Variety (March 1915)

FILM REVIEWS 21 THE STRAND. The Strand'a program this week may be running according to lta customary formula, but It doesn't aaam to make any dlffarance how the ahow runs or what la In It—tha pro- pie like the Strand. The Strand la a habit with an enormous crowd, and aa It haa become one of the ahow sights of New York, the picture theatre can depend upon a transient trade. With a successful policy that draws, no one can ever tell what would nave been the differ- ence otherwise, and the "otherwise" In this instance Is 8. L. Rothapfel, the Strand'a man- ager. He "put the 8trand over." One may say It was the theatre that did it, another may believe It Is the picture program, some one else may venture the price of admlaaion In the biggest attraction, but no one can get away from the fact that the Strand got over from the first night it opened and it was Rothapfel who did it, no one nor noth- ing else. The proof is that this particular style of picture entertainment or program that Roth- apfel Inaugurated at the Strand haa been con- tinued in its original form, haa been copied, with the Strand opposed, without anything hurting lta business, and when a picture thea- tre, charging as lta top price 60 cents, can do 114,000 weekly and keep it up, aomebody somewhere Is entitled to full credit. After paying due respect to Mitchell Mark and hla associates for the nerve they displayed aa pioneers in putting big money Into a new field In a metropolitan town, it goes back to the man behind. The Strand's program Is a diverting one, commencing with lta overture by a perfectly blended orchestra, another thing that can't be estimated for lta value, alnce it Is there. The orchestra, with an organ, furnishes the music, where a piano accompaniment la not used. The stage setting is utilised in several ways to Introduce singers for light effects, as a background to the musicians, aa a rest for the eye, and aa a bright color scheme that la not overdone, to complete the illusion of a flowered garden with an "estate" (including a man- sion and gnounda) In the perspective. What may be done with all of these was partially told In the entrance of Alfred de Manby, the baritone, Tuesday evening. He was No. 3 on the program. With the stage darkened and jL flood thrown through one of the arches, Mr. de Manby entered, nonchal- antly, amoking a cigarette. Leaning against the side of the arch, he commenced to sing. The Impression waa that he had Just strolled out of a parlor, through a conservatory, to take a look at the aky. Mr. de Manby waa accompanied on the piano by Max Hersberg and on the organ by Herbert Sisaon. His baritone voice sounded full and clear in the large house (speaking well for the arrange- ment of sounding boards), but half the bat- tle was won on the entrance. Martha De Lachman, in a soprano selection, eang In a spotlight, against the plush curtain, while there seemed too much artificial light to either side of her. This waa evident aa well in the singing of the Strand Mixed Quartet, consisting of Miss De Lachman and Caroline Edwards (con- tralto), Mr. de Manby and Nat Coster (tenor). The quartet was permitted an encore after the "Anvil Chorus" from "II Trovatore," perhaps allowed through they having sung the first number back stage, out of sight of the audience, but It Jarred somewhat after the manner in which the applause for the other singers (soloists) had been abruptly shut off by the orchestra taking up the next muslo cue In the program's running. This makes for speed and is a sufficient intimation to the houseful that they cannot hope for too much nor delay the performance. Also de Manby's entrance may have mitigated against as good an impression for the settings of the others, it would call for too much Ingenuity in one week to provide as pleasant an in- troduction for every one. After the overture oame an educational series, "A Trip to Maderla," with Its "b" sec- tion, "Wild Birds" In the Pathe colored pro- cess. Following de Manby waa the Topical Review, Intermingling comedy with its cur- rent events, the most recent of the latter be- ing views of the Prlns Bltel Pried rich at New- port News, with the captain and crew of the William P. Prye. A parade of troops In Rome and some close scenes containing the Kaiser and Empress of Germany were satisfying. The Review had an amusing comedy side After Miss De Lachman waa the feature film, "The Governor's Lady" (Film Reviews), with the quartet Juat before the Keystone release of Monday, closing the performance. The Strand Is considered the best managed theatre in New York, bar none. From the back to the front of the house, it's discipline that always means attention, not only to the patrons but to the theatre. As Mr. Rothapfel is also responsible for this, it would not do a bit of harm to have an "understanding drill" with the ushers now and then. They seem to grow careless at times, due to the crowds, and while an usher Is not presumed to pos- sess the patience of a diplomat, he should be urged to use his head at all times, pacifying instead of exciting visitors who may become disgruntled now and then because there are no immediate empty