PALACE THEATRE.

Gisborne Times, Volume LXVIII, Issue 10736, 6 November 1928, Page 6

PALACE THEATRE.

“FINGER PRINTS.”

Louise Fazenda is now, in reality, what she has been in the hearts of moving picture audiences for many a long day—a star. Her role in “Finger Prints,” a Master Picture release. which comes to the Palace at the matinee to-day and to-night, is one- after fans’ hearts and, her own. Nhe plays the l part of small, sharp-no.sed, spying Dora Tray nor', servant in a house of mystery, which hides a gang of resperate .'robbers.. What Dora does to foil them I .What sniveling, hair-raising terrors she encounters 1 What varying “degrees of fright she stimulates, from ear-prick-ing attention to wide-mouthed shrieiring frenzy'. The role has given Fazenda her biggest opportunity, ’and'she has seized it with the zest of a true comedienne. ■ ’.

“ANNA KABENINA.”

“Anna Karenina,” the romantic, near John Gilbert-Greta Garbo costarring vehicle ojiens to-mofroy’ night. This Metro-Goldwyn-Mayer screen version ol : Count Leo Tolstoi’s immortal classic, is a dazzling spectacle—gorgeous uniforms, glittering costumes, great palaces of the Hussion aristocracy forming a vivid setting for the intensely dramatic story of a woman torn between two sup-, feme lovesl John Gilbert, as the dashing Count Vronsky, endows this romantic figure with a depth of character and an air of reality that is particularly appealing, while Greta Garbo as the tragic Anna- sacrificing all for love, makes the most bf a wonderful role. Miss Garbo’s, scenes with- Philippe de Lacey—as ‘ ‘Anna’s’ ’ child—reveal a tender and appealing side to This fascinating star’s . personality that is ■as unexpected as it, is dramatio. 1 " V