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"INTOLERANCE" A WALLOP AT REFORMERS
AND CHARITY A SCENIC SENSATION
BY HAL COCHRAN
The lesson of ages, love and laugh
ter, and freedom of thought, action
and being, are involved in a picture
play of the four greatest stories of
world history. This play is "Intoler
ance,", a David Wark Griffith produc
tion now showing at the Colonial
theater. It is truly the most wonder
ful and spectacular silent drama of
thrills, laughter, adventure, love and
last but not least, suspense, that the
world has known.
The "coming-out" party of "Intol
erance" took place Tuesday night,
and judging from the way the initial
audience took it, the production is in
for good.
The theme of the play is told In
four plain little stories which stretch
back from the present time over cen
turies back to Jerusalem 27 A. D.,
to France in the times of Catherine
de Medici, 1572 A. D., and to Baby
- Ion, 539 B. C,
The modern story shows how it is
possible for men and women pretend
ing philanthropy to really work in
jury and misery to their fellows. The
chief figures, The Boy (Robert Har
ron) and The Dear One (Ma'e Marsh)
are drawn into the maelstrom of a
great strike.
The strike is the result of a cut in
wages. The millionaire employer
orders this cut in order to furnish
funds to a so-called reform organiza
tion. A "Committee of Seventeen'
,(which looks very much like a clever
take-off on Chicago's famous Com-
mittee of Fifteen) gets its hands on
the wage-cut money and does more
harm than good for humanity, which
is so often the case with reformers
and the charitable organizations.
The Boy, The Dear One', and The
Friendless One, go to the city, as a
result of the strike. The Boy is led
into a vicious life but in the end is
redeemed by the perfect love of The
Dear Qae. The Friendless One meets
the Musketeer of the Slums pd is
dragged down into the undercur
rents. "i
In the second tale you see the Man"
of Men, the humble Nazarene; Talk
ing and teaching among His -people.
You see Him fall beneath the lash of
Roman soldiery, and last you ape him
perish on the Cross of Calvary.
In the third story you see the mag
nificence of the court of Charles TX,
the festivities in the streets hose
in honor of the betrothal of thsyCath
olic Princess, Marguerite of yJkis,
and the Protestant prince, Her of
Navarre. A love story invdjng
Brown Eyes and her swsethdrtjshis
lightly through this story ww&ie
massacre scene which is woiwerfttlly
realistic. ;
, - .
The fourth story is pfcbigk'.in
Babylon, at the time Belshaaaarbke
Golden Prince, was ruling for'JUs
father, Nabohidus.j In this scene.jke
Princess Beloved and the Mountain
Girl are both in love with Belshasiir.
You are shown the Feast of BeWWut
zar and the hordes of Cyrus the Grjlit
sweep over the plains of the ip
phrates with thousands of charjdfe
to battle at the gates- of Babyltm.
The scenes of this battle are -prcifc-ably
the most terrible, yet most wbm
derful of all moving picture scene!.
Mighty walls, towering three hun
dred feet in the air are packed with
men fighting "to the death" with im
plements of olden time warfare;
burning oil, spears, huge boulders
and moving towers. ,
And on the lighter side of .this
scene there are dancing maidens Rh
little more on than a smile; thou
sands of wonderful costumes of bldla
times, and a run of perfect Sam
throughout. ' "
The scenes in the modern end of
