User Reviews

It may be that in "The Barrier," produced by the Rex Beach Pictures Company, we have the great American picture, a simple, straightforward story, presented without spectacular accompaniment it is a tale of North America and of North Americans. Of the best of these and of the worst of these of men and women who hail from south of the forty- ninth parallel and from the north of it. Its major setting is of Alaska, that sparsely settled country where all that is primitive in men comes to the surface, all that is noble as well as all that is vicious. Here we have strong contrasts in character, standing out above every other kind and description of human attributes is the "greatest of these," and that is renunciation. "The Barrier" is an absorbing story, using that expression with a full appreciation of its literal meaning. It grips every minute of the time consumed in unfolding nine and a half reels. As we see it on the screen it is "The Barrier" as Rex Beach penned it. We see these types of red blood and cold steel, stalwart Americans all, walk out of the pages of the book. Edgar Lewis brings before our eyes in living flesh the men and women of our imagination. In the opening scene we feel the thrill that comes upon the greeting of those we have been led highly to regard even though we have never before met them. At the finish, as 'Poleon Doret blithely sings his song of tears and drives his canoe out into the waters of the river on his way to his "far countree," we share with those he leaves behind in the sorrow of his going. Let us come back to Mr. Lewis and his selection of types. Of the six men named in the printed cast there is but one under six feet in height. The exception is "No Creek" Lee, the man who has hunted gold for forty years and the only man in Alaska minus the honor of having a creek named for him. Russell Simpson is John Gaylord of the prologue, "Old Man" Gale of the story proper. Howard Hall is John Bennett, alias Stark. Victor Sutherland is Lieutenant Meade Burrell. Mitchell Lewis is 'Poleon Doret, Edward Roseman is Runnion, W.J. Gross is Lee, Mabel Julienne Scott is Merridy of the prologue, and Necia, the heroine of the tale; Mary Kennevan Carr is Alluna. It is what might be described as a picture cast, that is, composed of screen-trained players, and every last one makes good. To A. Gil-Spear goes the credit for a smooth script. Edward Earle was the photographer. Miss Scott shines forth as a sterling player. She has a winning personality, and she has a sure touch, whether the moments be those of playfulness or of tragedy. Mr. Simpson as the awkward miner in love with the school teacher or as the sad-eyed, drawn and bearded storekeeper in fear of an indictment drawn in mistake is a figure of pathos. He makes you feel the steel that glitters in his eye. 'Poleon in the book is a great character. Mitchell Lewis makes of his screen counterpart also a great character, one of the greatest in the picture. He has the bulk and the physiognomy and the art to portray this most lovable French-Canadian, who on more than one occasion proves his wonderful affection for Necia. Mr. Hall gives us a splendid interpretation of Stark. Mr. Sutherland is a wholesome, everyday army officer. The story is a series of dramatic situations, many of them of genuine power. One in particular that in intensity will match any that this writer recalls is the drawing out by 'Poleon of Burrell as to his intentions toward Necia, with the girl who supposes herself a half- breed hiding behind the door. The lieutenant, brought face to face with an issue that has been uppermost in his mind every minute for weeks not in the company of Necia, hesitates, temporizes. The girl comes from her place of concealment, denounces her lover and tells him she has been playing with him, that she is to marry 'Poleon on Sunday. The soldier, with the world suddenly turned upside-down, strokes 'Poleon. The Canadian, knowing the affection of Necia for Burrell, does not raise a hand. He tells Burrell Necia's love is for the soldier, not for the trapper. The soldier, ashamed, contrite, broken in spirit, stumbles out of the room. And there are many other moments, any of which would put over an ordinary production. There is the suspense of Gaylord's escape with little Merridy following the incident in Bennett's saloon; the lieutenant's encounter with Runnion and 'Poleon's smashing of a bottle over the tough's revolver; the squaw and the knife; the first kiss; the decision of Gale to surrender himself and declare Necia of straight white blood; the battle in the dark between Gale and Stark; the pursuit of Runnion by 'Poleon and the fight between the two on the sand spit. There are laughs, too, in good measure, sprinkled through the story. Many of these center about old "No Creek" Lee, both before and after his "strike." Then there are the two little half-breeds with the presents 'Poleon has brought them, the air-gun, the dog and the rubber boots. In pathos the story reaches its height at the close. Runnion is dead. Stark is badly wounded and will cause no more trouble. The lieutenant and Necia are married. Gale has recovered from the effects of his battle with Stark. 'Poleon, after removing from his canoe the two mites of weeping stowaways, paddles out into the river. He sings: Yours is a heart that laughter cheers, Mine is a heart that's full of tears. Long have I loved, I love her yet; Leave her I can, but not forget. – The Moving Picture World, January 27, 1917