Visual Education (Jan 1923-Dec 1924)

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February, 1923 65 the powerful Xerxes (the Ahasuerus of the Bible story) ruled over the land of Persia, nearly five centur\ ies before the dawn of Chris% tianity, the film is in one ffsense a picture-lesson in ancient "history. For here are backgrounds that reproduce the picturesque court of the ancient Persian monarchs at Susa, or Shushan, with its typically Persian sculptures and its rich Oriental atlosphere, and actors who wear the costumes and visualize the customs of that far-away day land. True to our conceptions PERSECUTION "What shall be done unto the man whom the king: delighteth to honor?" spake selfreproachful Ahasuerus to hopeful Haman... "Let him be arrayed in the royal apparel and the royal crown be set upon his head, and let him be placed on the king's own horse; and let one of the king's most noble princes lead him through the city," advised the haughty Haman — little dreaming that it was he who would do the leading and the lowly Mordecai the parading! of them are King Ahasuerus, regal and dignified even in his hours of relaxation ; Haman, the false favorite, with his leers and his plots; Mordecai the Jew, "the man whom the king delighteth to honor" ; Vashti the queen, refusing to dance at the king's behest and paying the penalty in banishment from the royal presence and favor; the Persian princes who, fearful lest their own wives adopt a similar attitude of independence, suggest what punishment should be meted out to the rebellious queen; and Esther, the lovely young Jewess, made queen in Vashti's place and able to ■ influence Ahasuerus to avert the terrible fate Haman had prepared for all members of her race within the kingdom of Persia. While none of these actors bears a familiar name, since the film was produced abroad, all are true to type and highly creditable in performance. (Continued on page 67) daughter of the mansion, is so' effective as to distinguish herself as a fine actress. The others present skillful characterizations. One goes, however, to see TESS OF THE STORM COUNTRY, not because of its skillful directing nor because of its dramatic story, but because Mary Pickford is in it. Released bv United Artists. PERSECUTION TEACHING the Bible as a work of literature is a movement which the average citizen, regardless of religious affiliations, is more eager to encourage after he has heard some gifted speaker in sonorous readings from the Song of Solomon, the Psalms, or the Book of Job. Even the dullest listener awakes thereby to a surprised recognition of the essential richness, majesty and beauty of the ancient book. A like enthusiasm, similarly detached from prejudice or creed, may be aroused by motion pictures which, drawing their plots from the fine old stories of the Bible, present a skillful blend of history, literature, drama and religious teaching. One of the most beautiful and stirring of the Old Testament stories is that related in the Book of Esther; and it is on this prose epic of the Jewish maiden who saved her people from destruction that the seven-reel film drama, PERSECUTION, is based. While in the picture we find the central theme embellished with a considerable embroidery of dramatic incidents which have no place in the original narrative, these interpolated details do not alter the main outlines of the plot. Dealing with the colorful days when eeping' Abreast 9; rthe screen Brief comments on current films for the special information of parents and teachers Back Home and Broke Thomas Meighan and George Ade together make a very pleasant, entertaining picture. Thomas Meighan cannot be called a subtle actor, but he has poise, sincerity and understanding which are very effective. He extracts much humor from this amusing drama of the chap who pretends to be penniless in order to discover his real friends. The results of his experiment furnish a somewhat startling commentary upon the unreliability of human nature. A clean, wholesome picture for every one. (Famous Players-Lasky.) CaptainFly by-Night A picture of early Spanish days in California that might have been a film of remarkable historical value. Old missions and forts and adobe ranches, flanked by the California hills, furnish historically accurate backgrounds and splendid atmosphere. The action is vivid and rapid, with a well-developed element of suspense. The director, however, has failed to stress the historical significance and relation of events ; consequently they lack point and the film becomes merely a costume picture. Would that a director with a more un derstanding and sympathetic touch might have made this picture! (Film Booking Offices.) Clarence One voices comment on this picture with reluctance, for Wallace Reid played the part of Clarence — one of his last roles. It is a very impressive thing to see the screen present, as in life, the form and expressions and gestures of one so recently departed. When Wallace Reid was at his best he was a sunny, cheerful presence on the screen, beloved by many, and as such he will be remembered. The picture itself, based on Booth Tarkington's popular play, is interesting and amusing. (Famous Players-Lasky.) The Electric House A Buster Keaton comedy that is about as mirth-provoking as any that has appeared— and not only funny, but sparkling with novel and ingenious ideas, and delightfully free from the pie-inthe-face, low-comedy elements that make slapstick films displeasing to the fastidious. Keaton impersonates the graduate of a course in manicuring and hairdressing whose diploma becomes