AMUSEMENTS.

Greymouth Evening Star, 24 July 1918, Page 2

AMUSEMENTS.

OPERA HOUSE.

To-night, at th Opera House, one of tha great film masterpieces of all time, the great Vitagraph super feature, ‘ ‘.My Official Wife,’’ will be piosented by Pollards pictures with the supreme star, Clara Kimball Young, in the role of the beautiful Nihilist-Queen. With her is a supporting cast of unique strength. Earle Williams plays the part of Sacha, the young Russian aristocrat who falls deeply in love with the alluring Nihilist Queen, Marie. Harry Morey is the married American traveller who dares to adopt as his tempoary wife the fascinating stranger, arid dainty Mary Anderson, and Rose Tapley have splendid feminine roles. Rogers Lytton plays with force and dignity the striking part of the chief of the Russian Secret Police. The drama is breathless with excitement from first to last. The perilous situation of the man who, having got into Russia with his false passport and his dangerous and lovely companion, cannot get out again, is full of possibilities, and no guess can be made as to what is to happen next in this story of surprises upon surprise. The dressing is gorgeous, and the gettings superb. The chorus of enthusiasm over this great pictur e can be well understood. On Friday evening in conjunction with the screening of the “Triumph of the Mash,” the last chapter of “The Iron Claw,” Pollard will launch a new serial on its journey, in “A Lass of the Lmnherland.” This great story by the Signal Company begins its career with a stirring episode, entitled “The Pirate of the Lmnberland.” The dashing and daring Helen Holmes is matured in the cast.

TOWN HALL. The main attraction at the Peerless Pictures to-night is a Metro wonderplay, entitled “Destiny; or the Soul of a Woman.” The story in brief-of “Destiny” is as follows:—Standish, an artist, uses Mary, In's wife, as the model for his painting of the Madonna. When the Connoisseur and the Parishioner come to inspect the picture, the Connoisseur recognises in the model an old paramour end tolls the husband so. The husband, while surprised, fails to disclose his identity, and the visitois purchase the picture. After their departure the artist upbraids his wife. She tells him of her long acquaintance with the Connoisseur and how, for five years, she believed herself legally married to him. But the husband, unforgiving, turns her and her infant son out into the street. . . . The mother leaves her baby on the steps of a monastery with a crucifix bearing her name. Then she enters a squalid resort known as the “House of Lost Souls,” and becomes its reigning queen. Years later the hoy is a parish priest. In a fearful storm an old hag enters the church. It is th e mother. She sees above th o Mtar the painting of the Madonna for which phe posed, and recognises her son by the crucifix he still wears. The son gives the wether absolution, as the Ancel of Death enters and bears off her spirit.