PICTURE THEATRES

Evening Star, Issue 20019, 9 November 1928, Page 4

PICTURE THEATRES

EMPIRE ‘ The Adorable Outcast,’ which opens at the Empire Theatre to-night ig the screen adaptation of Beatrice Grim* shaw’.i well-known novel ‘ Conn of the Coral Seas.’ Picturegoers will find it immensely pleasing from a variety of angles. Scenically, dramatically, and in the picturesque and tho spectacular the main characters move through a wealth of ever-changing scene and action. Never once is it apparent that Producer Norman Dawn has temporarily suspended the human interest phase or the story in order to introduce a touch of Hie spectacular or reveal a flash of trick photography. The emotional element is strongly m evidence right throughout the picture. The scene where Luya claims Diedro’s baby as her own at the expense of losing her own lover has been handled with tho delicacy and restraint demanded of the situation, and later, when Diedrc’s gruff father forgives his daughter her sin, and the little child brings tho first suggestion of tenderness to his heart, there is pathos grades above the usual sob stuff to which movie audiences are accustomed. None of the thrills of tho big scenes are dragged out ’'eyend their time, consequently tho story unfolds itself with a smooth and gripping interest. ‘ The Adorable Outcast ’ hould enjoy a lot of popularity with film fans in this district, inasmuch a.= it differs so largely from tropical pictures, and is the something that hasn’t been done in South Sea stories.

Constance Talraadgo’s ability to play in a delightful comedy role has made her one of the screen’s most popular actresses. Her latest release, * Breakfast at Sunrise,’ which will bo the second attraction, must further enhance her reputation. It is farce comedy of the hr ’ cst order, with a maze of unforced surprises, action, and humour. It is a story of life in gay Paris, and the central theme concerns a loveless marriage that finally develops into a permanent wedlock. REGFJIT The new programme to he presented at the Regent Theatre to-night should ‘meet with tho approval of patrons. Some really good entertainments have been offered at this theatre since its inception, but this week’s bill promises to eclipse all others so far as novelty and a wholly satisfying entertainment is concerned. Undoubtedly tho chief centre of attraction will be the stage baud' presentation, entitled ‘ Dancing Days.’ This form of entertainment is being introduced in pursuance of the directors’ policy to provide tho latest innovations in picture theatre entertainment, and will be added to the usual type of amusement supplied. Tho hand, consisting of twenty players, will furnish a background to ballet and speciality dancers, who have been imported from the firm’s Australian theatres.

Beauty as well as comedy, it is said, adiirns the railway story ‘TclMt to Sweeney,’ which will lead the big picture programme. Chester Conklin and George Bancroft make their debut as a Paramount comedy team in this highly enlivening vehicle. Doris Hill has tiie leading feminine role, while Jack Luden, who is one of Paramount’s new Western stars, is the juvenile. Doris and Jack carry the romantic theme, while Conklin and Bancroft supply the comedy, of which there is no end. On the same bill will be another comeda-drama, entitled ‘ The Magnificent Flirt,’ with the beautiful Florence Vidor in the loading role.

Mr Neville Havel!, the Kcgeiit’s new musical director, will also make his first appearance to-night. Mr Ravell hails from Drury Lane, London, and .has been connected with many J. C. Williamson productions, including that most successful comedy play ‘ Hose Marie.’ OCTAGON ' The Patsy,’ a Metro-Goldwyn-Mayer production, starring Marion. Davies, was shown for tho first time at the Octagon Theatre last evening. It is a light production, but one that demands a great deal of capable acting for completo ! success. In its way it is as subtle as anything that has appeared on the screen. Marion Davies, who always plays in comic roles, has consequently not been as well known ns she undoubtedly should be. But through all her burlesque, and satire burlesque of the very broadest kind it is, she demonstrates what upon another stage would ho called sense of theatre. She is so absolutely at homo that to watch her is, in a manner, to obey the tradition of the playhouse and see tho action carried on in a three-walled building. Her effective movements proceed from a meticulously careful restraint. In retrospect this is obviously painstaking; but at tho lime it appears the veriest froth. Marion Davies has achieved success in ‘The Patsy.’ There is a certain welcome astnngeney which is precisely what is needed in her unspoken censure of three of Hollywood’s most famous stars. Marion Davies is the light infantry of criticism, but none the less her quizzical doubtfulness establishes a tangible bond between, her and the audience. It is all so delightfully correct. The struggle to develop a personality, that doubtful quality, occupies tho"time of the heroine of the story, ‘ Tho Patsy ’ mainly deals with that unspoken trouble in most families with daughters’ manners and marriage. An ordinary middle-class household is presented with amazing fidelity, and the parts are filled by those who seem horn to them. Marion Davies as “Pat” has, of course, the main role, but the presentation of the mother a«d father leaves nothing to be desired. They jar upon one another faithfully, and there are few subjects upon wliieh they can bring themselves to agree. Pat is continually being supplanted by her older sister, so she sets out in a cheerfully colt-like fashion to take a more important place in the family. She becomes epigrammatic in the best American stylo, and her mother and sister, suspecting insanity, which as usual comes from father’s side, humour her. She has an enviable time, showing what an active mind can do. However, she is discovered merely to be' cultivating herself, and is relegated to outer darkness again. Her efforts to win the man she loves have a glaring obviousness which onlv adds to their charm. In fact, simplicity could go no further. Finlflly, by a socially, hair-raising expedient, she succeeds in catching him, and so tho picture ends. Altogether the film is one of the best or a long, and at times rather painful, lino of efforts to depict the atmosphere oi home life. ‘The Patsy ’ records a conquest over difficulties that must have been appalling. There arc no falso touches. , ~ The Octagon Orchestra, under the baton of M. Do Rose, makes its music an added feature of the programme. EVERYBODY’S Youth, romance, and whimsical comedy, fine direction, and Lois Moran and Neil Hamilton in the featured roles all make Fox Films ‘ Don’t Marry, now showing at Everybody s Theatre, a bright comedy-drama, suitable lor tho most discriminating fan. It is a picture that is good entertainment tor •the entire family, with Lois Moran in a dual role and Neil Hamilton as the masculine lead. The theme of the story concerns Priscilla Bowen (Lois Moran), an intriguing young flapper who falls in love with Henry Mdloughby, an old-fashioned man. undaunted, Priscilla decides to win him, and poses as a shy and prudish oldfashioned girl, telling him it is her cousin who is the flapper. The deception works, but Priscilla decides she oaiinot go through with the wedding .jiutii Henry knows the truth, bbe

