After the remarkable reception that has been given the Kalem Company's "The Colleen Bawn," which has been crowding photoplay theaters in whatever part of the country it has been shown, it is hardly necessary to urge the popularity of these Irish subjects. The record thus far is an enviable one, and one of which both the Kalem Company and its players may feel reasonably proud. We introduce, therefore, the latest subject, entitled "Arrah-Na-Pogue." feeling that anything we can say will be superfluous and that its success is already assured. "Arrah-Na-Pogue" is another of Dion Boucicault's romantic Irish dramas and one which has had some vogue in its day. It was written at a time when rebellion was rife and British rule was oppressive in Ireland. The period is about the same as for 'The Colleen Bawn," and the scenes of the picture were taken in the same locality, as primitive today as they were when the supposed characters were living. Thanks to the careful work of the producer those scenes and characters have been preserved in all their primitive quaintness and simplicity in the pictures. The drama is in three acts and covers a lapse of time of about thirty hours. In that time much happens and that fact gives action to this picture. The Kalem players have added a prologue to the written version which goes back to the time when Arrah Mellish aided the escape from prison of her foster brother, Beamish McCoul, by passing a message to him with a kiss, for which she was given the name "Arrah-Na- Pogue,"' or, Arrah of the Kiss. Then the events of the play follow in regular order. Beamish McCoul has returned from exile at the request of his sweetheart, Fanny Power, and is to take her back to France with him. He robs Feeny of the proceeds of the estate and gives some of the money to Arrah as a wedding present, for she is to marry Shaun the Post on the following day. Feeny happens along and sees the notes in Arrah's possession and at once believes that Shaun helped rob him. He is in love with Arrah, himself, and sees a good chance to get Shaun out of the way and get his money back at the same time. Shaun is arrested and tried for the crime and sentenced to be hanged. Through some mischance Fanny gets the idea that Beamish is untrue and she fails to carry out her part of the plan to marry and leave the country. She does not keep her appointment, but sends a messenger accusing Beamish of unfaithfulness. The same messenger tells Beamish that Shaun has been sentenced to death for robbing Feeny. He decides to go to the secretary of state and give himself up to save Shaun for Arrah. In the meantime Fanny discovers that there is no ground for her jealousy and she promises to marry Captain O'Grady, her guardian, if he will use his good offices to secure Shaun's release. Later, when she hears what Beamish has done, she hastens to the secretary, also. So it happens that Beamish. O'Grady and Fanny call on the secretary at the same time. This gives an opportunity for a bit of comedy which has been well improved by the Kalem players. In the end the secretary grants the pardon requested and the three post back to save Shaun. While Shaun's friends have been interceding for him Arrah has also been trying to console him. She gains the parapet of the jail in which he is confined and drops a note to him down the chimney. This and the sound of Arrah's voice, rouses Shaun to action. He breaks his bonds, tears the bars from the jail window and climbs the ivy-covered wall to the roof of the jail. Feeny, who has been seeking Arrah, is there before him and has threatened to kill Shaun if Arrah does not run away with him. He is about to drop a stone on Shaun's head when Arrah grapples with him and succeeds in holding him till Shaun arrives and throws the rascal over the parapet into the lake below. Shaun is afterward discovered by O'Grady and the soldiers, and advised of his pardon and the scene ends happily for everybody, except Feeny, who was drowned. The character portrayal of Feeny by Mr. Vignola stands out as the best bit of picture acting in this subject, and the brief appearance of Mr. McGowan as the Secretary of State is as good as anything he has ever done in pictures; it fairly speaks out from the canvas. Though the parts of Shaun and Arrah do not attract quite so much attention to Mr. Olcott and Miss Gauntier, as did their parts in "The Colleen Bawn," they are very pleasing in their portrayal of those characters. Mr. Donaldson's O'Grady is fine, and Miss Mapes is especially worthy of commendation as Fanny Power, which character she has raised to the dignity of a leading part in the picture. Her manner is charming and dignified throughout. There is not a dull moment in the entire three reels of this subject and there are many situations that are intensely gripping. For sustained action it is the best three-reel subject we have seen up-to-date. - The Moving Picture World, November 18, 1911