seats for them. It's a matter of personal opinion that the Strand singers could use popular ballads now and then. This strictly classical repertoire In songs Is perfectly all right, but a pop ballad would be a relief, the same as the Strand follows a Lasky with a Keystone—they are In contrast. One other thing about the Strand. Its sight line Is not Imperfect The Interruption of vision from the sides is only because the sheet haa been placed well to the rear of the stage to provide apace for the orchestra be- fore It THE GOVERNOR'S LADY. Daniel 81ade James Nell Mary Blade Edith Wynne Mathlson Robert Hayes Tom Formsn Senator Strickland Theodore Roberts Katharine Strickland (his daughter). May Allison The David Belaaco stage success, "The Gov- ernor's Lady" (written by Alice Bradley as a play and put on the acreen by Lasky) is the feature of the Strand'a program this week. The film version runs along In story-telling style. It sounded like a first-class subject for elaboration, but did not develop that way. It would aeem too much space has been given to the miner's, 81ade, earlier days, before he became wealthy. This is shown with much detail In the first part of the feature. With the removal from the mountain cabin to a city mansion, the meeting of Blade with Sena- tor Strickland's daughter, the announced In- tention of Blade to divorce hla childless wife, to enable him to marry the younger girl, and the return of Mrs. Blade to her little mining home, the action grows stagey, inac- tive, and barring the slight "heart Interest" the sltuationa must erect within one's breast there is little holding to the remainder of the picture. Captlona are often neceasary to make the tale plain and they are as often employed. Action happens but three times— at the caving In of a mine, campaigning by Blade after hla nomination for governor, and the night of hla election. These points of production were well taken care of, so well, especially the election crowds, it excites somo curiosity aa to the handling of the Indis- criminate mobs of supers that could be seen. The rest was talk, but as a screen-unfolded story It will do. There Is quite some appeal to the home-body married women and her children, who will watch this feature film. The picture haa been polished off In the Lasky finished manner. In aettlngs, scenes and mountings, likewise detail, with this single ex- ception. When Blade wrote a note to his wife Informing her he Intended securing a divorce, the note as flashed upon the screen waa writ- ten in the neat hand of a woman. Tne story of "The Governor's Lady" la a miner, advanced to wealth, growing weary of his wife, who will not adapt herself to the new environments. In the ending, however, Blade goes after hla wife and they are seen receiving together at the Governor'a recep- tion, whilst the Senator's dsughter Is taken back by her boyish sweetheart whom she had spurned, preferring a man with money and po- sition. It's not a strange story, but was well pieced out aa a stage production, Of the somewhat small cast of principals, the total eclipee by Theodore Roberta of himself In all former screen characterisations is the single point of Interest In the playing. The lapse of time from the mine to the city was not mentioned, and this could not be detected nor guessed at through any material change In the appearancea of the Blades. Bime. THE WHITE GODDESS. "The White Goddess" Is a three-reeler with a Hindu story. A baby girl Is lost In a tem- ple. She la of American parentage. After several years the child goes to America, grows to young womanhood, and Is brought back to Hlndulsnd when told her parents want to see her. Her lover follows, fearing something will befall her. She Is worshipped as a Goddess when arriving. The Hindus, after some time, atart an uprising. The girl is rescued Just In time by her lover. They re- turn to America and are married. The pal- ace scenes are exceptionally heavy and the In- teriors well arranged. The picture haa a pro- duction that would fit a feature of greater length. A HONEYMOON FOR THREE. London, March 8. Recently there was a private showing of the "B. A C." triple reeler "A Honeymoon for Three," featuring Charles Hawtrey and Eliza- beth Rtedon. Since then It has been somewhat abridged and Is now a rapid moving and de- llclously acceptable comedy feature, which can beet be described as romantic farce. Haw- trey plays a Prince who Is heir to the grsnd duchy. He Is bored to repletion by the court ceremonials and prefers life In gay Paris. He has all sorts of affairs and the story revolves around his escape from the royal councils In order to enjoy himself. The plot is unfolded In rhyming comedy captions which generate Innumerable laughs. Elizabeth Rlsdon as the wife of an American who Is traveling In Europe on her honeymoon and seeking "ro- mance," was excellent In a light and frothy way. Frederick Groves, as her husbsnd, gave an excellent Impersonation of a breezy Ameri- can without overdoing It. The opportunities offered Hawtrey showed him st his best—thst of a classy gentleman who lives for plessure alone. "A Honeymoon for Three" Is worthy of booking In the very best houses