THE PICTURE HOUSES

Hawke's Bay Tribune, Volume XVII, 20 October 1927, Page 10

THE PICTURE HOUSES

COSY DE LUXE.

Education, as well as entertainment are the ingredients mixed for the story of “Rookies,” a new comedy just filmed by Metro-Goldwyn-Maycr, and now being shown at the Cosy Theatre.

Every foot of military life, depicting the action of the citizens’ military training camp, is the real thing made before the eyes of the army officers whose duty it is to teach the civilian recruits to learn warfare In peace times. .

Throughout the making of the picture, army aviators, balloon pilots and observers were' used. Regulation army pack parachutes were used for the perilous jumps and the entire balloon sequence, filmed above the clouds over Hollywood, was taken while the great gas bag was under the supervision of competent aeronauts with Government licenses. “Rookies” is a complicated quadrangular love affair spun in gales of laughter, with Marceline Day and George K. Arthur in the leading roles. There are a couple of military sheiks, a sweet young thing and a vampire all in love at tbc same time. Two of those sheiks Karl Dane and George K. Arthur, look handsome in their uniforms and they make the maidenly heart of Marceline Day flutter all over the place. They make love to her everywhere from the soda pop parlor she presides over to a balloon basket aw ay up in the air some thousands of feet.

Comedy, as one can guess, is one strong point but the amount of aeronautical information conveyed is large. Also showing is “The Collegian,” a fine chapter play, and ideal entertainment with which to round off a holiday. MUNICIPAL. Most interesting is the way Marie Corelli. England’s renowned novelist, treats the “Sorrows of Satan.” Our «vil one is disclosed as Lucifer, son of the morning and child of God. Incurring the displeasure of the Lord, he is banished from Heaven with the ultimatum that for every soul which rejects his advances he shall be rewarded with an hour inside the gates of Paradise. Introduced to Prince Lueio de Riman?z. we find him tremendously wealth courtly, suave, personifies- i tion of “man of the world.” and the I delineation of all that we modems ; hold as evil. He tempts the weak, drops the falling, places pitfalls in the way of the unwary. Succeeding in his efforts, Lucio is made sad, travelling even further from his rightful kingdom. Finally, one soul has the courage to pass him by. Immediately, in a blasting fanfare of trumpetry. we see the Heavenly portals swing wide. Fascinating? David Wark i Griffith thought so many many years j ago. But not until joining Paramount Pictures was Mr Griffith enabled to attempt -anything quite as stupendous as the picture he had visualised. Griffiths was given carte blanche and told to select whom ho would for his cast. Screendom was fine-combed and hundreds of players tested before Adolphe Menjou was finally selected as the incarnation of a dress-suited Satan. Ricardo Cortez became Miss Corelli’s hero Geoffrey Tempest. Carol Dempster, per feet heroine,” fitted into her role as Mavis Claire; and Lya de Putti. sen sation of the Continent, won a symbolical part as modern Feminine Evil. With such a cast and the resources of the world’s finest motion picture company behind him, it is no wonder that Mr Griffith has made a film which has been enthusiastically hailed by critics and public alike as the cinema sensation of the century! Wo refer. ladies and gentlemen, to “Sorrows of Satan.”