I Accuse (United Artists) (1919)

Two Interesting Press Stories— (Each story printed four times) SEE PLEA FOR INJURED SOLDIER IN “I ACCUSE” Those persons who contend that the American wounded soldier has not had and is not getting a square deal from the goverment in return for injured health and physical incapacity declare they see much to bolster this belief in the United Artists Corporation’s pre¬ sentation of Abel Gance’s sensational production, ‘T Accuse,” which is an¬ nounced as the feature for the . theatre beginning . This masterpiece of film production contains romance, mysticism, sincerity, passion and sorrow, and brings the photoplay into a realm of seriousness and importance quite in advance of what it has justly enjoyed before. It is not a “war picture,” declares Mr. Gance, noted French author, poet, dramatist and now motion picture pro¬ ducer. The story reveals Edith, the woman of tragedy, married to Francis, whose love is a mixture of tenderness and coarseness; John, poet and visionary—■ but by no means a weak type—also loving Edith and dreaming of a world peace that should come upon the uni¬ verse. The war comes. Francis and John both enter the service. Edith is taken captive by the enemy. John is invalided home and while there Edith returns with her German baby, be¬ seeching him to care for both. Francis returns on leave, finds the child, and at once accuses John. There follows a terrific duel between the two, which is stopped by Edith’s confession anew of her treatment as a deportee. The two each loving Edith, recon¬ cile their common misery, join hands for vengeance and return to the front. Francis is killed and John is driven in¬ sane, later to escape and return to Edith’s home. She welcomes him, and lie spends a weird and uncanny night posting letters under village doorways. Next day the villagers crowd Edith’s home, John explaining he has asked them to come so he might tell them a story. With grotesque gesticulations, yet impassioned speech, born of his disor¬ dered brain, he describes what he terms a miracle observed in a vast sol¬ dier cemetery, where the dead were resurrected in order that they might determine for themselves if the world had been worthy of their supreme sac¬ rifice. “I accuse,” cries John, and then takes his listeners one by one, and ac¬ cuses them, men and women, of in¬ fidelity to their soldier kin at the front, of profiteering in mean and petty ways by the deaths of the fighters, and of “enriching yourselves at home by the great sacrifice of us all.” UNUSUAL MUSIC IN THE GREAT “I ACCUSE” The musical setting for Abel Gance’s sensational production, “I Accuse,” which is being presented in the United States by the United Artists Corpora¬ tion, and which has been booked as the principal feature at the. theatre for . is said by competent critics to belong essentially to this splendid film masterpiece. In the preparation of the musical score a musician of great ability and learning has drawn freely from such composers as Tschaikovsky, Gounod, Bizet, Saint-Saens, Verdi, Puccini, Debussey, Mascagni and Leoncavallo to form a fitting harmony background to the varying emotions presented in the por¬ trayal of the principal characters in the great drama, thus bringing out all the more strongly the almost perfect realism of the film. The music was specially selected, written and arranged by Mr. J. B. Hastings, musical direc¬ tor in Paris for the Pathe producing organiza¬ tion. SEE PLEA FOR INJURED SOLDIER IN “I ACCUSE” Those persons who contend that the American wounded soldier has not had and is not getting a square deal from the government in return for injured health and physical incapacity declare they see much to bolster this belief in the United Artists Corporation’s pre¬ sentation of Abel Gance’s sensational production, “I Accuse,” which is an¬ nounced as the feature for the. theatre beginning . This masterpiece of film production contains romance, mysticism, sincerity, passion and sorrow, and brings the photoplay into a realm of seriousness and importance quite in advance of what it has justly enjoyed before. It is not a “war picture,” declares Mr. Gance, noted French author, poet, dramatist and now motion picture pro¬ ducer. The story reveals Edith, the woman of tragedy, married to Francis, whose love is a mixture of tenderness and coarseness; John, poet and visionary— but by no means a weak type—also loving Edith and dreaming of a world peace that should come upon the uni¬ verse. The war comes. Francis