Variety (May 1914)

22 VARIETY THE LINE-UP. The full title of this slx-reeler is "The Line Up at Police Headquarters," with Oeorge 8. Dougherty heavily featured, on the billing as well as In the film. Mr. Dougherty was for- merly second commissioner of police, In charge of the Detective Bureau. The Nonpareil Fea- ture Film Co. made the picture. The com- pany Is principally composed of Gus Hill and William Counlhan, two theatrical showmen. A folder announces the "Line Up" film Is not a "vice," ''white slave," "sex" nor sacrilegious picture. Neither Is It. A private showing was given Monday morning of this week. The first reel goes through police headquarters, showing the "line-up" of captured crooks that takes place every morning, the Rogues' Gal- lery, Bertlllon system, and gives a good, clear Idea of the several departments. These op- erations are shown W. D. Maxwell and his daughter. Vera, the girl having grown in- quisitive, and her father, arranging with Com- missioner Dougherty by 'phone, takes her there to see the sl'hts. Mr. Dougherty's chief aide, Dick Vernon, a young fellow, ac- companies the party about the building. It leads Into the story that la worked out In the next five reels. Upon Mr. Maxwell purchas- ing a $60,000 diamond necklace for his daugh- ter, a gang of thieves plan to burglarise the Maxwell home, which they do, but not before knocking the owner of the house un- conscious, also his chauffeur. The car driver was one of the Morgan brothers recently re- leased from prison. He decided to go straight, but his brother became the leader of the gang. The robbery la reported to headquarters, and Mr. Dougherty personally takes charge, Ver- non assuming command of the details, which finally results In the gang being rounded up, the Jewels recovered, and a love incident Is Interjected for comedy at the finale, when Vernon and Miss Maxwell become engaged. Dougherty and the father sanctioning the wedding by Joining the couple with a pair of handcuffs. During the action there are many live scenes, Including some "chases." The best bits were the capture on a hydroplane by Vernon of one of the robbers, he having made the flying boat by a Jump from the dock, and the taking of a prisoner off a Clyde Line steamer by the same man. The steamer waa chased down the bay on a tug with Ver- non aboard, to get the burglar who had the Jewels In his possession. The robber, seeing capture at hand, dove overboard from the ship, and Vernon went after him, making the arrest In the water. A raid was realistically staged, with one of the Inmates of "Dopey Dan's" place doing a Jump from a high tower In the downtown district It looked like the Edison Tower on Duane street, but this scene waa not completed, as the sheet failed to show what became of him. The action was faat enough, however, for the audience to quickly forget this detail. "The Line-Up" Is a very interesting picture, with a straight- forward detective story that Is made nlausible, not having those ultra-sensational and Im- possible meller dramatics that would nail the ''sensations" as phoney. Besides, all of the scenes are set in New York City, another Item of value to a film of this character. In addi- tion to the presence of the detective chief with his staff, there are pictures of police precincts, with the "turn-outs," also a vivid "third degree" at headquarters that is very well worked (along the Bame lines as has been done In a stage play). As a six-reel feature this film stands up by Itself. Outside of New York It should prove a draw on Its merits alone, something unusual In a feature nowadays. The title is a good one for the box office to start off with, and the subject matter makes good on the billing, together with the fact that Mr. Dougherty understood the busi- ness at hand and made It human all the time. The aettlngs look real, and some of them may have been taken from their natural sources. Not alone Is "The Line-Up" a good picture for George 8. Dougherty, who now has a police service of his own, but It's an excellent beginning for the Nonpareil Co., and ought to make money for the exhibitor who knows what he has got In It Bitne. THE WHITE LIE. "The White Lie" in three parts (Gaumont), by William le Quex and has Reglna Badet featured. She Is one of the few foreign photo- play actresses who goes out of her way to dress her roles, and as she has the figure to wear clothes becomingly she carries the role with grace and skill. Miss Badet plays Maud Ansell, the wife of Ralph Ansell, ''the Ameri- can" (Charles Decker), who later, believing htm to be dead, married