Fires of Youth

“It would seem as though Pathé were engaged in a commendable effort to picture labor conditions, and presenting the manner in which some capitalists regard the working class. For the second time in as many weeks that firm releases a labor problem picture in The Fires of Youth, produced at the Thanhouser studios. The former film was The Iron Heart [Astra-Pathé]. The latest production has Frederick Warde as star, assisted by Jeanne Eagels. Both films have virtually the same theme, but with an entirely different plot to illustrate it. A capitalist is too busy adding to his already large fortune to enjoy himself and is so ruthless in amassing wealth that he will not improve the working conditions of his employees. A little child revolutionizes his attitude toward life. But, as indicated, the working out of the theme is so different that an exhibitor could run the two pictures on consecutive days without misgivings as to their reception by his patrons.

“Emile Chautard’s direction of The Fires of Youth, is exceptionally capable. The setting for each scene, whether it be exterior or interior, is highly pleasing to the eye, contains the correct atmosphere, and due consideration is given the action and dramatic value of each incident, and its relation to the climax. The acting of the entire cast is strong and especial credit should go to Jeanne Eagels for the manner in which she raises a conventional role out of the rut. She acts with judgment and makes a charming appearance. Frederick Warde is impressive as ‘Iron-Hearted’ Pemberton, creating a distinct character out of the elderly money-maker. But one fault is to be found with Mr. Warde’s acting; in his dramatic moments he is prone to inject a Shakespearean atmosphere, which does not exactly fit into a labor play. Little Helen Badgley, in the role of the boy, Billy, helps in putting the picture over. The Fires of Youth will please a general audience. There are few communities which are not interested in a story that depicts the triumph of labor over capital. This theme, naturally, should form the basis of advertising, with due consideration of Frederick Warde, whose name will carry much weight.”

“Figured as a program release, this gets a little above the ordinary because the producer has taken rather an old idea and dignified it by making a few of his dramatic moments truly impressive by close-ups, nice timing of emotions, and intelligent cutting and flashing. This was particularly true of the scene where the millionaire owner of the mills, who had been living with the workmen to get their viewpoint, found that the little boy who had led him to do this human thing had gone into the foundry to save his molds, so that the old man would not be fired for neglect. An accident had loosened the molten metal, burning the boy badly, and in that way it was brought home to the owner that his neglect had placed this child, who had become so dear to him, at death’s door. The handling of this scene alone was enough to make the offering worthwhile. It was well done, the tempo was splendid, and I believe it will give a lump in the throat to the average audience.

“Considered as a whole, the story was very old stuff. The situation of hard-hearted mill owner being brought down among his employees, incognito, through the love or friendship of a child, has been done many times. There was nothing particularly new about it and we knew all the time that he was going to announce wonderful reforms on the finish, with everybody happy. With this handicap it was necessary for the director to make his action rather interesting and give some distinctive lightings in order that this production might have any chance whatever.

“Mr. Warde has a very pleasing personality in such a character, except when there is a trace of the actor slipping into his gestures. Opposite Mr. Warde was Jeanne Eagels, and this little lady has big possibilities, I believe, if she will be handled so that there will be no artificiality in any of her action. This was only her second picture, and in many of her scenes she was very effective, but occasionally there was a touch of ‘acting’ which didn’t ring true, with the result that it marred her characterization at times. Little Helen Badgley, as the boy, had some good scenes and will make good with an audience because she is a clever youngster. The other members of the cast were ordinary, and some of the extras were very bad. The scene outside the mill owner’s home where a group of extras were going to do violence was awful. They shoved one another around in the usual manner, with much arm waving, and of course there was one gink that wanted to fight his way through, and somebody wished on us the title ‘Let me get at him!’ Oh, boy—why will they do those things! Others in the cast were Ernest Howard and Robert Vaughn.

“The Box Office Angle: This has been sufficiently well done to justify your putting it over as a program offering, and I believe that the contrast between the three principal characters, Mr. Warde, Miss Eagels and little Miss Badgley as the boy, gives enough human interest to the action to make the average audience figure that they have spent their time to advantage. You might arouse some interest in this by such advertising as the following: ‘Are you too old to play? See Fires of Youth.’ ‘Are you missing the joy of being young, no matter what your age? See Fires of Youth.’ ‘Should December wish for May? See Fires of Youth.’”

“’So many people are curious to see Frederick Warde in his first modern play, Hinton’s Double, that we have casted him for another minus doublet and hose. The Shakespeare fans throughout the country, who have organized Frederick Warde Shakespearean clubs, don’t know what to make of it. But they all wish him well in the change, and their interest in his future pictures has increased for the very reason that the films will reveal a new Frederick Warde to them. We have not decided on a definite title for this feature as yet, but I might state that the cast consists of Mr. Warde, Jeanne Eagels, Robert Vaughn, Carey Hastings, James Ewens, Ernest Howard, Grace Stevens, and little Helen Badgley.’”

“Fires of Youth, the Thanhouser-Pathé Gold Rooster Play, released June 15, is conspicuous as the first production directed by the veteran Emile Chautard for the Thanhouser forces. Mr. Chautard is considered the dean of modern picture directors, having entered the business in France in its infancy and transformed the Eclair pictures from stereotyped photographs of drama to dramatic visualizations of unusual stories. The year 1914 saw the production in Paris of the first multiple reeler of its size made up to that time—L’Aiglon, in 13 reels. Chautard was the producer; Edmond Rostand, the noted author of this great work, had selected him from among a score of celebrated French directors for this important job. The French government, for the first time in history, permitted the actors of the Comedie Française to appear in a film production. Under Mr. Chautard’s direction in the new Thanhouser-Pathé production are Frederick Warde, the Shakespearean stage star, and Jeanne Eagels, late leading woman for George Arliss.”

“After a long absence from the Thanhouser studio, Helen Badgley, famous as the ‘The Thanhouser Kidlet,’ is back on the job. Of course the ‘Kidlet’ is much older now; in fact, is no longer really a ‘kidlet.’ She is eight years old! ‘Oh yes, I have grown up,’ says Helen, ‘and I hope the people around this studio will call me ‘Miss’ now.’ One thing must have indicated to Miss Badgley that the studio recognized she had grown up. She was given a separate dressing room. In old days she ‘made up’ with some older member of the stock company. Now she occupies her own room adjoining that of Jeanne Eagels, whom, with Frederick Warde, she supports in the new feature. ‘Yes, Miss Eagels and I are in it,’ concedes Helen. ‘It,’ by the way is Fires of Youth, Emile Chautard’s first Thanhouser-Pathé Gold Rooster Play, which is released June 15.”