RAFFLES, THE AMATEUR CRACKSMAN
Starring John Barrymore
MOTION PICTURE MAGAZINE
March 1918
E.W. Hornung's Raffles," the father of all "amateur cracksman" stories, has been celluloided into a photodrama which is a worthy successor to the stage play adapted by Eugene W. Presbrey, in which Kyrle Bellew starred. It is, of course, primarily a starring vehicle for John Barrymore, and he makes of Raffles, society crook who steals for the excitement of the chase and who exercises great ingenuity in the methods of his escape from justice, an interesting character. The sop to the powers that be, namely, that Raffles stole to help the poor, is the only discord in the whole piece. A fictionary thief as fascinating as Raffles needs no other raison d'etre than his entertaining self; however, in real life he might not be so entertaining. Mr. Barrymore has little mannerisms that are distinctly John Barrymore. Notice the perpetual, quick little nod of his head, the continual opening of his eyes. His suavity, cool collectedness and resourcefulness are indeed typical of the character. The action is so swift, the settings so excellent, and Mr. Barrymore such a magnetic John Barrymore, that "Raffles is thoroly enjoyable.
RAFFLES, THE AMATEUR CRACKSMAN
Starring John Barrymore
VARIETY
December 7, 1917
What the elder Barrymore and "Captain Swift" were
to a former generation, young John Barrymore and "Raffles,
the Amaeteur Cracksman" are to this. The initial production
of the newly organized L. Lawrence Weber Photodramas Corp., this
seven-reel picturization of the sensationally popular E.W.Hornung
rogue romances, by virtue of its artistry, intensely sustained
suspense and irrefutable logic must grip audiences for many seasons.
No type of hero in all the files of the drama or literature is
more fascinating than the polished outlaw, especially when his
deeds are impelled by some circumstances or trend beyond his control.
To gainsay that "Captain Swift" and "Jim the Penman"
were not the most welcomed and applauded of the stage heroes of
their periods would be to deny the overwhelming evidence of box
office statements. To question the world-side éclat of
"Raffles," when Hornung first flung him before the gaze
of an astonished reading public some years ago, would be equally
fatuous. To question the intense hold that the same hero seized
when Eugene Presbrey transplanted "Raffles" to the speaking
stage would be to dispute a stage revenue that the records show
exceed those of any play of its time. It is this material that
Anthony Kelly has absorbed and scenarioed flawlessly and George
Irving has directed with a delicacy, scenic beauty, and sustained
thrill that command for him a place in the ranks of the country's
artistic producers. Young Barrymore demonstrates in this play
his claim to the dramatic genius of his illustrious father. Based
on the irresistible inclination for excitement that a well born
English youth fights in vain until involving himself in most thrilling
situations as an amateur cracksman, matching his wits and his
brawn against the keenest and strongest entities that society
has made his foes merely that he may revel in the thrills of danger
his experiences evoke, the "Raffles" role fits young
Barrymore as it could fit perhaps no other player before the American
playgoing public. Suggesting youthful enthusiasm with a steeled
control of nerves that are clearly ever highly taut, Barrymore
typifies a splendid concept of a gentleman rogue. The kind of
fascination that ever appeals to women, even when they know the
object of their interest to be beyond the pale, radiates from
the act and makes all observers his friends at once. The principal
vivid incidents of the novel and those transferred to the stage
are retained, the theft of the Melrose diamonds, when the Melrose
maid hands them over the balcony to a waiting confederate only
to have them coolly appropriated by "Raffles" (a guest
in the house), reaching a big climax. The marine views of the
Mediterranean and including a hair-raising dive by "Raffles"
from the rail of an ocean liner in time to escape the bullets
of pursing detectives are admirably "shot." There is
not a scenic or personal blot in the production. Frederick Perry
as Bedford, the detective sworn to catch the elusive cracksman;
Mick Donlin, the real cracksman from whom "Raffles"
takes the Melrose stones; Charles Morgan, who plays "Bunny,"
Raffles' pal; and H. Cooper Cliffe, among the men, give the star
support that make the dramas vivid and convincing every moment,
while the lighter notes, including the love suggestion that runs
through and eventually dominates the theme, are sounded with fine
color and fervor by Evelyn Brent as Gwendolyn, whose influence
culminates in "Raffles'" final escape and reform, as
well as by Christine Mayo, the girl who loved and lost him. She
imparts to the difficult role of Mrs. Vidal a grace and feeling
that make it stand out conspicuously. This picture is being offered
in the open market. It is a superpicture too big and fine to be
limited to a regular program.