The Washington socialist. [volume] (Everett, Wash.) 1914-1915, 1915-06-10

one are little handful compared with
the crowds that move before us at the
Aston, All the sumptuous stage set
tings,' loudly and rightfully praised.
are toys contrasted with the great
sweep of the hills, the stretches Of
street and colorado. the towering
buildings and the flowing Tiber shown
here. Hall Game In quarter Of a
million words gave a vague idea Of
the background. But the camera has
fixed that background for us, and the
actors and the Romans themselves
supply the life. m s,se. 0t,aa
when Hall Game wrote he pictured
tumult. When the play was filmed
Rome was In state of tumult, such
as the novelist had never witnessed
and such as not even he had the pow
er to describe. The war had just
started and politically and economic
ally the great city was in a condition
of upheaval it had not known since
the days of the war for Italian unfit
cation. io.7ee aem aiHm .
/ There are two of the move remark
able incidents of this great unrest
that have been woven into the story
and they make the pudlse beat more
quickly and the heart throb a little
faster. Between walls of armed sol
diers there march, on their way to
the Coliseum, thousands of strikers.
They bear aloft swaying banners and
smoking flambeaux, and as they
march with heads erect and shoulders
squared, you can almost hear the
shouts and cries of the passing men.
In the Coliseum itself is the great
est crowd scene that has ever been
shown. Packed close around the
speaker on the rostrum are thousands
on thousands of men, their arms wav-
| ing encouragement and their faces
alight with the inspiration of the gath
ering, s....hs b.. .sa .,.,ai,..
This particular part, pulsating with
life and truth, is real incident in
the great street car strike of last Aug
ust. 1t is the most forceful illustra-
ton ever given of the fact that vast
crowds of workers are instinctively
and magnificently, orderly The scene
that succeeds this bit of actuality,
where the attempt to assassinate Da-
vid Rossi is made, though drama,
shows what violence can do When
the soldiers fire into the crowd, it dis
integrates and becomes a mob, for it's
feeling of solidarity Is lost, and in the
mad scramble for safety it is every
man for himself and let him fall who
cannot get away ta.
These are only two in the vast pa
geant of Rome. The great meeting
at which David denounces Roma, the
Papal professions. the views of the
Vatican Gardens and the many
|
superb stone bridges, the winding
streets, the endless flights of street
stairs, the matchless gardens and the
rolling country, are unrivaled.
"The mechanical work is exception
al, especially in the great splotches of
light and shade, the vivid contrasts
and the clearness of detail both in
settings and figures.
Pauline Frederick, who makes her
initial bow as a photoplay actress
easily takes first rank. Her mobile
face and expressive eyes are of the
type that give character to the pic
lures. The amount of work that falls
to her is severe strain, but intelli-
gence and grace enable her to go
through it without losing attention for
a moment.
st was good to see Frank Losee,
who played the villain, and Fuller
Mellish who impersonated the Pope,
for though they had won high place
on the stage long before the movies
We're born they were able to show
generation of movie actors how the
work should be done.
"The rest of the leading players
were good, and special word can be
said for the three youngsters who took
the children's parts.
BETTER TAKE IT IN
From the above description it is
easy to see that our readers would
ha 1ooinU a,oo+ than