New-York tribune., 1920-07-13

sno GN9e on any mystery play, either
on the screen or on the legitimate
stage. and the writer does not propose
I? I spoil whatever entertainment possi-
bilities therAare in cone Hour Before
lawn" Tor the readers of this column.
Sufttce II to say that Harrison Kirke
deserved to be murdered, that George
Clayton's theory Of hypnotic sugges-
tfon was vindicated, and that the mys-
tory is we'll sustained and carried 60
logical conclusion. with no distressing
loose. ends left lying about.
"A less experienced actor that II. h.
Warner might easily have overacted
the role of George Clayton. 1t is a full
and difficult role and Mr.sWarner's work
especially his facial expressions
good. Anna @. Nilsson also plays we'll.
Harold Lloyd in "High and Dizzy;
Will Rogers's "Illiterate Digest" the
Capitol News and "Reminiscences" the
Victory Parade in Paris, shown in nat
ural a, colors, are the other film offerings.
served this week by s. L. Rothapfcl is
Gounod's Faust" presented in ten
episodes. we'll staged and capably sung.
Sudworth Frasier appears in the role
of Faust, Wilfred Glenn as Mephis-
topheles, Irene Williams as Marguerite
and Bertram Peacock as Valentine.
The orchestra and the ensemble assist
in the presentation of the most popular
gems of the opera. Alexander Ouman-
sky and Mile. Gambarelli dance to
Drdla's Souvenir" the ensemble sings
Cat Dawning," by Cadman, and the
Capitol Male Quartet sings "a Sub
urban Lay"
"The Prince Chap" with Thomas
Meighan, at the Rivoli Theater, is far
from being male and Female" the
film version of Barrie's "The Ad-
mirable Crichton." Film classics like
the latter are not produced every day
and it would be demanding too much
of the motion picture industry to ask
for it. Nevertheless Thomas Meighan
is given ample opportunity in his
present vehicle to show the same
rugged and likeable personality, the
same ability as an actor of restraint
and skill, that he did in "Male and
Female"
The theme Of "The Prince Chap" is
big enough, but it is not as big as the
theme of "Male and Female" and one
cannot help gathering the impression
that Thomas Meighan's abilities deserve
the finer frame at all times. The in
PRODUCTION of pretty and friendless
children in a play or motion picture
always wins the sympathy of an audi
ence and "The Prince Chap" is not an
exception.
William Peyton, young sculptor,
has gone to London in the interests of
his art, leaving behind him his fiancee,
Alice Travers, and her aunt, who seeks
every opportunity to make her change
her mind and marry Helmer, persis-
tent suitor. A model becomes i'll in
Peyton's studio and just before she
dies she implores Peyton to care for
40 doY1 hfor. 1r>I T.,
do so.
So firmly do Peyton and his little
ward become attached to one another
that she regards him as her father Of
course, Alice in America is informed of
the step, and the aunt seizes upon this
information as ammunition with which
to further her plans. By constant ef-
fort she causes Alice to doubt her
iance's honor. She almost believes
that he has had an affair with a model.
To prove his honor she asks Peyton to
send the child away, but he refuses,
and Alice breaks off the engagement
and marries Helmer.
Claudia grows up, Peyton becomes
famous sculptor, and in the end they
find out that instead of the love of
father and daughter another sort of
love exists.
Charlie Chaplin, in a revival of "The
Immigrant and the Rivoli pictorial
complete the film program. The or
chestra plays the ballet music from
"The Queen of Sheba." by Goldmark.
Anthony dance to Schumann's "a Car
nival EPISODE; Vincent Bach, trumpet
er, plays "Recollections of Prague" by
Hoch, and Firmin Swimmer plays the
intermezzo from "Cavaleria Rusti-
cana," by Mascngni. as an organ solo.