The New Pictures

The Bandolero. Bandits and bullfights all wound round with a shawl of Spanish atmosphere make a good start. In the detail and fineness of photography, the pace is excellently maintained. Overcomplication of narrative with divided interest between the bullfight hero and the bandit hero check the proceedings slightly. Bullfight hero's father has murdered bandit hero's wife. Bandit hero accordingly objects seriously to marriage between his daughter (Renee Adoree), and bullfight hero. The horns of the dilemma shift to the horns of the bull. Bull gores bullfight hero. Daughter weeps and bandit hero cannot bear that. Happiness.

Madonna of the Streets. Nazimova is the wicked wench who gets religion in the last reel. She is still a good actress, individualistic, still Nazimova. Limehouse is the locale. Into its smoky dens and muddy passages comes the Rev. John Morton to found a mission. He inherits a million pounds and the girl marries him to help distribute it. When he distributes it to the poor instead of to her, she displays irritation. Back to the streets he hurls her. By this time she finds she loves him and not his money and crawls back to his chapel dying. Opportunity for a miracle, which he forthwith performs.

Manhattan. R. H. Burnside, who used to devise and launch the homeric spectacles at the Hippodrome, has directed his first picture. The expansiveness of the movies seems to agree with him. In the generally entertaining document he starts with the purchase of Manhattan Island for $24. Later events develop into a fairly normal gang picture with Spike reforming and marrying the little angel of the slums.