Screen Opinions (1923-24)

“BOOK THE NEW PERCENTAGE WAY” 41 “WHITE SISTER”— [Class A-c] 90% Adapted from story of same name) Story: — Believing Lover Dead Girl Becomes Nun VALUE CAST Photography— Excellent— Roy Overbaugh. Angela Chiarmonte Lillian Gish TYPE OF PICTURE — Sentimental — Tragic. Captain Giovanni Serevi Ronald Colman Moral Standard — Good. Marchesa de Mola Gail Kane — — — — — — — — — — — — — — Monsignor Saracinesca J. Barney Sherry Story— Excellent — Drama — Family. Prince Chiarmonte Charles Lane Star — Superior— Lillian Gish. Madame Bernard Juliette La Violette Author — Excellent — F. Marion Crawford. Professor Ugo Severi Sig. Serena Direction — Superior. — Henry King. Filmore Durand Alfredo Bertone Adaptation — Excellent George V. Hobart. Count de Ferice Ramon Ibanez Technique — Excellent. — ■ 1 ...in Spiritual Influence — Good. October 1 to 15^ 1923. Producer — Inspiration Pictures Footage — 13,000 ft. Distributor— Not given Our Opinion MORAL O’THE PICTURE — The Greater Love Holds Truth and Honor Above Physical Desire. Beautiful Production of Doubtful Box Office Value There is no denying that “The White Sister,” made by Henry King in Italy, with a cast composed principally of Italian players, is a beautiful one. Its religious trend will endear it, especially to Roman Catholic audiences; its pathos; its tenderness of emotion; its spiritual outline, and the beauty of its settings will claim the attention and frequently the tears of the average public. In its entirety the picture is not as effective as some of the Griffith-made films in which Lillian Gish has appeared. One misses the delicate human touches that belong to the work of the master. But on the other hand, we do not recall anything more individually effective than the scene in “The White Sister,” in which Angela learns of the supposed death of her lover. Here, with a wild burst of despair, she falls back, quivering with the agony of her grief. We doubt if any screen star has surpassed what Miss Gish has accomplished in the por. trayal of poignant sorrow in this scene. This alone serves to throw an entire audience into tears, and from that point on the action of the picture holds by reason of pathos. There are some interesting and spectacular scenes showing the result of an eruption of Vesuvius with red-edged rivers of lava flowing, water mains bursting, and people fleeing for their lives amid clouds of smoke and ashes. There are also scenes on the desert, where the lover and his African expedition become the prisoners of desert tribs. In th early part of the picture beautifully staged scenes in the home and gardens of Prince Chiarmonte, and broad expanses of rural Italy delight the eye. There are even a group of effective scenes of the hunt to add a dash of color of a different variety^ Whether or not this is a good selling picture for you must be decided by your knowledge of your patrons. At the present time it is very long, and might be improved by the elimination of a good deal of the religious ceremony that has been dragged into that part of the story which has to do with Angela becoming a nun. The marriage of the girl to the church is carried out at length, with the bridal robe and train, the bridal veil and crown of thorns, and the figure of Christ on the cross largely visible. The laying away of the candle and the light which symbolizes body and spirit, the disrobing to take the garb of the cloister, the repeating of the vows of the ceremony, are included in the film. Gail Kane and J. Barney Sherry are outstanding figures in the cast, all of whom are thoroughly competent in the roles allotted them. ^ STORY OF THE PLAY ^ Angela Chiarmonte, at the death of her father, Prince Chiarmonte, at the hunt, becomes an outcast by reason of her sister’s perfidy in burning her father’s will. The sister Marchesa, is in love with Giovanni Severi, who loves Angela, ana it is for this reason that Angela becomes the butt of her sister’s hatred. She is befriended by Madam Bernard, who lives in an isolated part of the city, and in her home bids goodbye to Giovanni when he is sent on an expedition into Africa, vowing to wait for him forever. A false report of the death of Giovanni and his party brings her to death’s door with grief. On her recovery she enters a convent, and later takes the vows which bind her irrevocably to the church. Giovanni comes back and pleads with her to leave the cloister, but she refuses. During an eruption of Vesuvius Giovanni gives his life in saving the lives of the people. PROGRAM COPY— “The White Sister”— Featuring Lillian Gish It was a cruel fate that snatched Angela Chiarmonte from the reach of her lover and imprisoned her behind cloister walls, just at the moment when he was hurrying back to claim her. A magnificent production, brimming with tears — Lillian Gish at her best. No Advertising Support Accepted!