New-York tribune., 1918-06-03
On the Screen
Believe Me. Xantippc," |.
Featured Picture at
the Rialto
the Rialte

A"e' AanIlppe, Is the feat
ure picture at the Rialto this week.
AT risk of becoming extremely un
p0poiar with our /manicurist, who is
'ne OF those who worship at the shrine
OF Wallace Reid, we must declare that
ene art and comeliness Of said actor
nave always left US quite cold. And
at risk of bringing down on our head
a storm OF criticism from people who
say that such things have nothing to
DO with acting, we declare that we
never liked the way he dressed nor
the way he wore his hair.
We intend to retort before we bear
the accusation and say that such things
have to do with acting. Is it possible.
1or instance. to convince one that he
is looking on "a young millionaire of
an exclusive New York family" when
the scion Of this aristocratic house
wears coat with little belt clasping
nlm right under the armpits? No. It
isn't And hair is an important factor.
TOO. All OF the young millionaires that
we Know woar their hair the way Wal
Lace Reid is wearing his this week.
=. II ISN'T the way he used to wear it.
=. 10 i.ucn nicer. so IS Reld-much
nicer than we ever saw him before
role of George MacFarland, which Bar
rymore created in the stage version.
Reld Detrays unexpected aptitude for
sort of subtle, easygoing comedy that
IS very fetching, and his clothes and
his hair are sans flaw.
The scenario, by Frederick Ballard,
is extremely we'll done. 1t follows the
play closely and makes excellent screen
material. 1t might be that speeding
would improve 1t, but 1t is very good
as it stands.
Ann Little is Dolly Kamman, the
sheritf's daughter, who claims MacFar-
land and the $4,000 reward George
MacFarland has an idea born in his
brain when he discovers that burglars
have robbed him Of everything in his
apartment and gone scott free. The
idea is that he shall become forger
and an outlaw, and he bets his two
chums $4,000 each that he will not be
caught within year.
Just before the year is up he is ap-
aaushteS but there % proves ss to snss bs
clause in the agreement which saves
him from losing the bet. James Cruze,
that clever actor, has a small part
which he makes the most Of, and Wini-
fred Greenwood also does we'll in bit
As MacFarland would say, believe Me,
Xantippe," it is fine picture.
There was a picture called "Scenes
in the Virgin Islands," which is the
first in series of travel pictures to
be presented at this theatre.
Greek Evans sang 1.-THE Trumpeter"
and Greta Torpadie gave brilliant
rendition of the "Polonaise" from
"Mignon."
The overture was Montana" with
selections from "Thc Chocolate Sol
dier" as the light opera number.
Walking straight from the glare of
Broadway, where it would be 90 de-
gress in the shade if you could find
any, into the Strand Theatre is not
conducive to putting one into proper
| frame of mind to appreciate "Pru-
nella," which is being presented there
this week.
"Prunella" is just series of beauti-
full pictures, without, we believe, quite
enough story or action to satisfy movie
fans.
Maurice Tourneur directed the pict
urs, which means, of course, that it is
a delicate conception and a delight to
tht eye.
Marguerite Clark is Prunella, who,
when love comes to her, becomes Pier
rette. She is very lovely and very
the charm which was hers in the orig
inal version. Jules Raucourt is per-
fectly suited to the role of Pierrot.
He is excellent.
The story tells of Prunella, who lives
the simple life demanded by her three
aunts, Prim, Privacy and Prude. But
one day Pierrot steals in the garden
3o1j vr,s% Aho Il
when he kisses her-well, Prunella
knows that all persons are not like
4fer aunts, Prim, Privacy and Prude.
And so Prunella steals away with Pier
rot and becomes an actor on the great
est stage of all-the world.
Because Prunella cannot forget the
teachings of Prim, Privacy and Prude
she induces Pierrot to marry her. Now,
no one ever heard of Pierrot or
Pierrette being happy in wedlock. and
so, soon. Pierrot wanders away and
| Pierrette dies, and Prunella buries her
and weeps over her grave because she
had not yet seen enough of life to
know that Pierrette is not supposed
to survive marriage. She Is the spirit
of romance.
But. as erring husbands always do,
even in fairy tales, Pierrot returns to
the garden Of love because he is a
man. and men are creatures of habit
and Pierrette had become habit. But
Pierrette, being a woman, longed for
romance, and she fancied that Pierrot
had brought it back to her. And so
they lived happily-forever, presum-
ably but at least until Pierrot felt
again the wanderlust.
There is food for thought in Pru-
nella and much to give one pause. If
one has no time to pause then there
are beautiful scenes galore which he
who runs may appreciate.
The sixth instAlment Of the Ches-
ter outing travel pictures are being
shown. It is called "Pricas Up and
Palms Down." Bob Bakker. the Ari-
zona hunter, appears in person and
lectures during the exhibition of his
film, showing him capturing a huge
bear single handed.
! Merry Jentay, the violinist, played
Carmen Fantasie." The overture was
from "Martha"
Marion Davies is appearing this
week at the Rivoli in "Cecelia Of the
! Pink Roses" picture which, it seems
to us, owes much of its charm to its
presentation. When it was shown pri-
yately last week it lacked thu ad.