and John both enter the service. Edith is taken captive by the enemy. John is invalided home and while there Edith returns with her German baby, be¬ seeching him to care for both. Francis returns on leave, finds the child, and at once accuses John. There follows a terrific duel between the two, which is stopped by Edith’s confession anew of her treatment as a deportee. The two each loving Edith, recon¬ cile their common misery, join hands for vengeance and return to the front. Francis is killed and John is driven in¬ sane, later to escape and return to Edith’s home. She welcomes him, and he spends a weird and uncanny night posting letters under village doorways. Next day the villagers crowd Edith’s home, John explaining he has asked them to come so he might tell them a story. With grotesque gesticulations, yet impassioned speech, born of his disor¬ dered brain, he describes what he terms a miracle observed in a vast sol¬ dier cemetery, where the dead were resurrected in order that they might determine for thesmelves if the world had been worthy of their supreme sac¬ rifice. “I accuse,” cries John, and then takes his listeners one by one, and ac¬ cuses them, men and women, of in¬ fidelity to their soldier kin at the front, of profiteering in mean and petty ways by the deaths of the fighters, and of “enriching yourselves at home by the great sacrifice of us all.” UNUSUAL MUSIC IN THE GREAT “I ACCUSE” The musical setting for Abel Gance’s sensational production, “I Accuse,” which is being presented in the United States by the United Artists Corpora¬ tion, and which has been booked as the principal feature at the. theatre for.is said by competent critics to belong essentially to this splendid film masterpiece. In the preparation of the musical score a musician of great ability and learning has drawn freely from such composers as Tschaikovsky, Gounod, Bizet, Saint-Saens, Verdi, Puccini, Debussey, Mascagni and Leoncavallo to form a fitting harmony background to the varying emotions presented in the por¬ trayal of the principal characters in the great drama, thus bringing out all the more strongly the almost perfect realism of the film. The music was specially selected, written and arranged by Mr. J. B. Hastings, musical direc¬ tor in Paris for the Pathe producing organiza¬ tion. SEE PLEA FOR INJURED SOLDIER IN “I ACCUSE” Those persons who contend that the American wounded soldier has not had and is not getting a square deal from the government in return for injured health and physical incapacity declare they see much to bolster this belief in the United Artists Corporation’s pre¬ sentation of Abel Gance’s sensational production, “I Accuse,” which is an¬ nounced as the feature for the . theatre beginning . This masterpiece of film production contains romance, mysticism, sincerity, passion and sorrow, and brings the photoplay into a realm of seriousness and importance quite in advance of what it has justly enjoyed before. It is not a “war picture,” declares Mr. Gance, noted French author, poet, dramatist and now motion picture pro¬ ducer. The story reveals Edith, the woman of tragedy, married to Francis, whose love is a mixture of tenderness and coarseness; John, poet and visionary— but by no means a weak type—also loving Edith and dreaming of a world peace that should come upon the uni¬ verse. The war comes. Francis and John both enter the service. Edith is taken captive by the enemy. John is invalided home and while there Edith returns with her German baby, be¬ seeching him to care for both. Francis returns on leave, finds the child, and at once accuses John. There follows a terrific duel between the two, which is stopped by Edith’s confession anew of her treatment as a deportee. The two each loving Edith, recon¬ cile their common misery, join hands for vengeance and return to the front. Francis is killed and John is driven in¬ sane, later to escape and return to Edith’s home. She welcomes him, and he spends a weird and uncanny night posting letters under village doorways. Next day the villagers crowd Edith’s home, John explaining he has asked them to come so he might tell them a story. With grotesque gesticulations, yet impassioned speech, born of his disor¬ dered brain, he describes what he terms a miracle observed in a vast sol¬ dier cemetery, where the dead were resurrected in order that they might determine for thesmelves if the world had been worthy of their supreme sac¬ rifice. “I accuse,” cries John, and then takes his listeners one by