Reel Life (1916-1917)

IN “THE running to ruin under the blight of her husband’s ill-paid artistry, the young woman has been forced into situations that render her return to the artist’s bungalow impossible, and recognizing this she surrenders herself to the hectic gaiety of Broadway. The photography of “The Mirror” is a triumph of contrast. The light¬ ing is the best that could be imagined and every conceivable artistry has been employed to give the rich furnishings and decorative interiors their full value. The cabaret episodes are snatched bodily out of a corner of Rector’s. There is no ordinary “soup and fish” spectacle. The people in the cafe scenes are real people of the night restaurant life of New York. STORY OF “THE MIRROR” The story of “The Mirror” involves Bob Merrill, the portrait artist, and Blanche, his young wife, who occupy a pretty bungalow in the suburbs near New York. Bob is in love with his wife, but engrossed in his painting, which, however, is not profitable. One night, just as Blanche is pre¬ paring for bed, Bob catches sight of her in a mirror and insists on painting her on the spot. The completed pic¬ ture is one of the best things he has ever done. It is sent to Rusell, a New York art dealer, whose clientele is of the ultra critical sort, including Boyd, the manager of many New York theatrical attractions. Boyd visits the gallery and is fascinated by the portrait of Blanche. He im¬ mediately seeks an introduction. Introduced to Bob Merrill as a pos¬ sible art customer, Boyd lays seige to Blanche and works upon her ambi¬ tion with promises of a New York en¬ gagement. Fascinated with the pros¬ pect Blanche enters into an agreement with Boyd, who tries to make love to her but is repulsed. Merrill returns in time to witness Boyd’s attempt to kiss his wife, and, enraged, he accuses her. She resents the accusation and in her indignation decides to accept Boyd’s offer, despite a previous decision to reject it. Blanche leaves for New York, is in¬ troduced by Boyd into the theatrical coterie of which, he is the leading spirit, is starred by him in a new pro¬ duction and introduced into the gay life of the Rialto. She falls rapidly MIRROR” A dazzling sort of a story, some exciting passages — happy end A scene from “The Mirror ■” illustrative of the extraordinary pictorial effects gained in the composition of the pic¬ ture, under the direction of Frank Powell. Controlled lighting with effec¬ tive accenting of the focus of atten¬ tion has given the telling of the story some powerful incidental effects. under the sway of Boyd, who follows up his advantage and compromises his victim in such a way that she fears to return to her home. On the opening night of the New York production Bob Merrill makes his way by stealth into Blanche’s dress¬ ing room, there meets Boyd, and en¬ gages him in a terrific fight, the result of which is that a mob of stage hands throws Merrill out of the place. Subse¬ quently, after a night of drinking and carousing Blanche kills Boyd in a frenzy of horror at the man’s villainy. When the scene shifts back to the little bungalow in the suburbs and Blanche is seen shaking Bob Merrill by the shoulder that lazy fellow hav¬ POWELL ing evidently fallen asleep while feed¬ ing the furnace, it is difficult for a moment to get Mr. Powell’s drift, but only for a moment. The fact is forced home that Blanche has been dreaming an awful dream based on Boyd’s offer of a job in New York and that all the subsequent events have been dream stuff. There is a first rate cast. Irene Warfield as Maizie Goddard, the actress, is at her best, while Paul Everton as Boyd, the theatrical manager, is every inch the villain. Robert Elliott as Bob Merrill, the artist, Blanche’s husband, gives a fine characterization and lives up to his widely established reputation. T. Jerome Lawlor as “Russell Dana” and Frank Ford as Dana’s backer, are thoroughly adequate. WHAT THE PAPERS SAY Marjorie Rambeau’s friends of the press are hugely sanguine of her popu¬ larity in photodrama. Referring to the young actress’ appearance in “The Greater Woman,” the New York Art Nouveau says: “There are few women of the stage possessed of greater natural charms than those that distinguish Marjorie Rambeau and it is with sanguine hopes for her success that we learn of her work with the Mutual Film Corpora¬ tion. In “The Greater Woman” she is great. “There are many pretty women of the speaking stage who might make good on the screen if they could regis¬ ter as Marjorie does, but few indeed have her ability as an artist and her good fortune in being that rara avis a beautiful woman who photographs well.” The Footlights, New York, says: . “Let Marjorie once learn the ropes of Mr. Powell’s queer ship and be¬ lieve us, she’ll show him a lot of pic¬ ture tricks that even he in his most ultra-artistic moments never thought “Miss Rambeau is not only a brilliant actress but a mighty handsome woman as well. She has all the advantage of most women possessing equal ex¬ perience in that she really can look twenty and apparently feel sixteen. All of which is to indicate that Marjorie is a bonanza for the movies.” REEL LIFE— Page Three