the Earl of Bracon- dale (Alfred Denberg) and Is living happily with him and her little girl when Ansell re- appears to persecute her. There's another im- portant character played effectively by Mark Gerard, Joe Carter, alias "the Eel." Joe loved Maud when she was taking sneers, curses and blows from Ralph In humble sur- roundings. He and Ralph pull off a big Jewel robbery and Just after Ansell has taken the bigger half of the spoils the police surround them. Maud, meanwhile, unable to stand her husband's cruelty, has quit the houie. An- sell locks his pal In another room, takes his {Carter's) part of the plunder and vanhhos through a trap door and does a getaway, the police chasing him to a river, where they empty their revolvers and finally are con- vinced that Ansell Is full of lead at the bot- tom of the water. Carter, finding every way blocked, Is taken captive and sent up for se*eu years. Maud, assisted by nun*. Id taken care of and later become a nurse. She reads In an old newspaper that ('arter'e Jailed and that the police believe Ansell Is as dead as a door nntl. She nur.ts the Earl of Bracondale, who doesn't c.ire it rip whether her past Is a dark secret and makm no effort to learn anything shout her antece- dents, proposes marrlarre nnd I* accepted. Six years pass. Mrs. Earl has a cute lit- tle daughter and is living happily In ap- parent contentment and luxury. For her birthday she receives a pearl valued at many FILM REVIEWS thousands. But Ansell bobs up as big ad life ttiul tells Mrs. Ansell-Earl tnat he will go out of her mind providing Bhe gives him S5,00o. Bhe hasn't tnat mucn change at hand, but will give him her necklace that night in exchange for a little note which she wrote at the time Bhe left him. Just before the exchange Is made Carter, whose time is up, picas luu Earl s home to rob, not know- ing that it Is Maud's home, too. He gets the necklace and secrets himself behind a curtain when he hears her coming. He recog- nizes her and is about to dash out and band her back the necklace when Ansell comes through the window. He gives up the note, but there's the devil to pay when the Jewol box Is opened and the necklace Is missing. Ansell seizes his wife and is about to re- take the note by force wnen the Eel, with a quick shot, pumps a bullet into Anaell's back. Handing her the gun and slipping the neck- lace Into Ansell'a waistcoat, he makes a quick getaway. Of course Maud, with a cue for self defense and an alibi for her husband, tells "the white He." Ansell is dead and Carter Is gone after settling his score with the former, so Hubby Earl and family art none the wiser. From a movie view Maud • He waa perfectly Justifiable, aa all through the picture she had done notulng to wantini anything but happiness. As *he was getting It with the Earl it waa best tb*t ho dtdn t dig up her past. What a person doesn't know about his closest kin won't hurt him. Gerard waa bully as Carter, but Decker showed too much self-assurance, posed con- tinually and waa wont to be too dramatic at all times. The story waa consistently told barring a few steeplechases and la pretty well photographed. Mark. CHESS BOARD OF FATE. Thla two-reel Imp doesn't say much, and so equally divides the opportunities of the sev- eral players that Leah Balrd, featured in It, secures less Chance than some of the others. The main character la of a scheming hypnotic physician, who has a sick man, about to die, will hla property to him on the death-bed; a brother, trustee of the wealth, misappropriat- ing some of the bonds; the loss of the will by the doctor In the library of the trustee, its discovery and burning by the defaulter there; a fight between the two In which the defaulter is killed; suspicion fastened upon the daugh- ter by the doctor, who uses his hypnotic power to have the girl seek seclusion In his sanitarium. Miss Balrd's assistance to her, she being a sweetheart of the Doc's and alwaya asking him when he Is going to make good on the wedding thing. The finale Is where the doctor has a sword duel with the daughter'a lover, but that waa unnecessary, as a good fist fight would have been much bet- ter, and under the circumstances neither of the two men would have thought of duelling. But still most of thla may have been the fault of the story. One scene far away from actuality was the presenting of the will by the physician to the brother and immediately walking off with the valuables by virtue of it also the loss and destruction of the will. Even In the smaller picture houses the patrms know a will must be filed and the procedure