Under the direction of Charles L. Gaskell, "The Breath of Araby" becomes almost a pure example of the new trilogy, its class being the aesthetic drama. According to the new theory, this form of acted story gives primary consideration to the outward expression of beauty, not only in grace of movement and sumptuous settings, but even in picture composition. The aesthetic movement is in vogue and 'it is inclined to be revolutionary. It is certainly of high value in an art dependent largely upon visualization, though it is often only incidentally dramatic. Fitted by native taste to make the screen story a thing of physical beauty, Mr. Gaskill has greatly improved his treatment, perhaps the improvement has been thrust upon him by a broadening appreciation of Miss Gardner's delightful art of interpretation. She has been Galatea of the marble to Pygmalion of the artist eye, while she was really endowed with the soul of thought and feeling. Miss Gardner has always been capable of finer intellectual and emotional appeal than her opportunities have afforded, of greater artistic depths than can be sounded by mere action. Most fortunately for 'The Breath of Araby," which is attenuated to the breaking point at times, Miss Gardner and Rogers Lytton hold the eye fascinated by self-revelation, baring their minds to the audience by an infinitude of delicate interpretation. Rogers Lytton is himself again, recovering suddenly from what might well be called a "waning personality." He has recovered that vigor of emotional expression which made him a strong figure in screen dramas of the past. Mr. J. Herbert Frank is an admirable type, and quietly impressive throughout. - The Moving Picture World, April 10, 1915
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