FALSE FACES
starring Lon Chaney, Bert Lytell and Henry B. Walthall
PHOTOPLAY
February, 1919
Here is a continuation of the career of "the Lone Wolf," Louis Joseph Vance's story whose first -- and, we might say, only inspired -- part was done into a photoplay a year and a half ago by Herbert Brenon. "False Faces' runs more to the wild, rapid and characterless incidents of mechanical melodrama; whereas "The Lone Wolf" was the gripping, human story of a forlorn little boy who grew into manhood with a great and not wholly unjust hate. In the second tale we have wholly to do with the fights of the matured Wolf with ring after ring, combination after combination, of German spies and military or naval agents. As a melodrama of incident rather than character, it is technically good. Thomas H. Ince has supplied an abundant and well-ordered production. Henry Walthall is the Wolf instead of Bert Lytell, Brenon's defiant outlaw, and, for a story of the present nature, is probably better than Lytell would have been. Mary Anderson is a vivid and appealing child in an opposite assignment, and the roster of performers includes such strong masculine meat as Lon Chaney, Thornton Edwards and William Bowman.
FALSE FACES
starring Lon Chaney, Bert Lytell and Henry B. Walthall
MOTION PICTURE
May, 1919
If you like melodrama, you'll like "False Faces." It is one of the slickest thrillers we have ever seen put on. The story of German intrigue and American courage travels at third speed all the way of its five reels. Henry Walthall has the leading role, and, while he has no opportunity for strong emotional work, he has for speedy action, and proves himself physically unafraid. Mary Anderson is charming as the heroine. Here is an ingenue who radiates sincerity, than which not even beauty is so to be admired on the screen. Practically all of the scenes contain a thrill, but those on board the submarine are especially to be commended as technically perfect.