Variety (January 1915)

FILM REVIEWS 29 THE ETERNAL CITY. A special Invitation exhibition of the Fa- sous Players' "The Eternal City," ploturUed from Hall Caine's novel, was given at the Lyceum, New York, Sunday evening. The subject Is of about the length of a stage per- formance, and Is rich in photographic sur- prises and dramatic power. It held the audi- ence spellbound for more than two hours, and left them with the conviction tbat the year has brought forth nothing finer in the camera art than the appealing story of Donna Roma and David Leone. Pauline Frederick, now playing in "Innocent," does extremely well on the screen. Sbe has an uncommonly mobile and expressive face and manages to put a vast amount of emotional power in her pan- tomime. The other members of the cast are Suite equal to the exacting requirements of ie play. Many of the views were taken In Rome. St. Peter's cathedral figures at sev- eral points in the action, and the camera man has secured many splendid scenes with the huge church as the background. The long perspectives of pillared corridors are espe- cially effective by reason of the Bklllful man- agement of light and shade. The climax of the story comes during the mass meeting of the political radicals In the Coliseum. Here la disclosed a veritable triumph of stage man- agement- No better handling of a mob scene has been shown on the screen. Hundred's of 'supers are employed as the mob, not to speak of troops of soldiery. The action when citl- gens and soldiers go into conflict is startllngly realistic. The panic of the trapped citizens as they rush about in frenzy between the lines of firing soldiers, and their mad flight from cavalry charges are tremendously im- pressive. The stage management closely ap- proaches perfection, and takes added strength from the fact that it is backed by a dramatic situation of unusual power. Those portions of the novel which deal with the church and its dignitaries are handled with nicest taste. The whole subject Is given an air of dignity and nobility that saves It from any possibility of offense. The religious procession to St. Peter's appears to have been taken during a real church celebration and worked Into the story by clever in-setting. All those pas- sages have the stamp of authority, and the "atmosphere" Is splendidly secured. The In- tricate story Is well worked out In scenario form, although the method of narration Is somewhat different from that of the novel. For example the death of David's mother by suicide, the boy's early hardships and his adoption by the Italian political refugee In London, are disclosed in the beginning, Instead of during the later chapters as In the book. This lends clearness to the tale as It comes upon the screen. The story Is always under- standable and the character relations are sharply defined. Indeed, the picture is a nota- ble example of the expert handling of a diffi- cult and complex narrative. The subject has a wealth of scenic beauty. One view—at the departure of David and Bruno from their be- loved Rome—an exquisite panorama of the historic city is shown In the middle distance, while the two men stand silhouetted In the foreground beside a fountain In the waters of which is reflected the light of the setting sun. This was but one of the score or more bits of artistic composition which time and again evoked applause. The exhibition was care- fully arranged. Special music aided the ef- fects, and at the opening a pretty stage set- ting showed a colored panorama of Rome, look- ing toward the Vatican from the river, the lights fading from dusk to deep darkness, while the lighted windows came out one by one. The Eternal City" Is a picture of the high- est and best kind and enriches the art with one of Its finest efforts. CINDERELLA. In these days of feature film making one naturally expects a lot for his money, par- ticularly when comparison is Invariably drawn with previous productions. When the Famous Players announced a feature production of "Cinderella" it was expected it would be some- thing out of the ordinary* It was also promi- nently played up that Cinderella would be Played by no less a person than Mary Pick- ford. With the approach of the festive holi- days the F. P. no doubt figured the combined ■trength of Pickford and "Cinderella" would prove unusually timely. At the Strand Sun- day the "Cinderella" feature was shown. The P- P. got the production out In time for the holidays, but the haste almost proved the un- doing of the film. The photography is bad. The alibi no doubt Is the haste. The picture from every standpoint, and especially what was expected of It, la a disappointment. Most of the picture runs through dim photography with much of It, giving the Impression the camera had been placed a long way from the settings and the characters. Most of the film to Indoors, giving the studio much play, but the story In the main Is told so that It Is easily comprehended, and that's quite an asset when It Is to be considered that "Cinderella" is