Screen Opinions (1923-24)

“BOOK THE NEW PERCENTAGE WAY” 11 ing is overdone in this picture. Symmetry and beauty are ever the objective point. Color is a charming attribute of the production, and even in the approach to tragedy the director takes time to sprinkle a dash of comedy, particularly in the studio scenes. The big moment of the picture, where Trilby, released from the influence of Svengali, walks out on the stage and renders before a startled audience her tuneless version of the song, “Ben Bolt,” that her father used to sing and make people cry, is splendidly managed; and the death of Svengali, turning triumph into tragedy, and tragedy into victory for the heart sick Billee, and then tragedy again in the death of Trilby as a consequence of physical privation and the hypnotic strain, leaves one breathless, so convincing is the plot unfolded. Andre Lafayette gives a wonderfully intelligent rendition of the role of Trilby, a playful affectionate girl, living her life in the only way she knows how, basking in the fellowship of the three artists. Closeups of her feet are very fetching, representing those of which Trilby says “there is but one other pair in all of Paris.” The picture is done principally in closeup views of the characters, and effectively so. The cast is excellent, with Arthur Edmund Carewe playing a splendid Svengali. Creighton Hale does well as Billee, and Wilfrid Lucas and Philo McCullough are pleasing as the artists friends of Billee and Trilby. This production can be used as a special program feature, using the sensational angle in advertising. STORY OF THE PLAY Trilby, an artist’s model, has a wonderful voice but is totally without tune. During her visits to the artist’s quarters in Paris she is heard by Svengali, a poor musician, who lives in a room above Trilby’s friends together with Gecko, a composer. Svengali, seeing a fortune in Trilby’s voice decides to hypnotize her and cause her to sing according to his will. And so Trilby one day is spirited away, to the distress of her friends and fiance Billee. One evening on attending a concert to hear a much advertised singer, they are surprised to find, that it is their Trilby singing brilliant arias under the influence of the great Svengali. Behind the scenes Svengali is stricken with a heart attack, and Trilby is ushered on the stage without him, the result being that suddenly released from his influence she sings again in her tuneless way the only song she really knows, "Ben Bolt.” The people leave the concert hall in disgust, and Svengali, unable to recover himself, dies. Later, Trilby, unable to rally from the long siege of over strain, dies also. PROGRAM COPY— “Trilby”— Played by an All-Star Cast The “Trilby” that fascinated you in DuMaurier’s book is the same “Trilby” that you will see in the Richard Walton Tully version of the story. Beautiful Andree Lafayette appears in the title role supported by an excellent cast. “LOVE PIKER”— [Class A-c] 90% (Adapted from a story of the same name) Story: — Society Girl Ashamed of Future Father-in-Law, Finally Realizes Narrowness of Vision VALUE CAST Photography — Excellent — George Barnes. Hope Warner Anita Stewart TYPE OF PICTURE— Romantic. Peter Van Huison William Norris Moral Standard — Good. Martin Van Huison Robert Frazer • " ' " . ■ Archie Pembroke Carl Gerrard Story — Excellent — Romantic drama — Family. Professor Click Arthur Hoyt Star — Excellent — Anita Stewart. Edith Cloney Betty Francisco Author — Excellent — Frank R. Adams. Willie Warner Winston Hiller Direction — Excellent— E. Mason Hopper. Mrs. Warner Mayme Kelso Adaptation — Excellent — Frances Marion. Mr. Warner Frederick Truesdell Technique — Excellent. Butler Robert Bolder Spiritual Influence — Good. Maid Cornelia Callahan Judge James F. Fulton September 1 to 15, 1923. Producer — Cosmopolitan Footage — 6,000 ft. Distributor — Goldwyn-Cosmopolitan Our Opinion MORAL O THE PICTURE — “Fine feathers make fine bir'ds,” but the true measure of a man _ is in his heart. Originality and Human Interest Features of Story’s Treatment — Star Excels Herself In no production in which she has played has Anita Stewart given a more pleasing or more intelligent performance than in “The Love Piker.” The careful manner in which the picture has been edited and the director’s sympathetic handling of the story does a great deal to make it one of the season’s best. (Continued on Next Page) No Advertising Support Accepted!