for which he is famous. When you consider that this star has turned out a picture every four weeks or so during 1919 and yet held up his standard
you may anticipate with delight his 1920 productions when he will give two months to a production.
It's a Charles Ray year. Only don't judge him by "Red-hot Dollars." In this picture the visible star does
Bill Russell plays the gallant deceiver in " The Lincoln Highwayman.
his bit, but the much-needed unseen forces weren't on
the job.
"The Third Generation," with Betty Blythe and Mahlon Hamilton, is the original movie. The chief reason for keeping awake is Miss Blythe. Suspense is sustained solely on her Parian shoulders. The
Miss Binney looks her part in "Erstwhile Susan."
story is that one of the wife who frivols and the husband too honorable to cheat and too poor to live. He disappears and leaves the life insurance. That was all right, but he had to spoil it all by reappearing just as wine was about to marry another. Being a lawful and loving wife, she halts the Mendelssohn and goes buggy riding with her first and only.
Miss Blythe's elysian beauty shines resplendently even under poor lighting. She has a sensitive face which remains lovely even while expressing emotion. When she has better support in the way of story and production she will be established permanently as one of our best emotional actresses. Mahlon Hamilton, impressive in "Daddy Long-Legs," seems bored in this play. In emotional scenes he opens and closes his mouth. Perhaps he was yawning. He wasn't the only one.
Tourneur's "Victory" is not so much dramatic as it is impressionistic. It is a true vivification of Conrad's story. The very shadows are sentient. Jack Holt and Seena Owen are the heroic sufferers. They are not as interesting as the evil trinity presented by Lon Chaney, Bull Montana, and Ben Deely. Mr. Chaney, The Frog of "The Miracle Man," presents another subtle and sinister study.
"Victory" is a genre painting of the elemental passions of man as contrasted with those of nature in a volcanic zone. Its brutality is justifiable because the story is of brute forces loosed in a land of primal savagery. The "Conradicals" object that it is not Conrad. Other persons, however — the supersensitive excepted — should find it of considerable interest.
"Erstwhile Susan" is the coming-out party for the star deb, Miss Constance Binney. The real [Continued on page 96]