a kid story of a fairyland nature. "Cinderella" may please the kids, but the adults will likely nave a different opinion. "Cinderella" as a big feature cracks under the strain of haste In the making. THE IDLER. Mark Cross Charles Rlchman Lady Helen Hardy Catherine Countlss Sir John Hardy Walter Hitchcock Simon Strong.. Stuart Holmes Kate Merryweather Claire Whitney Inez Maud Turner Gordon "The Idler" Is a flve-rcel feature (Box Office Attractions) that has been adapted as > Photoplay from C. Haddon Chambers' play of the same title which was produced some years ago by Charles Frohman. It Is by far one of the best features that has been turned out by the Fox organization. Taken from any ingle, cast, production or photography, a dis- tinct advancement will be noticeable over wbat has been turned out previously by this company. In the casting of the actors par- ticular care seems to have been displayed. In the direction Lloyd D. Carleton deserves a full share of credit and from a pictorial standpoint there Is nothing left to be de- sired. The scenes of the photoplay are laid both In London and America. A young Eng- lishman of wealth (The Idler) marries an actress but keeps It secret. She bleeds him until finally he refuses to continue to be a mark for her blackmail and she exposes the fact of their marriage to a number of his social acquaintances at a function where his parents are present. The boy Is packed off to America and leaves behind a girl that he really loves; she In turn loving him. In this country he runs Into an old London acquaint- ance who left England because he could not win the affections of the same girl whom The Idler loves. The two are great chums and have taken up with an American family, con- sisting of a widow and two sons. The two boys are prospecting In a gold field while their mother keeps house for them. The Idler rides to town one day with the younger of the two boys and receives a letter from London for his chum. The letter advises the chum that he has Inherited the title of a deceased uncle and is Sir John Hardy. While The idler was riding home with the letter the younger brother has been enticed into a gambling game at one of the "Camp" saloons and the mother, becoming worried at his continued absence, asks the boys to look him up. Sir John arrives in town first and finds the boy. He tries to take him from the clutches of the gamblers and a flght follows ,«„ ii cb .. S,r John accidentally shoots and kills the brother and son of the family that gave him shelter. At this moment the other brother and The Idler appear. A general fl K nt ul ensues The Idler recognises In the 5? m 2 wl* ™ , ? tr «« 8 his actress wife. During the fight the lamp Is shot down and the bulld- lS g » c # at M be ? an>e Tne w,fe ls the only one that falls to escape. Simon Strong, the elder SL?* '^"SS b „ een 8ever *ly Injured in the fight and The Idler remains with him while Sir John returns to England and marries tht t J m? The Id,er hoped to have for his L«ater The Idler and Simon Strong, the latter having made a gold strike, go to England Strong to avenge the killing of his brother by Hardy and The Idler to marry the girl le ftf M J he , "»«■. »>y a trick y has Hardy's wire come to his apartment and the husband breaks In. Strong has fallen In love with the sister of Hardy's wife and for her sXe for- tStt «£ v , enKeance - Sir John Is convinced that the blame for his wife's presence In lh°n a P ar i ment J'* 9 entirely with The Uler. IS^V 7 , h ! 8 UDderha nd work, has lost the re- K-!?i. of th f. woma n. who returns to her hus- D ' I aU J nR , arm8 - Th e Idler again takes up his wandering about the world. The story LliJivn.* pe S ulittr one - a» the sympathy being built up for The Idler, but at the last minute a turn In the story makes that cha?- fdfpl £ e *K b ,n"n Y - Char,e8 Rahman played The Idler in thrilling manner and got all that was to be had out of the role. Miss CountlM was also very well cast. Walter Hitchcock and Stuart Holmes were very good, Indeed, and Claire Whitney as the sister had a role that was cut to measure for her and played It ex- ceedingly well. the Italian. Originally a Paramount slx-reeler, "The Italian" has been cut down to five. George Beban is much featured, and as the Italian probably could stand pretty much alone In por- traying this type of character. His support fell mostly to Clara Williams. She also dis- tinguishes herself as an Italian girl. The first three parts are taken up with comedy, the life of Beppo (Mr. Beban) and his sweet- heart, Annette (Miss Williams) In Italy, with the early days of the couple In New York City. The scenic display In Italy is remark- able, also lively scenes In Venice, will In- terest. After the two are married and happy In New York, the story suddenly switches to the sombre. Their only child dies from the head. The baby needed pasteurised milk. Beppo was returning home to leave money for this when he is attacked and robbed. He In turn attacks the two roughs who rob him. He is arrested and