one, and ac¬ cuses them, men and women, of in¬ fidelity to their soldier kin at the front, of profiteering in mean and petty ways by the deaths of the fighters, and of “enriching yourselves at home by the great sacrifice of us all.” UNUSUAL MUSIC IN THE GREAT “I ACCUSE” The musical setting for Abel Gance’s sensational production, “I Accuse,” which is being presented in the United States by the United Artists Corpora¬ tion, and which has been booked as the principal feature at the. theatre for.is said 1 competent critics to belong essentially to this splendid film masterpiece. In the preparation of the musical score a musician of great ability and learning has drawn freely from such composers as Tschaikovsky, Gounod, Bizet, Saint-Saens, Verdi, Puccini, Debussey, Mascagni and Leoncavallo to form a fitting harmony background to the varying emotions presented in the por¬ trayal of the principal characters in the great drama, thus bringing out all the more strongly the almost perfect realism of the film. The music was specially selected, written and arranged by Mr. J. B. Hastings, musical direc¬ tor in Paris for the Pathe producing organiza¬ tion. SEE PLEA FOR INJURED SOLDIER IN “I ACCUSE” Those persons who contend that the American wounded soldier has not had and is not getting a square deal from the government in return for injured health and physical incapacity declare they see much to bolster this belief in the United Artists Corporation’s pre¬ sentation of Abel Gance’s sensational production, “I Accuse,” which is an¬ nounced as the feature for the. theatre beginning .. This masterpiece of film production contains romance, mysticism, sincerity, passion and sorrow, and brings the photoplay into a realm of seriousness and importance quite in advance of what it has justly enjoyed before. It is not a “war picture,” declares Mr. Gance, noted French author, poet, dramatist and now motion picture pro¬ ducer. The story reveals Edith, the woman of tragedy, married to Francis, whose love is a mixture of tenderness and coarseness; John, poet and visionary— but by no means a weak type—also loving Edith and dreaming of a world peace that should come upon the uni¬ verse. The war comes. Francis and John both enter the service. Edith is taken captive by the enemy. John is invalided home and while there Edith returns with her German baby, be¬ seeching him to care for both. Francis returns on leave, finds the child, and at once accuses John. There follows a terrific duel between the two, which is stopped by Edith’s confession anew of her treatment as a deportee. The two each loving Edith, recon¬ cile their common misery, join hands for vengeance and return to the front. Francis is killed and John is driven in¬ sane, later to escape and return to Edith’s home. She welcomes him, and be spends a weird and uncanny night posting letters under village doorways. Next day the villagers crowd Edith’s home, John explaining he has asked them to come so he might tell them a story. With grotesque gesticulations, yet impassioned speech, born of his disor¬ dered brain, he describes what he terms a miracle observed in a vast sol¬ dier cemetery, where the dead were resurrected in order that they might determine for thesmelves if the world had been worthy of their supreme sac¬ rifice. “I accuse,” cries John, and then takes his listeners one by one, and ac¬ cuses them, men and women, of in¬ fidelity to their soldier kin at the front of profiteering in mean and petty ways by the deaths of the fighters, and of “enriching yourselves at home by the great sacrifice of us all.” UNUSUAL MUSIC IN THE GREAT “I ACCUSE” The musical setting for Abel Gance’s sensational production, “I Accuse,” which is being presented in the United States by the United Artists Corpora¬ tion, and which has been booked as the principal feature at the. theatre for.is smd by competent critics to belong essentially to this splendid film masterpiece. In the preparation of the musical score a musician of great ability and learning has drawn freely from such composers as Tschaikovsky, Gounod, Bizet, Saint-Saens, Verdi, Puccini, Debussey, Mascagni and Leoncavallo to form a fitting harmony background to the varying emotions presented in the por¬ trayal of the principal characters in the great drama, thus bringing out all the more strongly the almost perfect realism of the film. The music was specially selected, written and arranged by Mr. J. B. Hastings, musical direc¬ tor in Paris for the Pathe producing organiza¬ tion.