ENTERTAINMENTS.

Hawera Star, Volume XLVII, 11 October 1928, Page 2

ENTERTAINMENTS.

DOUGLAS FAIRBANKS AS “THE GAUiOHO. ’ ’ Despite the inclement weather _ a large audience witnessed the initial screening of The film (< The 'Graucho, featuring Douglas Fairbanks, at the Opera House last evening. The story, which takes up practically all of the programme was ,set in 'South America, and opened with showing a party mustering sheep. A girl, in her attempt to free a sheep from a dangerous place, falls down, but to the surprise of all they found, upon going down to the girl, that she had suffered no harm.. Henceforth this spot was called “The City of the Miracle,” and a shrine was built. The water was found to have marvellous healing powers and the legend grew until people from the far corners of the land came to be healed and gave gold to the church as reward. Meanwhile Douglas Fairbanks, as the 'Gaueho, was in the for North. He and his gang had heard of the immense wealth stored at the shrine and decided to go to the city. The Guaeho went alone and found the place occupied by soldiers of Ruiz, but by a piece of strategy outwitted the Icommander and so got his band through the city gates safely. The Gaueho was approached bv a girl who had dreamed about him and had longed to meet him and she was termed a wild madcap, because of her intense jealousy. Meanwhile Ruiz himself heard of his soldiers’ defeat and so summoned all his troops to rid the country of the Gaueho. At this time the outlaw -chief was enjoying himself at a dinner and had the Badre of the shrine 'as judge to pass sentence on the gaol inmates. A victim of the Black Death whs brought along to be sentenced, but the Gaueho int.cifeied and told him “to go and kill himself ” Later, however, the outlaw saw the girl from the shrine through a window^locked in a room, so went up to free her. His wild lover, s aw this and made an attempt to stab the saint, but the Gaueho interfered and received an injury to his hand. The victim of the Black Death was hiding- in the /room .and upon seeing this a*ushed to the oullaw and touched him, thus passing on the dreaded plague. The Gaueho saw the black creeping up his arm so went away with the intention of shooting himself, but was stopped by the saint who offered him his health lif he would only believe. Whilst at tho shrine, Ruiz and his soldiers arrived and caught th 0 outlaw together with the shrine girl and the Padre, whom they decided to flog at the scaffold. The Gaueho, however, manages 'togot free and upon joining his band stampedes a herd of steers through the city, and gains it as the soldiers are routed. The Gaueho ,healed as tho result of his visit to' the. shrine, rode away with the girl of liis choice. The picture, including an excellent support, “Arrival of Southern 'Cross at Christchurch, will be shown again this evening.

GRAND THEATRE—TO-NIGHT. FINAL SCREENING. “THE SECRET HOUR.” In Pol a Negri’s latest picture, “The Secret Hour,” which will be finally screened at the Grand Theatre tonight, Miss Negri appears as Annie, a waitress in a little spaghetti restaurant. A wealthy orange grower, Tonv, visiting the city, sees Annie in the restaurant, but feeling the handicap of his 60 years, lie gets liis foreman, Joe, to write a proposal. Complications follow when he sends Joe’s photograph. Tony -has an accident and the foreman meets Annie at the ranch. She falls in love with him, and at midnight the pair are secretly married. Tony recovers from his accidentfjjjimi plans for the marriage. WhJPtold the state of affairs he orders them from the house. Matters are explained, and he comes _to realise his own foolishness in sending Joe’s • photograph. The scene ends happiK with his blessing. An attractive supporting programme is provided. and 'there is an orchestra in attendance.

OPERA HOUSE. TUESDAY NEXT. Cecil B. de Mille’s great picturisation of the lixe and works of Jesus oi Nazareth, “The King of Kings,” commences a four-night season at the Opera House on Tuesday next, October 16. Probably no other motion picture production has attracted the attention of the clergy, the press and the public to the extent that this him lias done. In. the words of a New York reviewer: “Only the genius of Mr.*de Mile! has made this infinitely beautiful spectacle possible. To me it seems a triumphant achievement, a most satislactory. treatment of a subject colossal in content, and to the average spectator baffling in contemplation. De Mille has made this inlimteiy beautiful most brilliant chapters. The works and mission of Christ are as not revealed by word or hand before. The beauty or dramatic movement is amazing. Masterpieces are quickened into life. For beauty of photography ‘The King of Kings’ is superb. As a visual study of the life of Christ it is accurate and can offend no one. It is one of the lew monuments on the highroad to the citadel of motion picture art.” The producer has spared no effort or expense to make the technical side of the picture worthy of tho theme, and in “The King of Kings” are to be seen some of his best achievements. The views of the temple and its festival crowds, for instance, are calculated to give to everyone a new conception of the splendour of that glorious edifice. With a right feeling that will generally commend itself the actons in this great production are all remaining anonymous. One who is outstandingly successful fills the part

of the crafty Caiaphas, and with rare skill invests it with the arrogance, the cunning, and the venomous hatred that is traditionally associated with the name. The portrayal of Pontius Pilate, the 'Roman Governor, who just failed to achieve greatness in place of everlasting infamy, is another piece of characterisation that will live in the memory. The box plan opens at Miss Blake’s sweet shop on Saturday morning.