PICTURE THEATRES

Evening Star, Issue 19841, 14 April 1928, Page 11

PICTURE THEATRES

OCTAGON Fox Films latest release, ‘ The Gay Retreat,’ which had its first presentation at the Octagon Theatre last night, is an hilarious comedy of the war, in which the story of a sleep-walking soldier and his two comrades is unfolded on the screen. This is a story of the war from the humorous angle and with the most unusual situations. It deals with Dick Wright, a somnambulist, played by Gene Cameron, who enlists in the ambulance corps after being turned down by other branches of the service. His chauffeur and valet also join to keep an eye on him and to prevent him from wandering into No Man’s Land in his sleep. Those two ' bodyguards are played by Sammy Cohen and Ted M'Namara, who scored so sensationally as the merry-making marines in ‘ What Price Glory?’ But their performance in ‘The Gay Retreat,’ surpasses even their laugh-provoking acting in the great war epic. They have ample help in creating laughs. There is the red cross nurse, Betty Francisco, whom Dick leaves' behind in his father’s care, and the beautiful French girl, played by Judy King, whom lie meets overseas. Also Holmes Herbert as his father and Charles Gorman ns the hard, tough sergeant. The performance of this well-chosen cast in a story that is filled with thrills and with a double-barelied romance, and directed by Ben Stoloff, results in a production that for sheer entertainment is a thing not soon forgotten. Much has been written of the horrors of war, and ‘ The Gay Retreat ’ comes as a refreshing change from these topics. This week the orchestra will play a selection from ‘ lolanthe ’ (Sullivan), under the baton of Aloiisieur De Rose, supported by assisting artists. EMPIRE The screen version of the Abbe Provest’s historical romance, entitled ‘ Manon Descant,’.was presented initially at the Empire Theatre yesterday under the title, of ‘His Lady.’ John Barrymore is in the classic role of the Chevalier Fahien des Grienx, and Dolores Costello, in the role of Manon, makes ns vivid an impression a.s the great Barrymore. The story of Manon Lescaut and Des Grienx, interrupted by incursions _on to the romantic scene by wealthier lovers to oust the poor Chevalier, and Alanou’s disagreeable brother, is one of the many famous love stories that have been handed down from the Franco of the Louis—love stories that number among their characters those notorious women, Du Barry, De Montespan, Pompadour, and Louise de la Valliere. Into this glamorous array enters Manon, first seen in her stage coach being taken off to a. convent, convenient institutions in Imperial France lor fractious or homely daughters. Also on the route is Fahien des Grieux, serious, contained, absorbed with thoughts of piety and celibacy, a seminary student. Manon and I abien, through the medium of exchanged glances, forget all thoughts of the inner life; Paris, with her fabulous offerings of gaiety and pleasure, beckons, where for a brief space the famous pair live royally on the earnings of Des Grieux at cards. The old, old story then becomes still older with the advent of old and wealthy suitors for the favors of the matchless Manon. The court is even visible, but the “ frail lady,” as someone called her successor, Camille, could not see through the mists of profligacy the evil shadow of (he convict ship heading for the infamous Devil’s Island; nor could she sec revolution running loose in the streets _ nor the mob thirsting for her spendthrift blood, But still “nis” lady through it all, though estrangements occur and beauty and leisure disappear, this deathless pair of lovers brave the flood, issuing white as snow. A romantic drama of classic leanings with fine tragedy and finer romance shining through its fabric. Included in this week's copy of the ‘ Empire Local News ’ are pictures of the Portobello regatta, the Merivale v. Alhambra Rugby match, and the Technical College Easter tournament. In addition to other musical numbers, the oiehestra, under Mr > 'has. Parnell, will play selection from ‘Tales of Hoffman’ (Offenbach); ‘ Ave Maria’ (Gounod) ; ‘ Serenade ’ ('Rubinstein) ; selection from ‘ High Jinks ’ (Friml) ; ‘ Wedgwood Blue ’ (Ketclhev), GRAND AND PLAZA Inspired with an authentic nolo oi the 'West, Fred Thomson’s latest release, ‘Tiie Two-Gun