CAST: Eugene O'Brien (Franklin Blake), Elaine Hammerstein (Rachel Verinder), Ruth Findlay (Rosanna Spearman), William Roselle (Godfrey White), Edmund Mortimer (John Herncastle).
Director: FRANK H. CRANE. Based on the 1868 novel by Wilkie Collins. Screenplay: E. Magnus Ingleton. Copyright 10 July 1915 by World Film Corp. Review print presented in sepia. 70 minutes (at 16 fps).
COMMENT: Although her only well-known film is Rupert of Hentzau (1923), Elaine Hammerstein was quite a popular star. She was fourteenth in the 1921 list of favorite females.
As her co-star in The Moonstone, Eugene O'Brien presents quite a different personality from that he projects in "The Safety Curtain". As man-about-town, Franklin Blake, he acts with a pleasant effervescence that contrasts strikingly with his subdued interpretation of the British army officer in the later film.
The script follows the novel in little more than its main premise. Sergeant Cuff is conspicuously absent (at least in the 50-minute cutdown under review). Directorially, however, "The Moonstone" has more than routine interest. Crane is obviously out of his depth in the Indian sequences, but he shows true perception in his depiction of the drawing room. Moreover, he makes a surprising (and effective) use of pan and tracking shots.
Director: FRANK H. CRANE. Based on the 1868 novel by Wilkie Collins. Screenplay: E. Magnus Ingleton. Copyright 10 July 1915 by World Film Corp. Review print presented in sepia. 70 minutes (at 16 fps).
COMMENT: Although her only well-known film is Rupert of Hentzau (1923), Elaine Hammerstein was quite a popular star. She was fourteenth in the 1921 list of favorite females.
As her co-star in The Moonstone, Eugene O'Brien presents quite a different personality from that he projects in "The Safety Curtain". As man-about-town, Franklin Blake, he acts with a pleasant effervescence that contrasts strikingly with his subdued interpretation of the British army officer in the later film.
The script follows the novel in little more than its main premise. Sergeant Cuff is conspicuously absent (at least in the 50-minute cutdown under review). Directorially, however, "The Moonstone" has more than routine interest. Crane is obviously out of his depth in the Indian sequences, but he shows true perception in his depiction of the drawing room. Moreover, he makes a surprising (and effective) use of pan and tracking shots.
