Devil's Prayer Book (1915) The "come on" gets the worst of it. George Kleine Drama "THE DEVIL'S PRAYER-BOOK" Released through Kleine-Edison Feature Service Arthur Hoops (standing center) "The Devil's Prayer Book" A Photoplay in Five Reels by George Kleine, with a Gripping Story, a Well Constructed Plot and a Strong Case, Featuring Arthur Hoops and Miss Alma Hanlon. Reviewed by James S. McQuade. THE Devil's Prayer Book" is the unique title for a story that deals chiefly with checkered lives, whose courses run counter to the law and which, in the end, meet the penalties attached to wrong doing. True to life, the innocent suffer for the misdoings of the guilty, some of them being denied the privilege of compensation, while other come into their own after a fiery ordeal. It is due to this faithful reflection of life as it is that the story retains strong human interest until the close. There are several discernible lapses from a perfect visualization of the story, which are due to faulty direction. While of minor importance, they jar on the perception of one who follows the story on the screen with close scrutiny. Take, for example, the manner in which the jewels of the Sprague family are brought to the attention of the spectator. The scene is absolutely isolated from anything that has preceded it, and immediately impresses the viewer as a palpable expedient to prepare one for something that is about to follow, instead of being a simple incident that fits in naturally with the conversation of the little family gathering. The attention paid to small foxes often prevents the spoiling of the grapes. In this connection it is apropos to refer to the make-ups of Frank Belcher and Miss Ruby Hoffman as John Springer, the crook, and Nancy, his wife, respectively, in one of the opening scenes, in Part II. Fifteen years are supposed to have elapsed since the spectator has seen them last, yet this long interval seemingly leaves no trace of the ravages of time, so far as facial appearances is concerned. In contrast, one is pleased to note that the Albert Sprague (alias Al. Spence) of Arthur Hoop's, shows artistic care in this respect. The director has furnished several fine settings, the most elaborate of which is an interior in the Sprague home. The scene showing the result of the "come-on" game, on the premises of the gambler's (Al. Spencer's) home, is realistic in every detail The court scenes in Parts I and IV are also deserving of mention, the latter especially for its novel arrangement, which is taken from a point back of the judge, thus giving a front view of all in the courtroom, except the jurist himself. The final scene in the Sprague home, showing the reconciliation of Albert Sprague and his long lost daughter, Nell, will excite admiration, because of the fine light effects and photography. The close-up view preceding the fade out is an artistic touch that brings a thrill to the heart, as it shows Nell in an attitude of forgiveness breathing the word "father" into the ears of the man who is not only the author of her being, but the cause of all the ills which have befallen her. It has been my first view of Arthur Hoops on the screen, and his Al. Spencer and Albert Sprague are so well carried that I hope to see him frequently in the future. In the latter character, particularly, he shows fine finish as the well bred gentleman, who has outlived his past and tries to atone for the follies of his younger days. One cannot fail to notice that Mr. Hoops has made Sprague appear much older in the closing scene than in any of those which precede his knowledge that Nell, whom he had prosecuted and convicted of crime, was his own daughter. This is at it should be; for the heart anguish of the father for the suffering he has caused her, and his grief and humiliation over the fact that she spurns his relationship are sufficient to break the physical stamina of the strongest man. A warm welcome is also due Miss Alma Hanion for her capable and appealing characterization of Nell. Miss Hanlon is also physically pleasing on the screen in this role. The flashes of the camera which show her behind the prison bars reveal a face of girlish beauty, swept by the tides of varying emotions. The look on her face when she pronounces the word "father" is, perhaps, the sweetest of all. Frank Belcher's virile impersonation of the crook, John Springer, has the stamp of a sterling actor, and the Nancy of Miss Ruby Hoffman furnishes an excellent opposite. Nancy in the courtroom, with another woman's baby in her arms, in order to win the sympathy of the jury, which is to decide the fate of her husband, wins both our smiles and our praise for clever, intelligent acting. Fred Block, an able assistant of Crook Springer, is excellently represented by Carlyle Fleming, and the small part of Tom Sprague is well sustained by Tom Coventry. The release date was Jan. 5, through Kleine-Edison. -- Moving Picture World, January 15, 1916 "The Devil's Prayer Book" Five-Reel Kleine-Edison Feature. Reviewed by Thomas C. Kennedy THE Kleine-Edison Feature produced by George Kleine entitled "The Devil's Prayer Book" tells an interesting and well constructed story of crime effectively . Several good melodramatic situations are presented by this story of a gambler who deserts his wife and child, and later, while living in affluence and respectability, this daughter now the tool of some crooks attempts to rob him, an act for which she is relentlessly prosecuted by him. The production has the appropriate setting usually found in a Kleine picture and likewise the good photography. Max Marcin, the author of "The House of Glass," a present Broadway success, wrote the story. The penalty which Sprague pays for his study and attachment to the deck of cards justifies the significant term "The Devil's Prayer-Book" which is of German origin. The story has the element of heart interest regarded so essential in plays and especially in crook plays. This interest is centered upon the young girl whose better impulses were given no opportunity to develop in the environment in which she was brought up. Alma Hanlon is seen as the gambler's wife in the introduction and his daughter in the main part of the story. Miss Hanlon is conscientious in all her efforts. Arthur Hoops is Albert Sprague, alias Al Spencer. His acting seems to be just that all the time, in no scene does he impress as being natural or at ease. Mr. Hoops has to his credit some excellent screen portrayals but he really does not do justice to the part entrusted to him in this picture. Frank Belcher plays John Springer and Ruby Hoffman does well as his wife. Tom Coventry is Tom Sprague and Carlyle Fleming as the accomplice who turns state's evidenace to save the girl he loves stands out prominently ina case whose well known names give rise to expecatation which are not fulfilled. In the introduction we see Al Spencer, a "society" gambler who will cheat as quickly and often as the opportunity presents itself. After robbing a man he decamps leaving his wife and child to care for themselves as best they can. The wife dies and the child is adopted by a man and woman. The woman is a shoplifter and the man is also a lifter but he does not confine his operations to shops. Fifteen years later Spencer, now known as Sprague, is married again to a widow with a son. Springer and his wife effect a welcome into the Sprague home with their dauther, Nell. The girl is taken ill and forced to remain there for a number of days. She confesses to Tom Sprague, with whom she is now in love that she is an imposter and has come there to rob his mother's jewel safe. Springer then makes a bold stroke and one result of this is the shooting to death of Tom. Sprague has Nell arrested and convicted of complicity. But when Sprague learns that Nell is his daughter he uses his influence to have her pardoned and a happy reunion follows. -- Motography, January 8, 1916, pp 82-83 with Arthur Hoops, Alma Hanlon and Frank Belcher. Directed by Max Marcin. George Kleine. 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