Is nothing like shown on the sheet. Picture license probably, but since the public la tak- ing pictures seriously, why db not the scenario writers or those who pay them do likewise? A picture may at least be made logical If only In two reels that could be ground out In one. Prank Crane directed and handled his people well enough with the ma- terial at hand. Miss Balrd looked very nice, the. doctor gave a good ahow, but there were too many brunets on the film, with not enough contrasts in personalities. It will go down as Just a release. Bime. HOME, SwIIt HOME. Any picture in these times with the name of David W. Griffith attached as director draws extraordinary criticism, through Mr. Griffith's fame as a director—fame that ex- tends to the caption plates being marked by two "Griffiths," one In either upper corner. and a "D. W." monogram below. In addition the Griffith name Is featured on the billing and In this particular picture he was a col- laborator with H. E. Altken In the scenario. All the best players under Mr. Griffith's com- mand are In this feature at one time or an- other. They are Henry B. Walthall, Mrs. Crowell, Lillian and Dorothy Gish, Mae Marsh. Spottiswood Altken, Robert Harron, Miriam Cooper, Donald Crisp, James Klrkwood. Jack Plckford, Courtney Foote, Owen Moore, Ed- ward Dillon, Blanche Sweet, not necessarily listed In the order of their Importance, but as per program, which indicates characters in the several incidents, in Illustrating the effect of the Immortal song on the sheet, to- gether with the early life and death of the author of it, along with an allegory of the great good the lyric has accomplished, the scenario writers delved Into what Is known as the original picture business—the kind of pic- tures audiences always liked—love and the wild west. The first reels are devoted to John Howard Payne, showing him to have written the song In a foreign land, dying shortly after leaving a mother, sister and sweetheart weep- ing for him at home. The next "episode" Is a western mining camp, to which comes a young easterner, who falls in love with the keeper of a quick-lunch, called "Apple Pie Mary" They become engaged; the easterner Is called back home; his love for a young woman of his own set Is rekindled ; he returns to the camn and leaves without fleeing Mary but on his way back Is stopped by an organ grinder playing "Home, Sweet Home" ("Be It ever so bumble, there Is no place like home") ; his affection for Mary overwhelms him, and a swift horse takes him back to the lunch counter, where the family of two Is Increased In years after to a group of four, the two babies making the picture complete. "Home. Sweet Home" waa Invoked aa well In the third "episode," where a wife about to become unfaithful to her husband is stopped by the music of a violin above her apartment playing the strain, and she travels thereafter In the dutiful path. Another ep. Is two broth- ers, living with a widowed mother, quarreling over money, and both killed, one shooting the other, and the fallen one killing his brother as he is dying. The mother, about to kill herself through grief, Is stopped In the deed by the "Home, Sweet Home melodv. This episode was a bit far-fetched In the total of its scenes, but there was plenty of fast riding and real western atmosphere to It. The alle- gory Is carried forward to quite some extent, with unusual lighting, but Is held too long, as are some of the scenes at the lunch coun- ter. "Home, Sweet Home" Is a series of pic- tures In one. it seems to run about seven reels. With the soft subject of home and mother, it was placing too much harshness In the picture for a double murder, besides the death of the author. Mr. Griffith picked a subject in the title and lyrics of this song that could stand for a world of sentiment, and he secured value twice, but missed badly once. The murders, however, wese in the scenario. It will make the name of John Howard Payne better known than It ever has been, but "Home. Sweet Home" is not likely to attract more than passing notice aa a fea- ture film, although some of Mr. Griffith's good work wi«i win ready recognition from the technical reviewers. A picture with the stock company this one had assembled could not fall down. All the best known of the players did their share, but with due respect for Messrs. Griffith and Aiken's prowess as scenario writ- ers. If the best dramatic writer In the coun- try had been engaged to work out this "Home, Sweet Home" theme, the chances are that the Mutual would have had a feature as a result that would have gripped