on both nldes of the water. Jolo. THE CANKER OF JEALOUSY. London, March 8. Cecil M. Hepworth has produced a three- reel feature, "The Canker of Jealousy," which will be released In London March 22. It Is sn excellent piece of modern drama telling an up-to-date story stripped of all sensational- ism and yet replete with suspensive dramatic interest. A wealthy physician has a number of guests at a week-end party on his beauti- ful estate. Among them Is a young man who takes a violent fancy to the governess of the doctor's little boy. This male guest sends a no'* to the governess reading: "Meet me as usual—the old oak at 10 to-night" Governess drops note In wife's boudoir. Husband enters, Sicks It up and believes the rendesvous is with la own wife. He bldea In the wood and when the young man cornea there the doctor pounces upon him In Jealous rage and chokes him to death. He then lays In wslt for the wife only to discover thst It is the governess who has come. Torn with remorse the doctor haunts the spot where the murder occurred and sees the governess about to Jump into the river to end her troublea. He rescues her and aha con- fides to him that she Is to become a mother. Realising that he Is responsible for her un- happy position In the eyes of the world, the doctor Installs the governess In a cottage and makes her an allowance. While strolling through the woods one day with her little eon the doctor's wife stumbles upon the cottage and sees her husband visiting there. She finds cancelled checks made payable to the former governeas and, also consumed with Jealousy, ahe charges her husband with Infidelity. He la unable to give a aatlafaotory explanation of hla visits to the cottage. She threatens divorce but agrees to forego thla on condi- tion that he never sees the former governess again. But one night he la sent for to corns to the cottage by a note saying the fathurless child Is dying. He breaks hla promise and goes, finding the child Buffering from diph- theria. He ssves the child's life but himself contracts the disease which ends fatally. On his deathbed he confessss the entire story to his wife, who takes the former governess and her child from the cottage and Installs them In her own home where both women with their children live In seclusion. Excellently played on the lines of the modern, or "natural," school of noting. Jolo. THE MYSTERY OF SIUSTRIA. London, March 9. This Is a Paaqnall three-reeler and like all Italian films haa a maaque ball acene. Noth- ing from that country is complete without a masque ball scene. It Is designed aa a thriller with a number of Incidents of a sen- sational character. The action takes place In an Imaginary country ruled by a Prince very much along the lines of 'The Prisoner of Zenda." There are political aptea, assas- sins and auch like. There la a revolver fight between the aplea In one automobile chased by the police In another. Then there are stolen governmental papers. It all eventuates In the triumph of the good Prince over hla ene- mies end his marriage to the beautiful Olga. daughter of a colonel In hla army. The photography la rather cloudy but there are a sufficient number of "big" scenea to auggest that the picture Is worth designating aa a popular price feature. Jolo. THE FLOATING MINE. London. March 0. A Mllano three-reel feature with plenty of action, rather old-fashioned In some respects, giving the Impression that It Is of ancient vintage and waa revived and renamed "The Floating Mine" when the Oermana leaned their proclamation that they would sow mines around England. The film haa a prolific amount of scenes that make direct bids for sensationalism. A good woman la married to the head of the Black Croaa Oang of out- laws without suspecting her husband's occu- pation. The story opens with him being csp- tured by the police, to her horror. Shortly after that she receives a note aaylng that he had committed suicide In prison. She Is then seen eight years later married to a wealthy manufacturer, and the mother of a child of about six. Her happlneaa Is broken In upon by the return of the outlaw, who blsckmstls her constantly. When, through delay In re- ceiving one of hla demands, she Is unable to meet them, husband number one tlea a float- ing mine to a buoy directly In the path of a smsll sslllng yacht In which are huaband number two and their child. The unhappy wife views this thing through opera glaaaea while sluing on her veranda In her bathing suit. She dives overboard, releaaea the mine which floats away and gets directly In the psth of the motorboat which Is being driven by husband number one. He strikes It head on and there Is an explosion and la annihi- lated. The unhappy woman tells her life story to her surviving husband, who forgives her and they live happily ever after. The mine Incident Is very poorly done for the reason that the mine Itself looks like a huge square tin box of crackers (or biscuits, as they ssy In Englsnd). How much more effect- ively they could have Increased the film by using a portion of an old "topical" showing some genuine mine laying. This could readily have been done. However, there Is sufficient action In