New-York tribune., 1920-01-20
On the Screen
''1he Lone VOLTS Daughter"
at the Capitol Proves Mag
nificent Spectacle
By Harriette Underhill

"The Lone VOLTS Daughter" comes
as an anti-climax to the series which
includes "The Lone Wolf" and False
Faces" The plot is lost in a sea of
magnificent settings and any one who
can say off-hand who is who should
be awarded medal by the manage
ment.
The Capitol is showing this picture
as the feature this week, with Louise
Glaum in the stellar role. 1t is sup
posed to be wild melodrama, but the
whole thing really is as pleasant and
lnnocuous as Miss Glaum's personality.
She is seen first in a prologue as
Princess Sonia and later as her own
daughter, device not unknown to fol-
lowers of motion pictures. We prom
ised not to reveal the plot and we are
not going to, though we did wish some
one would reveal it to US, even though
he had to break his word.
Miss Glaum has two leading men.
Grassby. We liked Grassby better,
but Sonia gave each trial; in the
prologue she marries Grassby, who is
seen as the Lone Wolf, and in the play
she is betrothcd to Thomas Holding.
1t was probably he whom she married
though we are NOT sure, for he as
sumed so many DISCUSSES.
The story is by Louis Joseph Vance,
who wrote The Lone Wolf" but
sequels are seldom satisfactory. Our
first feeling of disappointment came
ing the Elsie Dinsnore" books and
learned that ."Elsie's Girlhood" con-
tanned all of the thrills, so that there
were none left for "Elsies Widow
hood" We had the same feeling
yesterday at "'fhe Lone VOLTS Daugh-
ter" One Of the people concerned
IN the picture who deserves honorable
mention is Charles Stumar. The
| photography is very beautiful and he
is credited with it.
The Star Boarder," a Paramount
Mack Sennett picture, is the comedy and
there are also on the picture program
'rlzma review, an educational "Life
in Algeria" and the news reel Ned
Wayburn's revue has remained intact.
"The Cinema Murder" is the name of
the feature picture at the Ralto this
week, and we should say that the titu-
lar evidence is conclusive, if circum-
stant1al. The story is done by f. Phil
lips Oppenheim, the scenario by Fran
ces Marion, the direction by George
Baker and the starring by Marion Da-
vies, and yet we cannot say the picture
is good one. What we do know.
however, is that we went to the Rialto
Theatre twice before we were able to
! get within hailing dstanc of the door
man to tell him that it was busine IS
before pleasure which brought us there
and if ever there is a larger crowd at
this theatcr we do not care to be among
those present.
The picture opens with the star mur-
derlng man. 1t looks like a tragedy,
put Just as you are gasping in horror
she laughs and says, There, Mr.. Direc-
tor, how was that?" and the director
says: Great She is find. We must
star her!" But very rich and power
ful man has fallen in love with this
embryonic star and he sees in her
great possibilities as a star, so he
sends her to Europe, allows her $500
week fol pin money and says she
may pay him back $40 a week after
she gets to working.
And then, when he demands the pay
IN lump sum instead of on the in
staliment plan, she opens her innocent
eyes and says: "You shall be paid as
1T is written in our contract. Leave
! mel" But that is partly because She
is in love with fine. outstanding young
man named Philip Romilly 1t seemed
to US that Nigel Barrie contrived TO
make this character about as unin-
tteresting as it was possible to do
whenever we see Mr.. Barrie act we
remember the days when we used to
enjoy seeing him dance and wish that
he would dance again.
Others in the cast are Peggy Parr
Eulalle Jensen and Anders Randolf.
Charles Chaplin in "The Rink" one
OF the most amusing of his Older come
dies, and the Rialto Magazine also are
on the program.
The overture is MADAME Butterfly:
Edoardo Albano sings a Neapolitan
song and there is an organ solo by
John Priest