The dire perils of the motion pictures provoke the ingenuity of the audience, not their passionate sympathy. When, in the minds of the deluded producers, the beholders should be weeping or sighing with desire, they are prophesying the next step to one another in worldly George Ade slang. This is illustrated in another good Action Photoplay: the dramatization of The Spoilers. The original novel was written by Rex Beach. The gallant William Farnum as Glenister dominates the play. He has excellent support. Their team-work makes them worthy of chronicle: Thomas Santschi as McNamara, Kathlyn Williams as Cherry Malotte, Bessie Eyton as Helen Chester, Frank Clark as Dextry, Wheeler Oakman as Bronco Kid, and Jack McDonald as Slapjack. There are, in The Spoilers, inspiriting ocean scenes and mountain views. There are interesting sketches of mining-camp manners and customs. There is a well-acted love-interest in it, and the element of the comradeship of loyal pals. But the chase rushes past these things to the climax, as in a policeman picture it whirls past blossoming gardens and front lawns till the tramp is arrested. The difficulties are commented on by the people in the audience as rah-rah boys on the side lines comment on hurdles cleared or knocked over by the men running in college field-day. The sudden cut-backs into side branches of the story are but hurdles also, not plot complications in the stage sense. This is as it should be. The pursuit progresses without St. Vitus dance or hysteria to the end of the film. There the spoilers are discomfited, the gold mine is recaptured, the incidental girls are won, in a flash, by the rightful owners. These shows work like the express elevators in the Metropolitan Tower. The ideal is the maximum of speed in descending or ascending, not to be jolted into insensibility. There are two girl parts as beautifully thought out as the parts of ladies in love can be expected to be in Action Films. But in the end the love is not much more romantic in the eye of the spectator than it would be to behold a man on a motorcycle with the girl of his choice riding on the same machine behind him. And the highest type of Action Picture romance is not attained by having Juliet triumph over the motorcycle handicap. It is not achieved by weaving in a Sherlock Holmes plot. Action Picture romance comes when each hurdle is a tableau, when there is indeed an art-gallery-beauty in each one of these swift glimpses: when it is a race, but with a proper and golden-linked grace from action to action, and the goal is the most beautiful glimpse in the whole reel.