the hearts of every one who watched It, The present "Home, Sweet Home" does not do that—It Is too much of a moving picture. Bitne. THE CHRISTIAN. "The Christian" as a photoplay was shown earlier in the season at the Manhattan opera house. Under a new booking direction the eight-reel production of Hall Calne's story of London life is now at the Harris theatre, which adopted a picture policy for the summer last Saturday night The movie makers, with Vitagraph players, directors and studios, have done very well with the story. Love and the church triumph in the end, and there's suffi- cient action to sustain the Interest. Edward W. Lynch, a Worcester, Mass., theatrical man, has the feature at the Harris under hla man- agement. The best work in the picture la done by Edith Storey as Glory Quayle. Miss Storey has womanly charms, a queenly figure. attractiveness, sincerity and energy, and all these combined with a love for the open make her an Ideal "movie" Glory. Miss Storey can do almost anything a healthy, athletic Ameri- can girl can do, and she has a chance to display her versatility in "The Christian. Earle Williams plays John Storm, and handles It with effectiveness and dignity. Williams at times Is Inclined to staglness, but, notwith- standing that, mdkes the part stand out prom- inently. Harry Northrup, as Lord Robert Ure, makes the character a strong one for the movies. James Morrison was splendid la his death scene as Paul, and Jane Fearnley made an acceptable Vera. Donald Hall was Hora- tio Drake, and made a fairly good Impression. The photography measures up well, and some of the big scenes were, capitally arranged. The mob at the church was the best of the lot "The Christian" Is the first of the Liebler plays to reach the sheet As a feature It will hold Its own anywhere. Mark. THE WAIF. "The Waif" in four reels would have turned out a much better picture than it does In six reels. It's an Eclectic, made In France with English actors from appear ances, though a sprinkling of French play- ers may be among them. Perhaps the be<*. of this feature Is the stralghtaw^v scenario that reads so well on the sheet, It suggests a novel has been adapted for camera pur- poses. , While big or thrilling scenes are missing in this film that leans toward melo- dramatics, the "heart Interest" secured and the employment of children as the leading principals fill In the deficiency. The chil- dren do very well with their rrles. In the leading part, Reml, the abducted son (who may be a girl), goes through each perform- ance with much skill, but at times overacts a trifle as though over-coached. Matteo, an- other boy, did well barring a self-conscious- ness that at times caused him to look at the floor when "talking" or acting. Though an abduction story there Is no hair-breadth es- capes nor attempts to kill. A baby who threatens to Interfere with a brother receiv- ing any share of the baby's dead father's estate. Is stolen, and placed on the curb evidently not far from Its home. A laborer finds It and the baby Is taken home hy him The first reel gets right down to b nines* rrom the outset,.detailing completely the t-asl? for the story,* The next reel Jumos elgat yi'Hrs. when the laborers finds he must get rid o the youth to save household expenae3, alro sell his cow. Sentiment commences at »hla point and seldom flags after It The boy's affection for hla foster-mother la touching, also her love for him. The same sentiment extenda to the relations between Reml and an Itinerant animal trainer, to whom Reml Is bound as an apprentice for $10 yaarly. Fol- lowing a series of hardships, the old trainer dies, and Reml Is taken In by a farmer. He leavea and In the course of hla travele around Paris (playing a harp for gratuitous gifts) picks up Matteo, whom he had mat during his travels with the animal man (an excellent player). Thereafter he and Matteo are bosom friends, and It Is Matteo who finally uncov- ers his parentage. The scheming brother Is unmasked, and Reml. who had had a former acquaintance with his mother without being aware of It la 'happy at last. One of the best sentimental bits Is when Reml, who with Matteo (playing a horn) has been success- ful In public collections, remembers his foster- mother, buys her a cow and leada It to her home, another and quite odd bit of writing as well as directing, Is of Reml, when alone and in bad straits, wandering to a river's bank, as his mother and her sickly son are passing on a yacht. The 111 boy sees the animals performing, persuades his mother to take them aboard, and the orphan sails