New-York tribune., 1920-07-05
On the Screen
Billie Burke at RivOli and Ethel
Clayton at Rialto; Other
Openings

The usual "triangle" OF domestic
relations, difficulties, tragedies, Is
present in the Paramount production,
"rhe Ladder of Lies" featured at the
Rialto Theater this week, with Ethel
Clayton in the leading role. 1t is a
strikingly prepared scenario. admir-
nble acting is done throughout, not
alone by the star, it might be added,
and the direction Of the piece, credit
for which goes to Tom Eorman, is
good.
One would 90 far to find more
gripping story, a more sincere repro
duction of tho struggles of men and
women in society to protect one
another from sin and danger, or a
more beautifully filmed work, One is
likely in these warm weeks to tire
of the out-andout screen drama in
which category "The Ladder of Lies"
actually belongs, but there is enough
real interest in the piece to warrant
it's retention at the Rialto for more
than one week
The thing that causes motion
picture production to become popular,
it is supposed, is its popularity with
the masses. Certainly the human in
terest portrayed in 1.-The Ladder Of
Lies" strikes at the heart of every
homo and of many, many young men
and young women, and will be COM
mented upon, pro and con, in many
homes.
1t is broader than the usual dramatic
triangle, 1t brings into conflict five
distinct characters Edith Paris, a
magazine ill1strator played by, Miss
Clayton. finding that one of her
fri ich buu oI n
shallow young woman, hopes to keep
the truth Of the young wife's conduct
from her husband. Suspicion turns
upon herself until the lies she has
spoken and lived for another's sake
threaten to wreck her future happi-
ness. Respect for the young artist
compels the interloper to clear her.
Clyde Fillmore, Jane Acker, Irving
Cummings, Charles Meredith and Ruth
Ashby all do capital work in the story.
Hugo Riesenfeld, managing director
of the Rialto, Rivoli and Criterion,
sensing the desire for music Of the
large crowds that fill the Rialto
throughout the summer, has arranged
for his large orchestra to do more than
what has been its share in the past.
Mcndelssohn's "Midsummer Nights
Dream" with Mr. Riescnfeld himself
directing. The second orchestral Sc
lection was from Offenbachs "Tales
of Hoffman," Martin Brefel, tenor,
who appeared in "Aphrodite," is sing
ing in solo. A comedy, scenic reel
and the enlarged Rialto magazine COM
pleted the bill
Billie Burke name on Broadway acts
as magnet toward needle. Be She in
legitimate production, in vaudeville, in
motion pictures, or riding in her lin
CUISINE, it is all the same Thousands
turn to look or pay to enter. Yesterday
her newest picture, entitled "Away
Goes Prudence" a Paramount produc-
ton, opened weeks run at the
Rlvoli, and the doors were packed at
the opening minute, and as long as the
picture was shown there were no empty
seats in that great picture palace.
Bored with pouring society teas, the
pretty star in the picture runs away
from home and holds herself for ran
som: This, it will be seen, gives Miss
Burke wide opportunity for indulgne
IN the comedy for which she is noted
A robber band captures her and She
is compelled to learn from them the art
of burglary, unconscious of the fact
that it is her tiance who leads the
thieves. Complications follow. and she