The sun., 1919-05-29
ROTHAPFEL SPRINGS
FIRST UNIT UPTOWN
"The Pursuit Of Happiness'> Is
Theme of New Movie at
Park Theatre.
MANAGER A POET ALSO
"Wild Flowers" a Hobart
Comedy, Is a Big Feature
of Innovation.

s. L. Rothapfel. the Strands first di-
rector and more lately the generalissimo
of the Rialto and the Rivoli, put into
effect last night design Ne has long
meditated on the Aims, and produced the
first Rothapfsl unit programme for which
Indirectly the spectators had to thank
the Declaration of Independence, since
IL was centred on the theme Of 1.-THE
Pursuit OF Happiness" 1t was blazoned
forth on the highways that nifty theatres
throughout the country were showing the
programme simultaneously, and as New
York couldn't be sighted in this cellu-
lold symphony the Park Theatre ushered
in the Rothapfel era.
The performance suffered the usual
first night delay, but II Ia TO be hoped
that the Atty other crowds weren't COM
PEELED to let their boiling curiosity about
the new Offering simmer for half an
hour. The siege of public interest be-
gan with an overture arranged by Mr..
Rothapfel and Hugo Riesenfeld, his god
son of the Rivoli. which bore the cate
eorical title. First Unit Programme
1919" possibly in emulation of Tschai-
kowsky's "1s12"
Then the large and energetic orches-
ira swung into the lifting dance num-
bers of the ballet petite directed by
Adolph Bolm and posed against settings
by John Wenger. which turned clouds
and woodland dell into all sorts of
odd shapes and colors after the style
of an English sporting blazer, though
With considerable numbers on the
programme. representing, presumably.
satyrs pursuing happiness by chasing
nymphs-though It appealed so easily to
the senses one didn't care what the in
depreciation was
Then before the actual film features
began Mr.. Rothapfel. who has conducted
orchestras as well as arranged pro-
grammes. revealed himself in a new
facet--that of poet. At least the screen
exposure of his purpose, in which he
stated that he was trying for an i'm
provement OF picture bills rather than
absolute novelty, was couched in metric
stanzas-and, yes, the lines rhymed
without any trouble.
Following a topical magazine which
included The Wood of Fair Water" an
GENERALIZATION of the achievement of
the Marines at Belleau Wood, showing
the sylvan heart of France Scared by
war, THE Last Hour" presented Mas
senets "Elegie' attuned to the screen
reversing the usual procedure. In this
fragment J. II. Gilmore, amid some pref
ty scenes that seemed medley of
Peter Pan" Peter Ibbetson" and
"Reveries of Bachelor" impersonated
a dying mser. who finds his gold can
not bring felicity--and at the right mo-
ment. to show the picture was faithfully
Interpreting the music, Nine. Pascova
sang the "Elegie."
The feature picture. ''False Gods" was
not the strongest part OF the programme.
representing as II did the tried and true
story of young architect who used
his own charms and those of his wife
to gain wealth and advancement by
coaxing orders from rich members of
the opposite sex, and who finally came
to his senses after an attack OF brain
fever. Though interpreted by a highly
salaried cast. including Grace Darling,
Hugh Thompson, Harry Mestayer and
Alfred Hickman. amid elaborate in
teriors 1t was too much like the movies
and not enough like life, especially when
a tenor at a fashionable musicale sang,
"Oh, Tell Me, Do You Love Me?"
More entertaining was the comedy by
George V. Hobart, wild Flowers" even
thought II concerned the adevtunres of
two young women not generally classcd
among the domesticated species. Alto
Eether, with the exception of his main
photoplay, Mr.. Rothapfel fully did his
excellent share to extend the great movie
belt further up town.