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of the best illustrations of the intimate mood in photoplay episodes. On the girl's entrance the uncle overwhelms her and the boy by saying she is pursuing his nephew like a common woman of the town. The words actually burst through the film, not as a melodramatic, but as an actual insult. This is a thing almost impossible to do in the photoplay. This outrage in the midst of an atmosphere of chivalry is one of Griffith's master-moments. It accounts for the volcanic fury of the nephew that takes such trouble to burn itself out afterwards. It is not easy for the young to learn that they must let those people flay them for an hour who have made every sacrifice for them through a life-time. This scene of insult and the confession scene, later in this film, moved me as similar passages in high drama would do; and their very rareness, even in the hands of photoplay masters, indicates that such purely dramatic climaxes cannot be the main asset of the moving picture. Over and over, with the best talent and producers, they fail. The boy and girl go to the party in spite of the uncle. It is while on the way that the boy looks on the face of a stranger who afterwards mixes up in his dream as the detective. There is a mistake in the printing here. There are several minutes of a worldly-wise oriental dance to amuse the guests, while the lovers are alone at another end of the garden. It is, possibly, the aptest contrast with the seriousness of our hero and heroine. But the social affair could have had a better title than the one that is printed on the film "An Old-fashioned Sweetheart Party." Possibly the dance was put in after the title. The lovers part forever. The girl's pride has had a mortal wound. About this time is thrown on the screen the kind of a climax quite surely possible to the photoplay. It reminds one, not of the mood of Poe's verse, but of the spirit of the paintings of George Frederick Watts. It is allied in some way, in my mind, with his "Love and Life," though but a single draped figure within doors, and "Love and Life" are undraped figures, climbing a mountain. The boy, having said good-by, remembers the lady Annabel. It is a crisis after the event. In his vision she is shown in a darkened passageway, all in white, looking out of the window upon the moonlit sky. Simple enough in its elements, this vision is shown twice in glory. The third replica has not the same glamour. The first two are transfigurations
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