Wid's Filmdom (1920)

——— el EE a yee am DAILYW Sunday,” asks 16, 1920 ) Good Picture Made FromfWell Handled Dual Role Story 9 direction accorded it is not of the best. While no Elaine Hammerstein in “THE SHADOW OF ROSALIE BYRNES” Selznick-Select DIRECTORS =. ..)\ . ae George Archainbaud AUTHOR ree) ..t jee Grace Sartwell Mason SCENARIOIBY 32.3... >..28 seeemnenee. ae R. Cecil Smith CAMERAMEN. : ....: . 2: 3a Lucien Tanguay and Jules Cronjager. AS A WHOLE....Generally entertaining dual role picture with well sustained climax sequence. STORY....Very simply contrived with small number of complications, but holds interest well. DIRECTION....Climax sequence is suspenseful because of the writing, not the directing—direction shows small attention to light and shade. PHOTOGRAPHY) a eee ee Very good LIGHTINGS 2 gde 3 cy ee Excellent CAMERA WORK....... Fine double exposure work SWLAR.. cece Plays acceptably in dual role SUPPORT tne’, 2m ok REO ee 5 Commendable EATERIORS canes: hee ek -..Satisfactory INTERIORS ihe wits «ee tack Appropriate DELALU (ik Ge ei. he ee All right CHARACTER OF STORY....Mistaken identity theme handled in dramatic way. LENGTH OF PRODUCTION..... About 4,429 feet “The Shadow of Rosalie Byrnes,” utilizing the dual role theme and the “mistaken identity” opportunities that it affords, offers generally satisfactory entertainment in its picturized form. The interest builds with a certain degree of accumulative power from the outset and rises to its height in a particularly well contrived clirnax sequence, in which the melodramatic effect of the situation is increased by some clever lighting and detail work. The story is the picture’s strongest point despite its simplicity and small number of complications. The flagrant faults are to be found in this department, it will be noted* that the director showed little knowledge of light and shade, of highlights and low in his handling of the majority of the scenes. Action in monotone, the stamp of a degree of inefficiency in direction, is subconsciously felt. It is this handicap that the story manages to overcome with the result that the picture, on the whole, provides good entertainment. Elaine Hammerstein appears as twin sisters, Rosalie Byrnes, a concert singer, and “The Flame,” a notorious character in city night life. Ata Y. M.C. A. hut Rosalie meets Gerald Cromwell, a lieutenant, about to sail for France. In the short time they are together, a great love grows and the day Gerald sails they are married. In France, he sends a picture of Rosalie to his sister and her fiance, \Stone. In the meantime, “The Flame” has become involved in an ugly scandal. In need of money, she goes to Rosalie’s apartment, but finds her out. While there, she is approached by Stone, who offers her a large sum to give Gerald up. Sensing the cause of the proposition, she consents. Stone writes to Gerald, enclosing “The Flame’s” confession that she does not love him. As Rosalie’s name has been forged to it, he loses faith in her.. Of course, when he returns, the happy ending is brought about. The strongest part of the picture is the sequence in which Rosalie goes to remove her sister’s gloves from the room wherein she believes she has committed murder. .Here the scenes are deftly handled and there is some very effective lighting that adds considerably to the suspense. Miss Hammerstein fares very well in the dual role and receives commendable support from Edwin Lang ford as Gerald, and from Alfred Hickman, as Stone. Should Go Well Specially If They Like This Star Box Office Analysis for the Exhibitor If your audiences have taken kindly to the previous Selznick pictures in which Elaine Hammerstein has starred, there’s no doubt about their accepting this one for it appears to be quite the best she has done under her present management. The story is: told simply and directly and the mistaken identity situation is handled so that a good bit of interest and suspense results. Catch lines could be used on the order of the following: “The story of twin sisters—good and bad— a great love—a happy marriage—then the blackest lie, ” a forged signature and their happiness tottered “Elaine Hammerstein in a dual role picture quite dif ferent from anything heretofore seen.” i ii i