New-York tribune., 1920-02-09
On the Screen
Acting of Lionel Barrymore
Makes 'The Copperhead" at
the Rivoli a Success
BY Ishbel M. Ross

by lShbel M. NoSs
"The Copperhead" has been antici-
pated for months as one Of the biggest
historic films ever attempted by an
American producer. It's release at the
Rivoli Theater yesterday was coinci-
dental with the opening of Lincoln
week. The acting Of Lionel Barrymore
has made 1t a great picture. The fun
damental grip that it undoubtedly has
on one is much less due to the story
than to the magnificent way in which
is doubtful if anything better has been
done on the screen.
The scenario is faithfully adapted by
Charles Maigne from Augustus Thomas's 8
play which, in turn, was based on the
story written by Frederick Landis.
Four of the best known theatrical fam
'lies in America are represented in
the Paramount-Artcraft picture. Lii
onel Barrymore has successfully trans
feEred his stage Interpretation of the
part of Milt Shanks to the screen.
Doris Rankin, who in private life is
Mrs; barrymore. plays the part Of
the legitimate stage. Arthur Rankin,
talent and promise as Shanks's young
son, Joey.
The weakness of the picture is a
certain note of falsity wherever Abra-
ham Lincoln is represented. The i'm
preston remain, that it would have
been better not to have had him ap-
pear at all than to make him behave
in puerile fashion that neither digni-
fies his memory nor improves the pic
ture. On the other hand, the historic
setting is faithfully done and is eff
fective until toward the end o. the
picture, when it weakens in a haze Of
needless fag-waving.
Lincoln is not the only great Ameri-
can figure appearing in the picture
that arouses applause. Theodore Roose-
velt is shown delivering his famous
speech with the statement that 1--WE
are all Americans" Tie G. A. R.
veterans parade in the closing scenes.
The picture covers long period in
and the characters literally
grow old on the screen: So command
ing is the figure of Milt Shanks
incidental to the play Of his emotions.
The character is subtly drawn. All the
principals in the cast seem to realize
the power of restrained acting. When
"Ma" Shanks (Doris Rankin) hears of
her sons death, instead of going into
Mysteries she quietly picks up the
Bible, sits on her rocking chair and
waits quietly while the flame of life
dies within her own breast.
The background for the story is
a village in Illinois. In 1846
onanks is pictured as young man liv-
ing with his wife and baby on q farm.
He wants to fight in the Mexican War,
but his vile holds him back. Fifteen
years elapse and the Civil War breaks
out. Milt Shanks, who has prospered
in the interval, refuses to enlist al
though his sixteenyear-old son, Joey,
is one of the first to go. He is mis-
understood, jeered, prosecuted. There
is dramatic scene by the side of
river where he. is captured, supposedly
as traitor who is aiding the South.
He is sentenced to be hanged, but
tence to life Imprisonment, and later
he is released because of his sons
bravery in battle. His son is killed at
Vicksburg. His wife dies. He grows
old under shadow, scorned and hated.
The tragedy of his life is summed
up in the sub-title: "For forty years
he never conceded word of explana-
tion." With his dying breath, and to
save his daughter from losing her lover,
he at last gives away the secret he has
jealously guarded. He was in the
secret service on behalf of the North,
and at the special request of Lincoln
had ostensibly forfeited honor, loyalty
and love for the sake of the cause.
The Copperhead coin he had worn,
which branded him as Southern SYM
pathizer, was meant to deceive. AL
though thrice patriot, he lived as
traitor.
To throw the character of the silent,
suffering Shanks into relief is the
warlike Hardy, who is a
lieutenant at the beginning of the pic
ture and colonel at the end. viii P.
Carleton is quite mastery in this role,
it does not give him much
for emotional acting. His
part is chiefly spectacular.
Others in the cast are Frank Joyner,
Richard Carlyle, Leslie Stowe, n
Schroell, William David, Harry Bart
lett, Jack Ridgway, Major ~ NJ Cart
nell, Carolyn Lee, Anne Cornwall and
Francis Haldorn.
Lincoln's Gettysburg address is read
by Forrest Robinson before "The Cop
perhead" begins. The scenic setting is
q battlefield representing the close of
hostilities between North and South.
ndTolu AlOyd is seen In del1gnttul
ellis Royal Slyness," in which
rakish-looking kings and queens let
their crowns and ermine fall off, while
the proletariat hammers at the door.
Needless to say, Harold is elected pres
ident of the republic that follows the
overthrow Of the monarchy.
The organ solo is Lourdault's
"Scherzo" played by Professor Firmin
Swimmer, and the overture is Riesen-
feld's American Festival March,"
which was written on the first ami
of the Rialto Theater in April,
1917.
Save for a serious Lincoln Week
picture, "The Land of Opportunity"
(meaning America), the program at the
Strand this week is inclined to be
flossy. In the first place, the heroine
of the feature picture is called "Floss."
Madge Kennedy takes the part bewitch-
ingly. The picture is "The Blooming
Angel" 1t is far-fetched to the point
of absurdity, but it is also thoroughly
The angel is more CONNER
cial than romantic. 1t has no wings
with which to fly, for it is merely