ENTERTAINMENTS.

Hawera Star, Volume XLVII, 24 September 1928, Page 2

ENTERTAINMENTS.

OPERA HOUSE, HAWERA. TO-NIGHT. “HELEN OF HAWERA” AND ' “THE GRIP OF THE YUKON.” As so many patrons were unable to, gain admission at 'the Opera House during the season of the local production “Helen of Hawera,” arrangements have been made by the management for this attraction to he screened again to-night in conjunction with the Universal Alaskan drama “The Grip of -the Yukon.” A photoplay as gripping, as its title and as soul-searing as life, Francis X. Bushman, in the leading dramatic role, gives a portrayal that brings a catch in the throat and- tears to the eyes. In the tragic role of a Yukon miner, who is the only survivor of an icy catastrophe which carries away the only people he loves, Bushman gives a powerful and deep delineation. Neil Hamilton and June Marlowe, inject a powerful romantic theme into the picture. Here are two young people who are outstanding, Hamilton being an exceptionally -handsome and virile type, and Miss Marlowe beautiful and appealing. Both play their roles splendidly. The story itself is unusual and spectacular. It can be safely said to be the first time such a radical idea has been put on the screen. Ernst Laemmle. the director, has done his difficult subject with justice to himself, the cast and the story. Burr Mclntosh, as the bewhiskered, monev-mad gold miner, is ! outstanding, while other members. of, the cast- who deserve special mention; are Theodore Lorch, Otis Harlan and James Farley. The supporting programme includes a comedy and International News reels.

The box plan is now open at Miss Blake’s sweet shop.

GRAND THEATRE. TUNNEY-HEENEY EIGHT. EVERY MOVE CLEARLY SEEN. The Grand Theatre was packed to its utmost capacity on Saturday evening; in fact, many could not gain admittance when the long-awaited him depicting the struggle between Gene Tunney and Tom Heeney for the world’s heavyweight boxing title was screened. *

The picture is an excellent reproduction of the now historic fight, and shows interesting features of both men in their •training camps, depicting the many scenes incidental to the severe training which pugilists of modern times are compelled to undergo. At has 'been admitted on all sides that Heeney gave the champion the fight of his life, and the picture certainly bears out the contention. The rugged New Zealander, took -the fight to his doughty opponent right through the contest, and it was' only in the tenth .round that Tunney gained the ascendancy. Tom was “knocked” badly, but the gong s.avedv him. Heeney proves his worth in the last round, as after being so severely pummelled in -fcho tenth session (being practically carried to his he hounded out in the eleventh .round with a determination to do or die, but the redoubtable Tunney carried too many .guns for his opponent, and after a. -gruelling mix-up th/e referee stopped the contest with the New Zealander still looking -for more. Tom’s pluck and gameness is one of the outstanding features of -the picture. Tunney’s brilliance really had no effect, and at times:he seemed bewildered as Heeney, in spite of the terrific blows, kept boring in after his opponent without let-up. Those who saw the film are unanimously of opinion that this is one of the best fight films yet seen in the Dominion. It is full of entertainment, and those who were unable to see this great picture will have the opportunity to do so at the Grand tonight where it will be repeated.

MARY BICKFORD IN “MY BEST GIRL.” OPERA HOUSE PICTURES WEDNESDAY. Qne by one the fetishes of the motion picture industry are being destroyed. And now comes Mary Picklord to shatter an old screen dogma by making a picture without a “heavy.” “My Best Girl,” the noted star latest production which comes to the Opera House on Wednesday, is a comedy-romance with a 5-and-10 cent store background. But the element of “menace,” heretofore considered essential to a well-constructed plot, is entirely' absent. This “menace” is not necessarily human—it may be a blizzard or a train wreck or an obstacle of some sort which the leading characters must overcome. Practically every film production embodies this so-called requirement. Aliss Pickford’s new story, however, braves precedent. Basically, “menaces” are used' to provide suspense in photodrama, but “My Best Girl” is said to attain suspense by an entirely new method- —that of a logical situation.in which the audience cannot decide which courses the several characters will pursue. And as these characters are all true-to-life people, the spectators’ uncertainty depends on the situation -alone, thus eliminating any element of fear or coercion, as an expedient for keying up interest. Many of Hollywood’s best-known producers and scenarists are watching with interest the public reaction to a film without a “menace.” “My Best Gidl” may sound the death-knell of the oldfashioned screen “heavy” and. the time-worn device of dragging in a “vill-yun” to,provide heart failure may become but a memory. The box plan is now on view at Miss Blake’s sweet shop.