PICTURE THEATRES

Evening Star, Issue 19615, 22 July 1927, Page 4

PICTURE THEATRES

OCTACOH Though'Douglas Fairbanks has been noted for his lavish productions, bo is,said to havm outdone his own previous records in ‘ The Black Pirate, which opens at the 'Octagon Theatre to-night, it is a faithful epic of the golden days ol buccaneering near the end of the eighteenth century, and depicts vividly and colorfully the hectic life ,of the daredevil reamers of ihc Spanish Main during that era. In every way it is tho biggest production that* Fairbanks has ever attempted, nnd from beginning to mid it is filled with the unique 'athletic feats that place u Fairbanks picture in a class by itself. The entire picture has been filmed in a remarkable new color process known ns technicolor that reproduce' with exactitude every tint, shade, and hue of Nature itself. Unlike many other color attempts, technicolor is entirely natural, minus all exaggeration, and restful to the eyes. The story opens with a burly pirate tearing the rings from the fingers of- bis captives. A voung boy who has boon captured offers to join the crew with the secret intention of avenging tho death ot his father, who was killed by the pirate. In order to prove himself tho boy says that ho will capture a ship singlehanded. In this he is successful. He joins the hand, and it named “The Black Pirate.’' Among ttic passengers of the captured ship was a beautiful girl, for whom the pirates drew lots. It was her misfortune to be won by tho villainous second mate. The Black Pirate falls in love with her, and < in order to protect her he suggests that she bo held unharmed for a day in order to ransom her. As tho boat leaves for the ransom ho smuggles a note aboard summoning aid, but his plans are frustrated by the second mate. While attempting to rescue the girl the pirate is denounced and ordered to walk the plank. Through tho agency of a friend, however, lie is able to slip his bonds and escape by swimming to tho mainland. Ho rouuns with a ship and men, captures Hio pirate vessel, and saves the girl. The cast supporting Fairbanks is a notab o one. The loacling lady is the lovely Billie Dove. Numbers of bloodthirsty pirates appear during the action, and the leaders are supported by such actors as Donald Crisp, Sam Do Grasse, Anders Randolf, Charles Stevens, R. J. Ratcliffc. Charles Belcher, Roy Con - son, and John Wallace. ‘The Back Pirate’ 'was directed by Albert Parker, who has served in a similar capacity with several other Fairbanks pictures. Dwight Franklin, the noted artist, whose specialty is the depicting of pirate life, acted as consultant during the filming of the production. Fairbanks himself has devised, arranges, nnd fltcijGjo.d, nn elaborate prologue that will introduce tho picture. The Octagon Orchestra, under tho baton ol' Mr L. D. Austin, renders au excellonS musical programme.

Tho Vtory ol ‘ Mademoiselle from Arraontieres ’ ia one n liicn opens out a wide vista of speculation, some in re(rospcct, and a vast amouutoi gleeful bumor with a touch of sentimentalityMadoanoiselle vvis a famous lady (whether mereh a fictitious one or a living pet*sonii£;o), nnd it' is llifit her name and fame should he immortalised in dramatic form as well as in iho multi-versed songs that wore comnosed on the march in Franco and roared in the mud-filled trenches' iu order to drowr. the snream of tho shells overhead and the sliArp spattering* of the Vickers guns. ' Mademoiselle from Armentieres,’ which opened at the Enipiro Theatre to-day, is a .British film which hears the imprint of masterly and artistic construction. Tho ctoigy ia not told exactly with a French accent, but it lacks nothing in thrilling and amusing entertainment thereby. The heroine of the drama is a quite new version of the lady so celebrated in song and story, and the actress who portrays her brings-an altogether new technique to-the screen. Apart from the personal drama and tumultuous emotion of this picture, all the primitive thrills of war are a vital part of tho story. It is not, however, a war film in the accepted sense of the words, but Mademoiselle’s story is so indissolubly bound up in the history of the conflict that scenes of intensely realistic fighting arc necessarily introduced. And these sequences arc wonderfully accurate and effective No travesty is here, no stagecraft war or kid-glove fighting, but the genuine article, a little terrifying even from the safe vantage point of a theatre seat. But it lends a vivid suggestion of atmosphere to the film, which, coupled to the very human story it tells, makes engrossing entertainment. There is pathos in the story and a grim tragedy about tho war scenes, bin; there ip humor also, and the dividing lino between laughter and tears is almost negligible. So ‘ Mademoiselle from Armentieres’ is a great picture which strikes a note of pleasant reminiscence throughout. As Mademoiselle Estelle Brody is a. vivacious and sparkling little creature, “ who kissed the colonel and called him ‘ Dear,’ " so doubtless that is why the delectable tale is told in such a hearty and fascinating manner, for, it will be remembered, it is told from tho coionol’s viewpoint. John Stuart heads tho supporting cast, and enacts hi« soldierly role with admirable skill. Opening in London, the scone soon changes to the western front, whore the hero, John, is in love with the pretty niece of the proprietor of an estaminet. Tho girl agrees to encourage the friendship of one Monsieur Brains in order to report Ids mode of living to the divisional headquarters. She finds that Bran?, is an enemy spy. John does not know of the girl’s role, and believes her to ho false when ho sees her visiting Brans! alone in his house. John's company is ordered to advance, and he will not see tho girl before he goes. Unable to rest till she has explained the reason of her conduct, Mademoiselle finds her way to tlio lines. t Zero hour has passed, and John’s -action has captured a farmhouse, but is without supports witu widen to hold it, and it is later tured. John _is taken prisoner, and Branz is praised for his good work. The'girl is then brought in, and is about to be shot as a spy when a shell wrecks the dug-out. When the smoke dears away the pair find themselves alone with the dead body of Brans. A party of noilus rescues them, and tho picture is brought to a success!ul conclusion. , , , Appropriate music will bo rendered by the Empire Select Orchestra, under the direction of Mr C. Parnell.