Man,’ marks a distinct departure in Westerns, in that it was written by Stewart Edward White, whose lame as an author of the great outdoors is world-wide. The picture, which opened yesterday at the Grand and Plaza Theatres, is packed with the well-known Thomson action, coupled with an unusually gripping and original story that gives Silver King plenty of opportunity to display his super-equine intelligence, A strong cast is in support. A story that rushes irresistibly to a big dramatic climax that has in it all the comedy ami stunts for which Richard Talmadge is famous is to be seen in ‘The Night Patrol,’ the supporting feature. With Mary Carr, Gladys Gillette, Grace Darmond, and a host of others in support, Richard Talmadge assembled around him what is undoubtedly the strongest cast ho ever put into one picture. QUEEN'S Lew Cody and Ailecn Pringle arc starred together for the first time in 1 Adam and Evil,’ a comedy of marital misunderstandings which opened at the Queen’s Theatre yesterday. In this film the opening scenes re,-cal a young couple reading the morning paper and paying no attention whatsoever to each other until they discover the news is broken into two sections, each, being in possession of only one piece From this is developed a most unusual plot, delicately flavored with sophistication—an ideal vehicle for the inimitable Cody in a duel role. Miss Pringle also reveals herself to be a finished comedienne. Under the direction of Robert Z Leonard, Roy D’Arcy, Gwen Lee, Gertrude Short, andTledda Hopper arc included in the cast that gives excellent support to the stars. Dolores Costello, celebrated in other groat sea pictures, is again starred in a melodrama of stormy waters, ‘ A Million Bid,’ which is the supporting feature. She appears as the victim of a scheming and ambitious mother, portrayed by Betty Blythe. Others in the cast are Malcolm M‘Gregor, Warner Gland. William Demarost, Betty Blythe, and Douglas Gerrard. EVERYBODY'S Patrons of Everybody’s Theatre are offered a really fine programme this week. The main feature is ‘Silk Stockings,’ a light, exhilarating .story of a young married couple. Laura La Plante plays the leading role as the young wife, and opposite her is John Harron, with whom she is always having petty quarrels. Their spiritual advisor is a judge, a friend of the family, to whom they both fly with' their troubles. The story is one replete with gay moments, and is so human that every person now married or contemplating matrimony will appreciate the farcical situations into which the young couple plunge themselves. The story is from Cyril Harcourt’s famous stage play ‘ A Pair of Silk Sinkings,’ and was adapted for the screen by Beatrice Van. Wesley Haggles, who has directed some of the finest screen comedies, held the megaphone for this La Plante vehicle, his second in succession, the first having been ‘ Beware of Widows.’ The supporting cast of ‘Silk Stockings ’ embraces many playcni oototf

ability as comedians, including utis Harlan, Burr MTntosh, William Austin, llciuie Conklin, and Marcella Dalv. The second ieaturc, which is tfie story of “ tin can tourists ” and the auto camps, features Bessie Love and Harrison Ford, and was filmed against a romantic background. ‘ Rubber Tyres ’ is perhaps the first picture to be made in its entirety away from a film studio. i KING EDWARD I ‘Silk Stockings,’ the latest vehicle by Laura La Plante, is tho main feature on the programme at the King Edward Theatre to-night. ‘ A Million Bid",’ a Robert Dillon adaptation of George Cameron's famous story, is the title of the supporting picture. It is intensely dramatic, giving Miss Costello the most superb emotional role of her unparalleled career. ROSLYH One of the most forceful and thrilling melodramas of recent screen productions. will be unreeled to-night at the Roslyn Theatre, ft is 1 The Man in the Shadow,’ and the story is billed as a humble protest against the supreme penalty when the evidence is circumstantial. So well, indeed, does it carry out its theme and the melodramatic episodes are so gripping, that the attention is-held to the last foot of film. A first-class list of supports will be included, and in addition to film subjects, wee Daphne Freeman, pupil of the Crossan School of Dancing, will bo seen in dainty classical barefoot dances.