imprisoned for a short term. Before this be appealed to his ward boss. This man pushed him off the steps of his motor car while in motion (excellent bit for the picture). Beppo serves his time. Afterward the boss' child Is threatened with death. The boss' Influence causes the street to be closed In front of his house on account of the sick child. Beppo can only think of re- venge. He gains admission to the boss* house and overhears the doctor say tbat the child would live If another hour of quiet could be had. The child is left alone. Beppo enters de- termined to make the necessary noise to end Its life. Then the child imitates a gesture of Beppo's own child and the deed Is not done. The finish shows Beppo over the grave of his own little one. A touching bit Is Introduced here. The picture should prove an attraction anywhere. TILLIE'S PUNCTURED ROMANCE. Marie Dressier had two openings In New York theatres Monday night. One was In pictures at the New York theatre and the other was In her new stage vehicle, "A Mix Up," at the 39th Street, but It's odds on this elfin comedi- enne causes more laughter In the film than she does In the play. Both are farcical, the film more so In point of construction, but every- thing Miss Dressier does for public amusement runs to comedy. "Time's Punctured Night- mare" came from the title role Miss Dressier played in "Tillle's Nightmare." Sbe Is splen- didly supported by the Keystone Company, in- cluding Charles Chaplin, Mabel Normand, Mack Sennett, Mark Swain and others. Miss Dress- ier is the central figure, but Chaplin's camera antics are an essential feature In putting the picture over. Mack Sennett directed the pic- ture and right well has he done the Job. Miss Dressier wears clothes that make her appear ridiculous. Furthermore she makes gestures and distorts her face In all direction!, which help all the more. The picture runs a trifle too long, but the hilarious, hip-hurrah com- edy finale Is worth waiting for. A new comedy DAILY RELEASE KEY. cede vmttmg. If tlenlarly pe>e>r. •f reviews) fe>r of the —- -———»■"«-»»•« ■ ■■»»»■« nrawiea wwtw* ex rvwiewi Br-J5."*"?2!w ■•■•with there Is prlateel ■ copy ol *•*£!?* ™?!L *+ ■**•* ■••■reJsm Dhetesrraphr ■■lee* . The Sjerwlee releasing; la Indicated by as Initial. 1. S. OODB. ceelleat S. 4. ralr Release Date - Title. Pros;. Reels 12/27 The Record Breaker M 1 12/27 The Old Fisherman's Story.. M 2 12/27 A Hat Full of Trouble M J 12/27 Her Escape u 2 12/27 The Manicure Olrl '.'. V 1 12/28 Exploits of Elaine Q 2 12/2K House of Silence Q * 1 12/28 The Calico Cat Q 2 12/28 The Flower of Faith Q 2 12/28 Oussle the Golfer M 1 12/28 Sweedie Collects for Charity. O 1 12/28 Hearst-Sellg News a 1 12/28 The Product Q i 12/28 The Black Sheep a 9 12/28 Our Mutual Olrl m 1 12/28 The Submarine Spy M 2 12/28 Fickle Elsie u 1 12/28 When a Woman Walts u 2 12/20 Master Key it 2 12/20 The Babv's Ride '. m 1 12/20 Lucy's Elopement M 2 12/20 A Study In Scarlet TT 2 12/20 The Plot o 2 12/20 A Cowboy Pastime O 1 12/20 The lesson of the Flames... O 1 12/20 The Crimson Moth Q 2 12/20 A Fish With a Storage Bat- tory In Its Brain o 1 12/20 The Way of the Woman O 1 12/20 Cactus Jake. Heart Breaker . a 1 12^0 The Derelict O 2 12 /.TO The Courtship of the Cooks. O 1 12/.TO Culture of Dahlias C, 1 12/?W> The Old Letter O 1 12'W Forcing Dad's Consent C, 1 12/rv> Two Dlnkle Little Dramas. . O 1 12/30 The Exposure O 2 12/30 Within an Inch of His Life it o 12/30 Universal Weekly r 1 1°/30 The Unseen Vengeance. . . . M 2 12/30 The Rounders M 1 12/30 The. Message |f i Act- Sub. Story, ins. C 3 3 C D C D D CD D C C W D D C C D D D D D D r> D D E D C D C E I) C C D D W D C D 2 2 2 3 2 3 2 2 2 2 0 2 2 2 3 1 2 3 2 2 2 4 2 2 3 o 2 3 0 3 o 1 2 2 .3 2 2 3 2 1 2 1 3 3 2 2 2 0 2 2 2 2 1 1 3 2 2 1 3 o 3 2 3 O 2 o o 2 2 3 o 2 Prod. Remarks. 3 Auto racing Pathetic Novel Crook Rough Detective Odd Silly Prehistoric Idea Falls A reel of laughs Fair Deep Holding Mutual Olrl meets May Crest on Real submarine adds in- terest. Rough slap-stick Strong appeal to women Strong serial Kidnapping scare Too long Detective Hypnotism and bombs Old stuff Serial Old family story 2 2 2 3 2 3 2 2 8 2 0 1 2 3 3 2 1 3 2 2 2 3 2 2 3 o 1 3 1 3 1 o 2 2 2 2 2 Interest and science Essnnay Beauty Contest Western Of vital Interest Dull Flowers. Beautiful Detective plot Ixn'e wins Ocnrge Ade fahles Newspaper storv Wlldent stnry Uninteresting Old Idea Laughs Drunks angle is given the picture at the finish by use of a "water patrol r ' wherein some funny bits are shown. "MRS. WIGGS." "Mrs. Wlggs of the Cabbage Patch," the four-reel feature of the California, long de- vised, but now marked for release In the World program Jan. 4, was given private exhibition this week. The scenario by Mrs. Anna Craw- ford Flexner, a playwright, combines the stories of two stories by Alice Hegan Rice, "Mrs. Wlggs" and "Lovey Mary." The result Is a picture in which there Is plenty of melo- dramatic action (presumably taken from "Lovey Mary") and fair comedy in the Inci- dents of "Mrs. Wlggs." The sentiment of the Cabbage Patch philosopher Is negligible, and the screen version does violence to that delight- ful character sketch. To Illustrate how far the Elcturtsation departs from the original. It may e mentioned tbat Mr. Bob rescues Lovey Mary from conspirators who seek to steal her fortune, and finally marries her. Hiram Wlggs (long dead when the novel opens) Is disclosed as a wife deserter and a bigamist traveling with King's circus as ringmaster. He returns to Mrs. Wlggs at the end of the picture story. It was perhaps Impossible to translate the fine humor and characterisation of "Mrs. Wlggs" to the screen, and the Introduction of the more dramatic story was necessary to give It action. So the combination of the two was permissible, but those who have been charmed with Mrs. Wlggs will regret tbat the film does not repro- duce more of the "atmosphere" and humor of that story. The escape of Mary and pursuit by King furnish the melodramatic episodes of the tale, giving rise to a series of situations which are more melodramatic than convincing. BERTLEVYETTES. The first of the Bert Levy motion picture cartoons was shown by the world Film Cor- poration at private exhibition this week. The series are planned as a single-reel novelty. Mr. Levy appears before an eaale, bows and begins to draw. The screen picture then be- comes a hand which swiftly sketches In the faces of noted American public men. For the first reel several of the presidents were shown, ending with President Wilson. The work grows rapidly, but. in accordance with Mr. Levy's artistic method, the complete face is not made recognizable until the last minute, when a few lightning strokes complete the portrait. It is a delight to watch Mr. Levy's work. The effects are strong snd simple and worked out In broad treatment, the sketches growing in white or red lines from a black background. At the end the artist Is again disclosed long enough to bow his acknowledg- ments. The series are highly interesting, as well as Instructive, and make a most enter- taining novelty, altogether away from what the film has been accustomed to In cartooning or sketching. CAMEOKIRBY. The newest Lasky release In the Para- mount program Is "Cameo Klrby," a four- part feature with Dustln Farnum In the name part. At a private showing a few days ago It was disclosed as an absorbing story, holding plenty of dramatic effectiveness, In- teresting romance which gets away from the hackneyed and commonplace and a picturesque narrative of extraordinary clarity. Farnum. as the "gentleman-gambler" In the days of southern chivalry, Mississippi steamboat ad- venture and other ante-bellum details of ro- mance, makes a highly satisfactory figure. The surroundings framing the characters have been happily selected to help out the illusion of the south before the war, and the person- ages of the cast have likewise been well chosen for type. The Illusion Is helped by every artifice of scenic setting and appear- ance. One small detail that falls to carry conviction Is a Mississippi steamboat race In which dummy boats are used, Although even here the natural settings are so cleverly dove-tailed that the trlckerv gets over. There are several Incidents which carry real dra- matic tension. The chase of Cameo by a posse on an unjust charge of murder has suspense, and the duel In the woods during which Klrby and Moreau, the Rambler, play hide-and-seek, furnishes a thrill. The story has a pretty love Interest and there are a few moments of oulet comedy, handled mostly by Dick La Reno, an Lnrkln Bunee, Klrby's gambling partner, a character who adds much to the Interest of the tnle. as handled by La Reno. Winifred Kingston Is nn altogether bewitch- ing crinoline girl of the "hefo* the wah" days. "Cameo Klrby" Is a first-class feature. SINS OF THE MOTHERS. The feature of this week's Vita graph theatre show Is "The Sins of the Mothers," a four-part drama, the first prize winner In the New York Evening Sun's scenario contest, written by Elaine Sterne and produced by Ralph W. Tnce. "A Pulsating, Throbbing. Alluring five-part Drama of the Curse of Heredity," Is the Im- posing description set forth on the program. The Vltagraph'a bills lntolv have leaned much to "serious" purposes. This time the 'pur- pose" of the drama Is to point out how a mother's paHslon for gambling descends upon her daughter end brlnrs about the tragic de- struction of her happiness and flnnllv her vio- lent death. The. storv hns n rood deal of melodramatic force, but the pos«> of hlsh moral purpose on the part of the producers Is a <hrnr> device The film |-• nur.-tv a muck- raking melodrama purporting to expose the evils of modern society. The moral preach- ment may have been an afterthought. Mrs. Raymond (Julia Swayne Gordon) drives her husband to financial ruin and suicide by her «*travagance and bridge debts Her daughter Trlxle (Anita Stewart) Is educated In a con- vent, but upon entering society swiftly becomes the victim of the gambling mania. Her mother