Reel Life (1916-1917)

Masterpictures, De Luxe, Are Winners . Perfection, keynote of fourth group of three 5 Reel Weekly features issued by Mutual^ PERFECTION in scenic production, perfection in dramatic theme and perfection in the players selected to portray the characters, mark the fourth group of three weekly Masterpictures, De Luxe Edition, released by the Mutual Film Corporation. Letters by thousands have poured in from exhibitors and moving picture enthusiasts all over the country, praising these remarkable film dramas. They were indeed worthy of the lavish praise bestowed, but in accordance with the policy of the producers to make each new feature production surpass the previous one, the latest releases of the Mutual features have attained the highest peak yet reached in the field of the silent drama. Three irreproachable five-act dramas, at total variance in plot and thrilling situations but identical in the excellence of the acting and artistic merit of the production, are in¬ cluded in the fourth group to be released. Adventure, in¬ trigue, love, diplomacy and a host of other elements make up the themes of the engrossing film stories. BROADWAY STAR HAS LEAD IN STRONG DRAMA The first of these Masterpictures, De Luxe Edition, to appear on the fourth great program is the five-reel racing drama, The Drifter, is produced by Gaumont. Originality in plot and excellence in acting are predominant. The Drifter is a delightful, wholesome love story, full of heart interest and beautiful pathos. An unusual film drama in every respect and one that will leave a pleasant impres¬ sion in the minds of all who see it. The denouement fur¬ nishes one of the biggest surprises ever seen in a screen production. Popular Alexander Gaden is at his best in The Drifter, where he plays a dual role with finesse and power. Seldom has he appeared in a part which gave him such wide scope or which permits him to display his remarkable histrionic talents to their fullest degree. Those who have enjoyed Mr. Gaden’s finished acting in other Mutual Masterpic¬ tures, De Luxe Edition, will be amazed at his clever acting in this new feature. Charming Lucille Taft, whose beauty and grace has won hosts of admirers throughout filmdom, is co-star with Mr. Gaden in this exceptional racing drama and has never appeared to better advantage. Early in the film she appears as a schoolgirl, and all her winsomeness and girlish charm add much to the delight of the picture. Miss Taft as Faith will be long remembered as one of the great film character¬ izations. GRIPPING DRAMA OF WAR’S BIG PROBLEM Powder, a gripping five-act drama with a big war prob¬ lem as the basic theme, produced by the American Film Company, Inc., is the second of the fourth group of Masterpictures, De Luxe Edition. Arthur Maude, the noted Eng¬ lish actor, is the star in this powerful photoplay, and is supported by Constance Crawley and an excellent company selected especially for this feature film production. This remarkable film drama tells a gripping and power¬ ful story of a powder manufacturer who is approached by representatives of two belligerent nations, who seek to pur¬ chase the output of his factories. These envoys try to enlist the aid of a pretty political exile, whose beauty and strategy they feel Will be a big asset. A young peace propagandist, the leading character of the stirring story, is opposed to the shipment of munitions, although he is engaged to the daughter of the head of the powder industry. He begins a fight in Congress for the passage of a bill to prohibit the shipment of war supplies. One intrigue follows another until a plot is discovered that will ruin the manufacturer and the hero himself. Arthur Maude, who is recognized by able critics every¬ where as one of the greatest living character actors, has a role in Powder which he is emphatic in declaring is the strongest in his long career, in which time he has played more than three hundred different parts. He is cast in the role of a pacifist, who is fighting to prevent the shipment of ammunition to the belligerent nations of Europe. The role is a difficult one and taxes his ability to the utmost. His delineation of the part is forceful and artistic. “THE SOUL’S CYCLE” IS UNUSUALLY INTERESTING What is perhaps the most startling theme ever adapted for use in the silent drama forms the basic plot in the unique and wonderful five-act psychological drama, The Soul’s Cycle, produced by Horsley and released as the third Mu¬ tual Masterpicture, De Luxe Edition, of the week. The main theme deals with the ancient theory of the trans¬ migration of souls. The idea is developed in a novel and thrilling manner. Margaret Gibson is the star of the pro¬ duction, in which the Bostock Animals play a prominent part. This picture relates the love of a Grecian maiden for a young artist. She is coveted by an aged and wealthy Sena¬ tor, who, finding that he cannot win her love, has the girl and her lover thrown into the mouth of a crater. The Senator is punished for his crime by the gods, who con¬ demn him to wander the earth as a lion until he reunites the two souls of the youthful lovers. The scene changes to modern times, where the two lovers of former centuries meet and fall in love at first sight. There is another suitor for the hand of the girl, who plots to bring about the downfall of his rival. A lion, the symbol of the Grecian Senator, has been captured by the girl’s sweetheart. The girl makes a pet out of the shaggy beast, and when the rival in his plot to harm the lover lets the lion loose, the beast turns upon him instead, and wins his freedom from the gods. This delightful fantasy is interpreted by a cast of unusual excellence in which the beautiful Margaret Gibson is fea¬ tured. Miss Gibson is first seen in the flowing robes of a Grecian maiden and later as a young woman of the present day. The role is a difficult' one and calls for the exercise of all Miss Gibson’s remarkable talents. She is ably sup¬ ported by John Oaker and Henry Watson. “The Soul’s Cycle,” is one of the most remarkable photo¬ plays ever produced, and every lover of the artistic in film productions should not fail to see it. REEL LIFE— Page Three