New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-06-05
Sir Herbert Tree Makes
His Bow as a Picture
Actor.
CONSTANCE COLLIER
AS LADY MACBETH
Shakespeare Gains in Some
Ways and Loses in Others as
a Scenario Writer.

The first important attempt 10 make
n scenario writer out of William Shake
speare was exhibited yesterday after
noon at the Rialto Theatre, when Sir
Herbert Tree entered the field of the
cinema in a massive and praiseworthy
production of Macbeth" made under
the guiding hand of David W. Griffith.
The past has not been without it's at
tempts to put Shakespeare into the
movies, but up to now producers have
addressed themselves to the task in
half-hearted fashion. II is true that
Forbes Robertson acted Hamlet" be-
fore the camera four or five years ago
in England, but the Importance Of that
production was largely sentimental.
OF all the Shakespearian plays GER
tainly none lends itself better than
Macbeth" to the narrow art of the
films With its simple background Of
ambition and its accompaniment Of
fearsome killings, it is built of the very
stuff upon which the movies thrive.
/ The play, as matter of fact, concerns
itself with something more than ele-
mental passions, but the films cannot be
bothered with character gradations.
They take what suits their purposes
and leave the balance untouched, and
it so happens that a large portion of
macbeth" is well fitted to the films.
Hence We have a good picture.
! In a number of points, all of them
necessarily visual, the film has the ad-
vantage over the spoken play. One
sees, Of course, such scenes as the muir
der Of Duncan a grewsome spectacle)
the killing Of Banquo, the coronation
! of Macbeth, the death of Lady Macduff
and her children-all of which take
place off stage in the play. The tricks
of the camera also make IL possible to
show the airy dagger and to manipu-
late the weird sisters to advantage.
The vexatious problem Of Banquo's
ghost is also solved, although this
scene falls somewhat short Of the de-
sired effectiveness.
On the other hand, the scene follow
ing the murder of Duncan loses inn
measurably through the necessity of
appealing solely TO the eye. The knock
ing at the gate, which is responsible
for several tense moments when the
play is acted is merely a few flashes
-of a pounding arm in the film. THE
drunken porter, incidentally, is dis
pensed WITH The witch scenes also
lose some of their horror when deprived
of the ringing phrases with which the
sisters put together the brew in the
seething cauldron.
Scenically, Macbeth" is everything
that could lie desired. The castles anC
great walls of the period have beer
realistically reproduced, and even the
stretches Of landscape seem 10 have &
medieval look about them. The film i:
kept "in character" by the use oil
Shakespeare's lines as captions, there
being only two or three exceptions
where it is necessary 10 explain &
change of scene. Macdutf is rather &
more important character in the film
than in the play, and frequent fash
backs are used to show the growth OF
his suspicious.
Sir Herbert and Constance Collier
have but little difficulty in running of
with the histrionic honors. Miss Col
lier as Lady Macbeth confirms the eX
cellent impression made during hel
playing of the murder scene at Sin
Herbert's Shakespeare matinee, and Sil
Herbert even improves upon his worl
on that occasion, since the films do no
require him 10 use his voice. His make
up in the part is particularly excellent
Wilfred Lucas is a good Macduf, anC
the minor roles are consistently wei
acted.
Miss Collier and Sir Herbert attend
ed the performance last evening, anC
the latter made short address 10 the
audience