foes back to the modern clothes, and [enry finds himself falling in love with whom ho. supposes is the cousin of his fiancee. This complex state of affairs leads from;one riotous situation to another, and races along to a hilarious climax as Henry finds ho married the modern girl. 1 Don’t Marry ’ was taken from tho Hungarian stage play by Bela Szcnos, and was adapted to the screen by Sidney Lanfiold and William Kernel I. Also showing is 1 Brass Knuckles,’ starring Monte Blue and Betty Bronson. It has to do with a youth, who, while unjustly imprisoned, gets tho ill-will of a fellow who hounds his later efforts to go straight. Tho hero, Zac, played with verve and reality by Monte Blue, promises to care for the daughter of a prisoner, and does care for her when she is released from the orphanage, till the former enemy makes things difficult for him. The cast includes, beside the stars William Russell, Georgie Stone, Raul Panzer, and Jack Curtis. GRAND AND PLAZA Farrell O’Neil, mystery man of the Yukon wastes, pays -o- bis food and liquor with sacks of gold nuggets. Ha seems possessed of something which tears at his very soul, and when ho sends money to his daughter in tho States so that, she might come to Alaska in the spring -people talk of him in undertones, lie is carefully guarding his secret when Colby MacDonald and Jack Elliott, lost in tho blizzard, break into his cabin. They arc not welcome, and after a gun battle O’Neill is laid to rest in a gully not far from his mine, and the partners take possession of his claim. The two partners work tho claim until spring, when Sheila O’Neil comes to Alaska in search of her father. She waits patiently for her father, but eventually runs out of money and is forced to*work-in Chardon’s dance hall, where MacDonald and Elliott sec her often, and become quite attached to her. Chardon has her in his power, however, and eventually asks her to marry him, which she refuses to do. She becomes desperate, and offers herself to the winner of a poke, game which costs an ante of £I,OOO if. tho winner will marry her and take her hack to the States. Elliott sits in the game, and after considers.' • betting ho raises tho bets until everyone drops out, and under t.he pretext that she belongs to both of them, the partners take Tier to their cabin. When they learn that she is tbo > daughter of the man they killed it .is impossible foi them to toll her of their love, and she lives with them as partners. Tho men quarrel oyer the girl, and Macdonald gives his half of tho girl for Elliott’s half of the mine. At the same time Marshall Hoyt has discovered who murdered O’Neil, and comes to take the partners, but he is outwitted, and is forced to pursue Jack and Sheila with their dog team. The climax is seen in ‘ Grip of tho Yukon,’ the Universal picture which is now being presented at tho Grand and Plaza Theatres. Good supports are also showing, including a chapter of ‘The Trail of the Tiger,’ a good comedy. STRAND ‘ Ramona,’ featuring Dolores Del Rio, will bo screened at the Strand Theatre again this evening. This picture, which has mot with great success wherever it has been shown, is of a typo that is not at all common. It is of a decidedly higher standard than tho average, and in addition to the settings and the photography, which play a large part in the making of the picture, it tolls a story that has a very wide appeal. It has its sotting in the California of several generations ago, and it follows that tho sequences are shown in a n a tmosphore of florid beauty difficult to define. The acting in all cases is good, but that of Dolores Del Dio is endowed with a richness of characterisation that stands out above tho extremely capable work of her supports. Primarily ‘Ramona’, is a love story, although it is also a tremendous plea for the vanishing Indian, so shamelessly persecuted and driven from his land. Tho first half of the picture tells of Ramona’s Jove for Alessandro, an Indian. There is a quick change to tragedy with the death of the latter, when Ramona, utterly distracted, loses her memory. After, 'many wanderings she comes, back to health .and happiness in her. own home. Tho instrument of her deiivoranco is Felipe, a Spaniard, who has loved her all the time, and sought for her unceasingly after the tragedy. Tho strains of the guitar rouse her again to her old passionate life, and she dances as if tho past had never been. The picture ends happily with its perfect exposition of the old motto, “Through the dreary places to the stars.” . , The orchestra supplies a fine musical programme, specially featuring tho theme song ‘Ramona.’ KING EDWARD Greater than ‘The Ten Commandments ’ is the verdict given' by those who have been fortunate in seeing the Paramount picture ‘ Moon of Israel,’ the wonder picture, which will ho shown at tho King Edward Theatre to-night. In it are seen tho parting of tho Red Soa, tho exodus of the Children of Israel, and tho plagues of Egypt, which were seen in tho other picture. But one thing appears in ‘Moon of Israel,’ and that is a romance of those times, a romance that throbs as if it were to-day. Adclqui Millar, Arlotte Marchul, and Maria Corda are the players. ‘ Subway Sadie,’ with Dorothy Mackail 1, with, bo tho other picture on ibis new programme.