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“BOOK THE NEW PERCENTAGE WAY"
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lender making a play for the beautiful daughter of his victim in payment of a loam, but the characters are original types, and the development of the central situation is out of the usual. The bargaining for the girl, who puts herself up at auction to save her father the disgrace of losing his turban and his caste to the man who pays his debt, is more than ordinairily interesting. This is partly due to the deliberate way in which the director has handled the action, and in a measure to skillful editing. The outcome of the plot is cleverly concealed, creating considerable suspense as to whether the gypsy’s bride willl eventually fall in love with him, or whether her former lover will keep his promise and fight for her. The scenes at the gypsy camp are unusualy well staged, and good effects are gained when galloping horses momentarily obliterate the merrymaking of the dancing group in the background. Charles 41 de Roche gives a satisfying portrayal of the gypsy chief, and Dorothy Dalton works hard and accomplishes much in the strenuous requirements of the role of Sahanda, a highly strung Tartar maid. Theodore Kosloff does well as Sender the faithless lover, and Tully Marshall’s portrayal of Ali Mechmet is especially fine. The cast is good throughout, and there is little if any fault to be found with this interesting and spirited production.
STORY OF THE PLAY
Sahande, a Tartar maid, offers herself in marriage to the man who will save her father from disgrace by paying his debt to Ali Mechmet, a money lender who hopes to claim Sahande in payment of same. A gypsy chief named Costa outbids all others and buys Sahande for several thousand gold pieces, and happy in the promise of her lover, Sender, to come for her and bring her back, she rides out into the desert with Costa. Sender fails to keep his promise to come and fight Costa for her, but sends a messenger instead of asking her to meet him and flee with him. This she resents, and when Sender, in place of coming out in an open fight with Costa, raids the gypsy camp, she suddenly discovers that she loves her husband.
PROGRAM COPY — “The Law of the Lawless” — Featuring Dorothy Dalton with Theodore Kosloff, Charles de Roche and Tully Marshall
Sahande, a Tartar maid, believed in forceful methods of dealing with people she didn’t like. Come and see Dorothy Dalton impersonate the scolding, impetuous, affectionate Sahande. If you like stories that are different you will like this one.
“DAUGHTERS OF THE RICH”— [Class A] 80%
(Adapted from novel of same name)
Story: — Tangled Love Affairs of Three Women and Two Men
VALUE CAST
Photography — Very good — Karl Struss. Maud Barhvte Miriam Cooper
TYPE OF PICTURE — Unusual — Fascinating. Gerard Welden Gaston Glass
Moral Standard — Fair. Mile. Giselle Ethel Shannon
■ ■ .1.. Sally Malakoff Ruth Clifford
Story — Very good — Drama — Adults. Count Malakoff Stuart Holmes
Cast — Very good — All Star, with Miriam Coop Barhyte Josef Swickard
er, Gaston Glass, Ruth Clifford, Ethel Mrs. Kandy Truly Shattuck
Shannon and Stuart Holmes. ■
Author — Very good — Edgar Saltus. July 15 to 31, 1923.
Direction — Very good — Gasnier.
Adaptation — Very good — Not credited.
Technique — Very good.
Spiritual Influence — Neutral.
Producer — B. P. Schulberg Footage — 6,073 ft. Distributor— A1 Lichtman Corporation
Our Opinion
MORAL O’THE PICTURE— None Outstanding.
Elaborate Presentation of Interesting Story Suitable for High-Class Audiences — Strong Human Angle Adopted by Director
The human quality of “Daughters of the Rich,” together with the elaborate method of production and the infinite care which has been taken in the arrangement of the trifling details that are so necessary in making the action colorful and convincing, brings the picture into the class which appeals especially to the high-class audience. The production appears to have had a good deal of money spent on it, many of the settings are elaborate, costumes are becoming and beautiful; glimpses of Paris gaiety, including the luxurious apartment of Mile. Giselle, who incidentally is equipped to answer her telephone while she sits in her bath. Director Gasnier seems to have put forth every effort to make a lifelike visualization of the story, and one of the picture’s
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