ENTERTAINMENTS

Manawatu Standard, Volume XLVI, Issue 106, 5 April 1926, Page 3

ENTERTAINMENTS

PARAMOUNT THEATRE. BIG DOUBLE FEATURE BILL. Oti3 Harlan. well-known as a screen comedian and a favourito with picturegoers, was selected for the role of Pudlebox in the picture version of A. S. M. Hutchinson’s famous novel, “The Clean Heart,” which forms tho second and biggest feature in to-night’s doublo feature programme at tho Paramount Theatre. After reading the novel, J. Stuart Blackton, who directed the picture, decided after engaging Percy Marmont and Marguerite De La Motte that Harlan was the only player who could do justice to the role of the philosophical tramp. Although the role is light comedy, it has several serious moments, giving Harlan opportunity to present a new phase of his histrionic ability. The first picture to be shown in the evening is Paramount’s celebrated French farce, “Grounds for Divorce,” a Paul Bern production starring Florence Vidor, Matt Moore and Louiso Fazenda. This is a delightful picture, described as a gay comedy of love, lawyers and lunatics. There is a thrilling section of tho story devoted to the very amusing experiences of one of Miss Vidor’s stage husbands, in an aeroplane. Patrons are requested to note that, owing to the length of the programme, the performance will commence at 7.30 instead of a quarter to eight. KOSY. “DADDY’S GOME A-HUNTING” AND “THE LOVE PIRATE.” Tho fifty beautiful girls who make up tho Folies Bergercs chorus in Frank Borzage’s Mctro-Goldwyn production, “Daddy’s Gone A-Hunting,” which is being screened at the Kosy Theatre to-day, wear some unusual costumes. Instead of silk 3 and satins, these dancing girls are costumed in bead dresses and paint. Several of tho more prominent futuristio artists of Los Angeles were called to the Metro-Goldwyn stuidos to work fantastic designs in gold, silver and black on the arms and legs of the ballet. Photographed against the bizarre settings of this remarkable scene, the dancers form one of the most arresting scenes ever taken for tho screen. Alico -Joyce, popular star, is seen as Edith, and Percy Marmont plays Julien, her artist husband. Carmel Myers has added one more remarkable characterisation to the many already to her credit as a cabaret performer in “The Lovo Pirate.” In the earlier scenes she portrays, admirably, the happy, care free sophistication of a girl of this type, while later, when jealousy comes into her life, 'she invests the part with deftly conceived touches that carry her from the thoughts of love and happiness to hatred and revenge. PALACE THEATRE “THE COUNT OF LUXEMBOURG.” “The Count of Luxembourg,” which is being screened at the Palace Theatre tonight, founded upon an operatic theme, budt upon an ingenious plot, is delightfully portrayed by dramatic characterisations and one thrilling scene succeeds another. Comedy punctuates tho story — comedy that is developed from tho story, not just something that the cats dragged in. Tho melody of the original comedy Success links tho entire- picture with an undertone that satisfies. A photoplay is as strong as its weakest factor; there,aro no weak links in this one; for it features an all-star cast. Long ago every man and woman in this picture proved his or her ability to portray emotion that is real, emotion that is true. George Walsh in this unusual arid different screen drama portrays a brilliant characterisation as “The Count,” and Helen Lee Worthing charmingly interprets tho adoring and adored theatrical queen of the Parisian world. High on the hill, or low in the valley, gorgeous palaco or impoverished studio, “The Count” presents a fascinating atmosphero set in a colourful and beautiful background. What an audience likes depends upon how they like. Appreciation is tho best criticism —criticism is the best appreciation. The management of the Palaco Theatre invites criticism of this superb and dainty offering for the holiday season, knowing full well that it 3 equal as a dramatic effort has nover yet been screened. OPERA HOUSE. MARY PICKFORD COMEDY. From the sweeping trains and velvets of tho costumo drama, with stilted phraseology and stately mien, to tho ragamuifin elotnes of “Liutlo Annie Rooney” and tho fighting, biting, shin-kicking, roystering ot New York city’s East Siue slums — this is tho screen transition Mary Pickford, foremost screen artiste, has encompassed in her new photoplay, a United Artists Corporation release doming to the Opera House for four nights and_ a special matinee to-morrow at 2 o’clock. Miss Pickford is perfectly at homo in this story of New York's tenement district and the characterisation of littlo Annie Rooney fits her as tho proverbial glove. She takes tho role of a twelve-year-old daughtor of a popular policeman and leads a group of dirty-faced youngsters in rough and tumble battles against a rival gang, and has a secret infatuation for Joe Kelly, a strapping big truck driver, and pal of her brother, Tim Rooney. Gone are tho gorgeous costumes. No longer are the golden curls of “The World’s Sweetheart” dressed high on her head; instead they hang in tangled braids down her back. Cheap calico, darned and undarned stockings and down-at-the-lieel shoes make up “Little Annie Rooney’s” garb. She scorns to wear anything like a hat; once in a while she wears a boy’s cap. The gang-fights in “Little Annie Rooney” aro described by those who have seen this latest of Mary Pickford pictures as screamingly funny scenes. The star, living up to tho good old Irish name, Rooney, starts a fight and certainly ends it. Leading her gang of ragamuffiins, she pelts bricks, vegetables, ancient fruit and tin cans with a marvellous accuracy. She fights with her fists, butts with her head, and kicks with her feet as a score of rival gangsters swoop down and she is cut off from her pals jn a strategic retreat. Box plans may be jeen at the Opera House.