deickemeyer

It is better to be young and Juliet than to.be a Sarah Bernhardt trying to be young when the cold screen refuses to be deceived. Theda Bara is young and her long dark curls make many a beautiful picture as she enacts in this Fox version of the great Shakespearean play, the fairest girl in all Verona. Harry Hilliard, as Romeo also has the bloom of youth and an engaging personality that goes well with his role. It is a very worthwhile picture that any one might be glad to see. If it doesn't reach those heights of beauty that give to the critic who has seen great presentations of the richly magnificent play, it is beautiful enough to inspire many and give delight to them. It tells the story clearly. The story is full of suspense and that suspense remains in the picture. The scenes in which it is told are often glorious and hundreds seem to have been employed in making the full-manned scenes on street and in market place and in the funeral procession which was very impressive till marred for one unhappy moment by the levity of one rose girl. The set scenes give a good suggestion of an Italian city and the chosen backgrounds are just about what was desired. The nurse is a "rich" part and a hard part to play even in the spoken drama with all the aid of the poet's wit and humor. In the picture, the humor has largely to be created. Alice Gale deserves credit for her presentation of a humorously grumpy, but motherly old soul. Both Glen White, as Mercutio, and John Webb Dylan, as Tybalt, are as the real thing in the gentlemanly swashbuckler way and fill the bill to perfection. Helen Tracy, as Lady Capulet, is acceptable and more pleasing than the too stiff Lord, her husband, played by Edwin Holt. Lord Montague, by Elwin Eaton, has but a momentary part to play. Victory Bateman's Lady Montague is effective in the trial scene. Walter Law as Friar Laurence carries his part of the picture well. The film stands as a pretty presentation of the "world's sweetest story." It is a valuable offering that would please any audience. The director, J. Gordon Edwards, deserves more credit, perhaps, than any one else interested in it. The scenario, by Adrien Johnson, ought also to be mentioned as economical, clear and able. It has drawn the story through many lovely scenes. It departs from the Shakespearean ending and follows the even more dramatic close of the original Italian.

The film consists in elaborate and spectacular ballets performed by the dancers of two leading Parisian music halls. The gorgeous and fantastic dresses are embellished by vivid colouring, and a striking effect of stereoscopy is achieved the use of of a dead black background, from which the twirling figures of the dancers stand out in bold relief. Though they are extremely lively and sometimes even grotesque, both dancers and costumes are entirely inoffensive, and the film should prove an attractive novelty interlude for practically any house, especially if the musical accompaniment be carefully synchronised with the screen action. As a complete three-reeler the film is too long and tends to become monotonous. For most theatres, it would probably be a more convenient booking if it were released in installment form. The exploitation possibilities of the production are excellent.