with them for several days, neither having any Idea of the traveling boy's Identity. He leaves at Caen, returning to the animal trainer, and this la nicely made an Impor- tant point in the story later on. "The Waif" will have considerable of an appeal as a straight picture tale that perhaps Is better for the absence of the customary fervid em- bellishments. It will be best placed In a mixed bill. * Bitne. THE MOUNTAIN RAT. A Reliance feature In four parts that Just misses. It has a title, western atmosphere and a story that should combine In turning out a corking good special, but the picture has nothing unusual and the acting aa a whole la away below what one would expect of such a cast Henry Walthall Is Douglas Williams, a despicable creature among men folk with a weakness for drink that results In hla being worsted in a saloon brawl. Walthall trlea to make the role stand out, but no acting Is demanded of him and It's a part that will not add any laurel wreaths to his brow. Nell, the mountain rat la played by Dorothy Gish. She does real well, and with the aid of some long skirts tried to- look like a young woman who could stand for almost anything but having her despised sweetheart ahot down by another man who waa made of sterner stuff. Nell Is string for the dance halls and her popularity thct results In getting a reputation for being be- low caste. Nell Is mighty sweet on Williams, an easterner, whom she takes to her hum- ble home and nurses back to life. Then Wil- liams reciprocates her affections and Intends to live straight when word comes that his old sweetheart and mother are coming for/a visit. Nell reads a note which Williams wrote but didn't send. It said Nell waa an angel and the woman he Intended to marry. When tne letter came that the former sweetheart was on her way to effect a reconciliation Williams changed his mind. All this Nell saw. When the woman from the east arrived Nell exposed her relations with the man. The story ended where Nell prevented Steve (Donald Crisp) from pouring lead Into Wil- liams' skin, the mother and ex-sweetheart went back east and Williams and Nell were married. Some of the photography Is splen- did and the exteriors well arranged. Tha principals do nothing but move back and forth and make supposed conversation. Miss Gluh Is a capital little actress who needs a few more years to take away that extreme girlish- ness her face and stature give her. Shu is cute, -winsome and withal a hard little worker, hut In some of her roles she appoars too young for the characters assigned. Mark. GRIP OF IRON. "The Grip of Iron" (Apex) In four reels will do as a meller In pictures. It's not ex- traordinary in any way, nor does the photog- raphy please altogether; more often It Irri- tates through light backgrounds (something the foreign-made picture makers seem to de- light In), but some scenes are brought out strongly, although the main Incident, that of an elderly man becoming paralyzed, Is some- what morbid In appearance, albeit the man playing this role Is an exceptional character actor. The first two reels lay the foundation, that of a young man sent to prison for five years through the energy of the elderly one, he with "the grip of iron." The convict's sweetheart during his confinement marries the son of his prosecutor to obtain re- venge. At the expiration of two years the convict escapes. A chase after him by the guards Is very poorly done, It is so stagey, and there Is too much repetition, making this portion draggy as well. The convict returns to the old place, when he and the now wire conspire to kill the huBband. The father be- came paralyzed upon his son's wedding day, after the mother had been killeu by an auto. This accident Is flashed for a second by trick photography. The old man can see and hear, but cannot talk nor move. The doctor says another great shock will restore his normal faculties. Beneath the living room of the house, where all the family are, Is a deep cellar, reached by several flights of hanging ladders, the ladders attached by hooks to rings at different periods of the descent. The escaped convict, now disguised by a full beard applies and receives a position as a helper! When the son Is away, he removes the lower ladder on the cellar-path, leaving sure death whomsoever may go down there without tt . , ,ght ' "^methlng the son always does. The girl In her devilish spirit of hatred toward her husband and father-in-law tells the old man while be Is helpless In the chair what has been done and that his son, also her hus- band, will be killed the next time he goes