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STOCK EXCHANGE NEWS.

Date: 08 February 1920

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NOTICED AND NOTED; IN THE NEWS NET.

Date: 08 February 1920

ONCE more it seems demonstrated that necessity is the mother of invention.

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THE SCREEN

Date: 09 February 1920

Lionel Barrymore has brought to the screen much of the simple humanness and dramatic strength that distinguished his performance on the stage in "The Copperhead." The motion picture version of the Augustus Thomas play which he made famous is at the Rivoli this week, and, as in the original, it is the character of Milt Shanks that makes it important. And it is Lionel Barrymore who makes Milt Shanks important. It is only by concession to theatrical exigency that one can explain this man of deep human feelings who unnecessarily endured for forty years the dishonor and degradation he brought upon himself by the kind of service he was called upon to render during the civil war, but, as personated by Mr. Barrymore, Milt Shanks becomes genuinely human. For the time of his presence on stage or screen he is convincing. He is not questioned until later, and even then, so unforgetable is Mr. Barrymore's performance, the average person is likely to cling to its reality despite all logical objections. So it was with Milt Shanks on the stage, and so it is with the same man on the screen.Mr. Barrymore has not announced whether he will continue to divide his time between the stage and moving pictures, but, for the sake of those who may miss him on the former and see him in the latter, it is to be hoped that he will. In him the screen has acquired not only a well-known actor, but a pantomimist of the first rank, who possesses the rare talent for making himself intelligible by silent acting, yet without crude extremes and exaggerations of gesture or expression. He has subtlety and restraint, without the Sacrifice of force and precision. In his quiet moments he acts where another might simply pose, and in his more intense scenes he is direct and definite where another might be sure only in following the formulae for registering stock emotions. May the screen have a part of his time, at least.There is more than Mr. Barrymore's performance, however, to make "The Copperhead" plausible. There is for example, the notable performance of Doris Rankin, as Milt Shanks's wife, and others in the cast contribute specifically to the photoplay's success, especially Richard Carlyle as Lem Tollard, Arthur Rankin as Joey and Leslie Stowe as Brother Andrew. The brief part of Abraham Lincoln is played by N. Schroell, a restaurant waiter, selected for his supposed natural resemblance to the President, and, in certain poses he does strongly suggest Lincoln as known today in pictures, but at other times the suggestion is faintly, if at all, present.An unqualified word of approval must be added for the adaption and direction of the production by Charles Maigne. Most of the original narrative is preserved on the screen and the physical appearance and atmosphere of the civil war town, which was really built on Long Island, strengthened the story greatly. Furthermore, in the selection and supervision of his players, Mr. Maigne seems to have been generally competent. On the whole, "The Copperhead" is something unusual among photoplays.A protest must be made, however, against two subtitles, or leaders, at the end that do everything in their power to destroy the impressiveness given by Mr. Barrymore to Milt Shanks's death. One person present is quoted as remarking that the dead man's body looks small, whereupon another character gravely replies that the "souls of some men are so great that they are missed." What an intrusion of the ridiculous.The Strand has a long, and in many places, entertaining program this week. The first pictorial number is the Topical Review, which includes, in addition to interesting news pictures, a bit of Lourdes, France, as accurately reproduced in Pathecolors. Then there is one of Max Fleischer's always enjoyable "Out of the Inkwell" drawings, and, next, suitable to the week, a short film called "The Land of Opportunity" in which Ralph Ince, known now chiefly as a director, gives a rather convincing impersonation of Abraham Lincoln. This picture is also at the Rialto and Broadway.The principal photoplay at the Strand is "The Blooming Angel," with Madge Kennedy as its main attraction. Pat O'Malley is also much better than the story, which is bright and pleasing at first but becomes tedious before the end is reached. The plot is scattered over the capers of college youths and the heroine's cheerfully impossible and dishonest success in business. The picture was directed by Victor L. Schertzinger.At the Strand, and also the Rivoli, is a funny Harold Lloyd farce entitled "His Royal Slyness.""The Thirteenth Commandment," with Ethel Clayton, is the photodramatic film at the Rialto, and the Broadway will begin its week tonight with "The Loves of Letty," with Pauline Frederick, and a musical show entitled "Powder-Puff Follies."The photoplay at the Capitol is "The Luck of the Irish," with Anna Q. Nilsson and James Kirkwood, directed by Alan Dwan. It is a rampant melodrama with some good pictures and acting all but spoiled by strutting and banal subtitles.The Capitol has a variety of other films, including a Travelaugh by Hy Mayer, and is offering a new musical number called "Southland."

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