Word: villain
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Dates: during 1920-1920
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...Modern Nursery." "Marriage a la Mode," "The Roof Tops of New York," and "Keystone Beach" are the other pocket comedies, which afford the principals plenty of chances to gain the hearty approval of the audience. The last-named has a most realistic movie "chase" of hero, heroine, villain, comedians and bathing girls, the effect of an actual movie being very creditably achieved...
...unconvincingly developed to send that creepy sensation up the collective spines of the audience. The play takes a prologue and one uninteresting act to get under way; but the last two acts have at least the virtue of holding fast one's attention. The action depends on the villainous Frank Devereaux's efforts to seduce innocent women and the resultant triangle of false suspicion, threats, and "evidence." In a struggle for his revolver, Devereaux is shot by "Lafe" Regan, whose wife is in the next room--she having visited Devereaux for the purpose of protecting her daughter. Regan arranges everything...
...emotional powers, and her acting is excellent throughout, although possibly a trifle over-done in the "big scene." She is very human in her gestures and facial expressions in particular. Mr. Baker gave a consistently good interpretation of the husband, and Mr. Minturn was a self-possessed, smiling villain. Miss Beatrice Allen was a shivery, clinging type of daughter-heroine, while Mr. Slaytor did well as the landlord. One of the best pieces of acting in the entire show was done by Mr. Vivian as Ferguson, the valet. He received a liberal share of the applause, and aided...
Outside of a conventional telephone conversation for the beginning and the villain's change of heart at the end, Lou Tellegen's "Underneath the Bough" at the Colonial is distinctly at play of an unusual type...
...discretion, to recognize that both will persist, and that, in fact, their fields of endeavor do not overlap. The moving picture, able to change the scene, or setting of the action in an instant, so that everything, the ship-wreck, the escape by aeroplane, the hanging of the villain, all take place before our very eyes, is undeniably the most effective means of presenting those stories of action which depend for their chief interest on the interplay of incident. To put William S. Hart on the stage and confine him almost exclusively to words, would be to revive...