QUEEN'S AND KING EDWARD There is a new Richard Barthelmcss picture at the Queen’s aud King Edward Theatres this week, ‘ The White Black Sheep,’ an Inspiration First National picture, which is hailed by many as the star’s host Him since ‘ Tol’ablo David.’ For the first time in ids career the personable Dick ventures on a role bordering on the “sheik” type, and makes one wonder why the handsome young screen lover had never before been cast in a drama of the desert. Another novelty was the beard,, and later the trim hioustache, which comprised a part of the Bartholmess makeup in several scenes of the thrilling story. It is the first time Dick has ever had, hirsute adornment on the screen. ‘ White Black Sheep ’ is a tale of a gay young Englishman engaged to a girl whoso chict claim to his affection is that she forms a placid mirror for the romantic idealism of the boy. When he discovers that she is a potty thief, filching money at a bridge game, the youth, in a grandiloquent 'gesture, shoulders the blame, and turns into a self-imposed exile in the British Army in Northern Palestine. There, morbidly brooding over his blighted dreams, ho arouses the love of a pretty dancing

girl and the imte of a desert chieftain. His adventures in warring with one aiid wooing the other form the plot of one of the most absorbing films shown hero in months. There is a picturesque desert setting, a, thrilling uprising of the Arabian tribet, and a clever subterfuge which turns a possible massacre into a military victory. For a part of the picture Dick is disguised as a deaf and dumb beggar of Kefr Saba.,, in which ho'does some remarkable acting. Patsy Hath Miller, realising a •long-cherished ambition,'plays opposite the star. ■ She is cast as the exotic, fascinating, and courageous little gamin of the desert, who proves inoro worthy of the hero than nor white sister ,in England. Constance Howard, whoso rise to screen prominence has been the talk of the industry recently, has the second feminine lead, with Gino Cbrrado, the handsome Prince Regent of ‘ Tho Amateur Gentleman.’ William looker, Ei-villo Aldcrson, and Templor Saxo are featured in tho supporting cast. Sidney Olcott directed. This is unquestionably the best Bathlenicss film wo have seen in several years, and to us Barthelmess is one of the best actors of the silver sheet. EVERYBODY'S A desperate battle with bull whips, in which two men, stripped to the waist, slash at each other with their rawhide weapons, is one of the sensational spectacles, perhaps the first time ever shown on the screen, in the vivid screen version of Ibanez's ‘The Temptress,’ which opened at Everybody’s Theatre to-day. Cattlemen of the South American plains battle with bull whips to settle their differences, and it ■is one of these odd battles that is reproduced by Antonio Moreno and Roy D’Arey in tho new production. The men with their long whips stand hi a circle of spectators and slash at each other until one drops. This is one of a number of thrills in the exotic romance of South America, in which Greta Garbo, tho famous Swedish screen beauty, and'Antonio Moreno play leading roles. It was directed by Fred Nlblo, as his first production since ‘ Bon Hur,’ at the Metro-Goldwyn-Mayer. studios. A notable cast was assembled for tho spectacle, including Lionel Barrymore, Marc MacDermott, Virginia Brown Faire, Boy D’Arcy, and others of note.

‘ Blonde or Brunette,’ the supporting pint urc, is merely the record of a gentleman who looked lor an “oldfashioned girl.” found her, and then discovered that Paris had worked a change. Then he divorced the first and married a real Victorian, who liked nothing better than to stay home and play the harp. The players include Adolphe Monjou, Grotta Nisson, Arlcttc Mnrchal. mid Mary Carr.

PLAZA AND GRAND Fast action, thrills, and love arc the necessities for a successful motion picture. These are the component parts of ‘ The Terror,’ the Universal Blue Streak Western, starring Art Aeord, which opened at the Plaza and Grand Theatres to-day. Acord’s long experience in tho saddle, and his leading lady’s long experience in the Ziogfold Follies,, offer a combination of leads hard to beat. Velma Connor is decidedly sweet as the heroine, and tho cause of much of the action. There is a bandit’s hiding place.to which Aeord goes when mistaken lor another hold-up man. Here things happen rapidly as the band gets a dastardly plot under wav to rob a rancher and steal his daughter. But being “in ” with tho bandits. Aeord sees an opportunity to frustrate the plan, whereupon follow several reels entertainment plus. A brilliant supporting east is composed of, Edmund Cobb, Dudley C. Hendricks. C. E. Anderson, Jess Deffobach, and Hank Bell. The direction of the picture was in the capable hands of Clifford Smith, who chose .some unusually charming settings for the action. ■ in ‘ Seven Sinners,’ the Warner Bros.’ classic of Hie screen, _ starring Mario Provost, which also had its initial screening to-day, the 1 Seven Sinners ' reference is to seven crooks, each intent, upon robbing a Long Island mansicfii of its manv valuables, and the sole purpose of the picture is to supply n good time. It is a mystery laugh show which should prove, a big success.