the feature to recommend It as the dramatic portion of the five or ten cent pro- grams throughout the United Btstes. A sub- title for this feature Is 'The Blsck Cross Gang." jolo. THAIS. "Thais" la a four-part feature which the outside bills st the Bryant theater In Times Squsre neighborhood announced as belonging to the Loftus Film Co. The bills also said that the featured players were Constance Crawley and Arthur Maude. The picture failed to make much of an Impression upon the audience. The story of "Thsls" Is best told In a Harvard man's recent review of the show In the Harvard Lampoon (the college paper) as follows: "Thsls, lsdy, morals shady; Holy Prophet, Preaches Tophet, Lady Rawls; Prophet Falls. She Repents. Love Prevents. He Invades Cloister Shades. She Devout, Pssses Out. Psngs Acute, Follows Suit." The story of "Thais 7 * could hsve been given more sttentlon and a more elaborate and Impressive picture setting yet the direc- tors of this feature thought that was not necessary aa long as the principal characters stalked to and fro. "Thale" deea not make an Interesting theme In this picture. There Is no question It waa made upon the economi- cal basis. The picture was not good pho- tographically and some of the exteriors were even dark and Indistinct. Dramatic action snslls along and there was little bullded up In the way of a big moment The captions were all wrong, amall and hard to read. The captlona do not tell the reader much and with the story not the best connected from a film atandpolnt It is pretty hard to make out Just what some of the scenes repre- sent. This feature, compared with other fea- tures drawn from heavy tales like "Thais," suffers much as a result. About the best thing that could happen to this picture would be a rearrangement of the scenes, some expense entailed In lta presentment, consistent cap- tions and some dramatic color put In where It is needed and a retake that would ahow bel- ter camera work and better direction. Sev- eral of the Important scenes were amateur- ishly presented. "Thais" wbb a disappoint- ment, but to those who like the featurea that do nothing but kill time and are not exacting it will find favor. Mark. THE CRIMSON CLUE. "The Crimson Clue" Is a Kleins feature in three reels, foreign made and haa much of the familiar foreign melodramatic material. A young Inventor to get married asks his uncle for flnanolal aid. Thla Is refused. Another brother, a doctor, and unscrupulous, decides to get some eaay money by having hla uncle murdered, becoming the heir. He hires a man, Jlmmle the Chink, a gangman. who does the killing, and cuts his hand while getting out of the window. The Inventor while stop- ping an engine cuts hla hand In the same place. The detectives find the blood stains. The Inventor la accuaed. The blood stain la in- spected by the board of health, it la found to contain yellow fever germs. A detective in Sangman s costume heara the murderer say e has just recovered from the fever. He arrests him and the inventor la releaaed. The picture haa one of those productions that will make any audience laugh, aa well as a caat with aome very grotesque players. For the very amall houses where metiers are cher- ished this may do. A FACTORY MAGDALEN. In "A Factory Magdalen," Edyth Totten is featured. According to the acreen announce- ment preceding the action Mlaa Totten not only plays the role of the factory girl but la credited with having pioturUed the atory, with B. Fleet Boatwlck aa atudlo director. Marketed by Sawyer, Inc. The feature Jumps about like a chicken with one leg. It la In flve-narta. Many points are unexplained, In caption and camera atory, but in the places where this film will gst a play the audiences won't care why aome things are tolerated aa long aa they aee old-faahioned melodrama dished up. It haa the worst villain ever seen in stage form. Why they let him get away with auch palpable stuff is inconceivable ex- cept that the feature had to go five parte Its mailer of the deepest dye, poorly connected and poorly acted, and ranks among the rank- eat for cheap, flashy picture climaxes. But some exhibitors may fall for it, so let 'em fall. Mark. WEEK AT BROADWAY. Beginning Sunday, March 21, the Broadway will run its feature pictures for the week instead of using two for the halves. The house is to have first run privileges on the Paramount Thursday release, the Strand having the Monday picture. When the Broadway played two Paramount pictures a week it was forced to take one film from those that had previously played the Strand. The first attraction to stay a week will be the Famous Players' production "Gretna Green" with Marguerite Clark. The New York theatre mixed in a feature Tuesday with the daily re- leases. It was said, however, this was merely a chance booking, and not a part of the New York's picture policy. SYRACUSE STRAND OPENS. Syracuse, March 17. The Mitchell H. Mark's new $200,000 Strand theatre at the corner of Harri- son and South Salina streets opened to- night. The house is devoted to pictures exclusively, although so arranged that road shows can be accommodated. It will seat 2,000. Edgar L. Weill is the manager.