New-York tribune., 1921-10-30
"Peter Ibbetson''
Is Reid's Finest
Subjective Role

Wallace Reid was born handsome
and, strange as it may seem, had to
fight his way through lot of light roles
before he had an opportunity to find
himself in the part of Peter Ibbetson,
now current at the Criterion Theater
Never in his life has he given such
nerformance-it is the first time Reid
has really reached the emotions Of his
audiences.
Reds physical prowess is not hiddea
in the new production. He is a good fight
e., and meets Ivan Liwow. the giant
Russian, in bout that is more like
an old-fashioned sporting print than
the modern pugilistic contest. A bat
tie with bare knuckles. 1t is a scene
that presents Britain some eighty years
ago. Peter wins the battle and is car
ried on the shoulders of the mob, but
he didn't enter the ring to win fight
he was carried away by his spirit of
fair play, challenged the winner OF a
fouled fight, and then after the victory
felt himself debased by the popular ac-
claim and the sight of blood
Again, Reid is the introspective and
unhappy youth who was offended by
sordidness. 1t was the sordidness Of the
life that centered about Colonel Ibbet-
son that drove him from that rich
mans home-yet there was also a sort
of reverence for the women who fre-
quented the colonel's castle; min
Cling of idealism made more poignant
by contempt for the men about him.
1t was an attribute that never left him.
The scene in the dressing room of
Dolores. the Spanish dancer, is typical.
Peter had gone to music hall, and
Dolores, remembering him from the
time when she was the center OF the
colone1s festivities, had coaxed him to
her room. She made violent love to
hina, more to make sport of his ideal
ISM than to gain his affection. The colo
mel entered the room and found the
two together. His first comment was a
thrust at the dancer and the youth and
the second was at Peters mother, The
timid youth who had been frightened
when he pulled the trigger of a gun
aimed at bird, became blind ayenger
and clutched the colonel by the throat.
Stegehands separated the two and the
colonel escaped, followed to his home
by Peter. He stood before the trem-
bling old man for an instant demanding
d retraction, and when the colonel
drew weapon the iivid Peter struck
nm down--dead. Throughout the vary
lng emotional sketching the character
is always Peter and never slips into
tho Reid philosophy
Then follows the trial at which Peter,
standing like a Stole, is sentenced to
death. Through the early morning fog
in the prison yard he marches between
two guards to the gallows, only to be
led trembling down again to his cell TO
learn that his sentence has been COM
muted to life imprisonment, thanks to
the efforts OF Mimsi. The thought Of
death was less enervating to Peter than
that Of lying the rest of his life within
narrow stone and steel cell. but an
instant change comes over his face,
different psychology reveals itself il
him when the happy, crying Mimsi tells
him that they can spend their honey-
moon in their dream adventures to-
gether. He returns to the cell a diff |
1erent mana dreamer of dreams and
a great lover who found in his spirit
adventures full blooming of his ideal !
ISM. 1t is the greatest love in the
world-one that even death could not
end. In the closing scenes of the plav
Reid appears as he has never appeared
before-a white-haired, wrinkled old
man who showed still the buoyant
youth that was born Of many wears
spect in dreaming.
Peter is Reid's finest subjective role |
1t Is the first great part in which his
years Of acting cgystallize in an emo
tional portrait. 1t is part which
points to superb acting in a serious
ssie.