Opinion is bound to differ regarding the moral aspect of the sacrifice made by the heroine of "Panthea," but there can be only one conclusion as to the story's power to arrest attention and hold it unbroken to the end. Such a condition means drama in the fullest sense of the word, and the screen version of the Monckton Hoffe stage play which Mme. Olga Petrova, the Russian actress, brought to this country, preserves this indispensable quality through its entire five reels. The production, made under the auspices of Joseph M. Schenck and Lewis J. Selznick and directed by Allen Dwan, is admirable; and Norma Talmadge and the members of the supporting company act their parts with a commendable degree of earnestness and artistic appreciation. The transfer from stage to screen has been accomplished at the loss of considerable character study in ultra- English types, but a corresponding gain in dramatic intensity is to be noted. The explanatory scenes in Russia, showing Panthea's reason for leaving her native land, which are not found in the stage play, are graphic and illuminating; and the shipwreck on the English coast which is the means of introducing the Russian girl into the household of Sir Henry Mordaunt is picturized with effective realism. Although it is necessary for Panthea Romoff to meet, fall in love with and be married to Gerard Mordaunt before she comes face to face with the Baron de Duisitor, in Paris, it is not until this moment that the objective point of the plot is foreshadowed. When the titled gentleman makes the proposal to Panthea that she give herself to him for one month in exchange for his securing her husband's opera a public hearing, every possible extenuating circumstance has been marshaled in the wife's behalf. It is on this situation that the play finds its measure of praise or condemnation. Whatever its ethical standing, its dramatic worth is beyond dispute. The ending, showing Panthea and her husband on their way to Siberia, detracts from the story. The woman is innocent of murder, her father-in-law is a wealthy English nobleman, and, so long as it is clearly intimated that she is to be set free, it should come at the moment when the Baron is about to betray Panthea to the Russian Prefect of Police. A slip in the Baron's communication to this official, is the manner in which he signs the letter. Barons and other gentlemen with handles to their names are not in the habit of prefixing their titles to their signatures. The burden of acting borne by Norma Talmadge in "Panthea" would tax the ability of an emotional actress of the highest rank. The star of the screen play never suggests the land of her supposed nativity or the more erotic type which Mme. Petrova associated with the character; but, she does sound every emotion that stirs the heart of this woman who makes the supreme sacrifice out of unselfish love, and wins additional sympathy by reason of her youth, comeliness and the excellence of her histrionic method. Earle Fox, as Gerard Mordaunt, has the most important male role. Panthea's infatuation for him is easily understood, but he is not English and his big scene tries his powers to their utmost. Roger Lytton has the bearing and the sensual refinement which belong to Baron de Duisitor and George Fawcett repeats the success he has hitherto achieved as a police official of high rank. The actor who plays Panthea's Russian sweetheart and aids her to escape to England, should be credited with lifting a comparatively small part into prominence by reason of a flawless performance. Murdock McQuarrie, Count E. Von Stroheim. Norbert Wicki, William Abbington, Winifred Harris, Elaine Persey, Stafford Windsor, Dick Rosson and Frank Currier are the remaining members of a judiciously chosen cast. "Panthea" is not brain food for callow youth, but will be enjoyed by those who are capable of appreciating its mental stimulation and the care bestowed upon its making. – The Moving Picture World, January 27, 1917
Review of Panthea
