Reel Life (1916-1917)

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Silas Marner Masterpicture, De Luxe Edition Picturized by the Thanhouser Film Company from } the famous novel by George Eliot VERY school child is familiar with Silas Marner. It will be with particular interest to old and young, then, that George Eliot’s famous novel will be pre¬ sented to the public in visual form, when it will appear as a Mutual Masterpicture, De Luxe Edition. In the leading role, as the gnarled and bent old miser so well known in literature, is the celebrated Shakespearian actor, Frederick Warde. It is fitting that Frederick Warde should be chosen for this particular interpretation. He has always been connected with the highly classical stage as a Shakespearian player, and his name is always associated with literary and artistic endeavor. In support of the well-known player is a cast, the strong¬ est to be mustered from the Thanhouser forces. Louise Emerald Bates, the attractive actress whose career on Broadway has made her a general favorite; Mile. Valkyrien, the beautiful Danish actress; Ethel Jewett, Elise Jordan, Morgan Jones, Frank E. McNish, Thomas A. Curran, Hec¬ tor Dion and Arthur L. Rankin, all tried and tested players of the screen world, appear in support of Mr. Warde. Directing this production was Frederick Warde’s own son, Ernest Warde, the Thanhouser director, whose pleasure it was to introduce his father to motion picture histrionism at the same time he was creating into a living, moving thing, the great story of literature which his father had often read to him as a boy. The story of Silas Marner, it will be recalled, was that of a man who had become embittered and estranged because of a false accusation for thievery which had been placed on his head by a friend whom he had trusted. Driven from his native town, he had settled down, a miserable, unhappy weaver far from home, and let one passion — the love for gold — become the absorbing motive of his existence. In the town where he plied his trade lived Squire Cass, the father of two sons. One of them, Godfrey, by name, was a serious-purposed, conscientious young man, on whom his father leaned for support. The other, Dunstan, the younger, was a spendthrift and a roisterer. As the elder son grew in favor with his father, and as his marriage to Nancy Lammeter, the daughter of a most re¬ spectable family, seemed imminent, Dunstan resolved that his brother should be forced to fall from grace. Thereupon he succeeded in getting his elder brother un¬ der the influence of rum, as they were on a journey through the country, and while Godfrey was in this condition, Duns¬ tan inviegled him into marrying a pretty barmaid. When he returned to sobriety, Godfrey was horrified at what he had done. He provided for his wife, and returned to his home. But Dunstan used this knowledge to force money from his brother’s share. At length, the younger brother’s rioting used up what money Godfrey could easily give him. Godfrey was forced to ask for time. As Dunstan returned from hunting one night, he stopped in Silas Marner’ s cabin as shelter from the rain. He discovered the miser’s hidden gold, and tak¬ ing it in his hands, ran from the house. In the darkness and the rain, he did not see an old well near by. He fell into it, as he ran, and was drowned. Silas, Frederick IVarde, famous Shakesperian actor, as “Silas Marner’’ in the Masterpicture, De Luxe Edition, of the same name Frederick Warde .Louise E. Bates . . . Morgan Jones .Thomas Curran on returning home, was nearly crazed at the loss of the only thing he loved in the world. Squire Cass and Godfrey, hearing nothing from Dunstan, believed that he had wearied of his restricted life, and thought that he had run away from home. And so Godfrey married Nancy, and the following New Year’s Eve the Squire gave a great ball. That same night, Molly, Godfrey’s bar-maid wife, decided that she would confront the squire’s son with their child. But as she reached the road near Silas Marner’ s hut, she be¬ came exhausted from her journey through the snow, and fell by the way. Eppie, the child, ran to the light shining from Marner’ s window, entered the house, and fell asleep by the fire. The weaver was also asleep, and when he awoke and saw the child’s golden hair shining in the fire light, he thought it was his gold come back to him. He reached for it and picked it up in his hands, to find that it was the curly locks of the child. The mother’s voice was heard calling, but when Silas reached her, she was unconscious. She later died. God¬ frey, recognizing his bar-maid wife in the dead woman, knew that Eppie was his own child. But he did not confess to Nancy— not until years had passed and life had. granted them a childless fireside. Then the Squire’s eldest son told his wife the tale. To¬ gether they went to Marner’ s hut and begged Eppie to come with them. But she remained true to the old weaver who had grown to love her more than life itself. When the old well was drained, the remains of Dunstan were found, the money box clutched in his hands. Silas Marner lends itself particularly well to picturization. It is intensely dramatic, and Mr. Warde, the director, has succeeded in obtaining the quaint background of English country life of a former time. Silas Marner.... His Sweetheart . . Supposed Friend Godfrey . REEL LIFE— Page Six