Samuel Lover wrote many interesting tales of Ireland, not the least of which is "Rory O'More." This story was dramatized and in that form was probably Lover's most successful work, gaining a world-wide reputation for its author as a dramatist. Now it is to further contribute to his memory in motion picture form, for "Rory O'More" is the title of the first of this year's Kalem Irish pictures to be released. It is a pleasure to testify to the general excellence of the production. Photographically it approaches perfection to a degree that is unusual, and several pleasing and novel effects point to the photographer's skill and ingenuity. In the matter of scenic effects it might be claimed that views quite as beautiful are to be found in America; but that would not be a just criticism of this picture. The purpose of the Kalem Company in sending its players to Ireland was to produce the Irish classics on Irish soil, amid the very surroundings about which they were written. Therefore, when we view the rugged hills and the wildly romantic river of the picture, we are looking upon the selfsame scenes in the south of Ireland of which Lover wrote. This charm of realism will have a strong appeal. In the very first scene is shown a meeting between Rory and his sweetheart, Kathleen, upon the rocks about which a mountain torrent is tumbling wildly. At another time the lovers meet upon the rugged, rock strewn side of a mountain; mist-dimmed hills form the background, while far below in the valley is the footpath along which may be seen the approach of the British soldiers in quest of the fugitive. Another scene, which is most typical of the country, shows the Irish donkey hitched to its cart, still a familiar scene in the rural districts, especially in the hills where the donkey is about the only safe mode of locomotion. This and the thatched roof of the cottage are typically Irish and will awaken fond memories in many a loyal Irish heart. A unique scene is that of the imprisonment of Rory, when after his capture he was locked in jail to await trial. Through the barred door the captors with their prisoner are seen approaching the jail; the door is opened and Rory is thrust in, the door closed and locked and the captors marching away. It is a weird photographic effect accomplished by placing the camera inside the jail. For the story of the picture the reader is referred to the book and the play. Briefly, Rory, an adventuresome young Irishman of revolutionary tendencies, was arrested after much effort on the part of the British soldiers then policing the land, tried for treason, convicted and sentenced to be hung. He made a sensational escape and left the country for America, bringing his sweetheart and mother with him. These incidents are dramatically portrayed in the picture. Jack Clark impersonates Rory; Miss Gauntier is a charming Kathleen. As the militant priest, Arthur Donaldson gives a splendid characterization, and Robert Vignola is most vindictive as the informer. Among the more interesting scenes is that of the trial which is put on with great care for detail, and the execution scene when Rory is released by the priest and makes his escape over the wall just as the noose is about to be placed about his neck. It will be interesting to many exhibitors to know that Samuel Lover, the author of the story and play from which this picture was taken, paid an extended visit to America in 1846, during which year he landed in Boston. His tour included nearly all of the then principal cities of the country, extending as far south as New Orleans. There are still living some who will recall the occasion and will be interested in the portrayal of his story. - The Moving Picture World, August 19, 1911
