ENTERTAINMENTS

Manawatu Standard, Volume XLVI, Issue 108, 7 April 1926, Page 2

ENTERTAINMENTS

PARAMOUNT THEATRE. BIG DOUBLE FEATURE BILL. Otis Harlan, favourably known to theatregoers as a comedian, was soleoted for tho role of Pudlebox in tho picture version of A. S. M. Hutchinson’s famous novol,“Thc Clean Heart” is featured in the 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 tho only player who could do justice to the rota of tho 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. Tbo first picture shown is Paramount’s celebrated French farce, ‘‘Grounds for Divorco,” a Paul Bern production starring Florence Vidor, Matt Mooro and Louise 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 tho very amusing experiences of one of Mis 3 Vidor’s stage husbands, in an aeroplane. Patrons aro requested to note that, owing to tho length of the programme, tho performance will commence at 7.30 instead of a quarter to eight. KOSY. AN EXCELLENT ENTERTAINMENT. The Folics Bergeres chorus in Frank Borzage’s Motro-Goldwyn production, “Daddy’s Gono A-Hunting,” which concludes its local season at tho Kosy this evening, wear some unusual costumes. Instead of silks and 6atins, these dancing girls aro costumed in bead dresses and paint. Several of the more prominent futuristic artists of Los Angeles were called to the Metro-Goldivyn stuidos to work fantastic designs in gold, silver and black on the arms and legs of tho ballet. Photographed against *the bizarre settings of this remarkable scene, the dancers form one of the most arresting scenes ever taken for the screen. Alice Joyce, popular star, is seen as Edith, and Percy Marmont plays Julian, her artist husband. Carmel Myers has added one more remarkablo characterisation to tho 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, whilo later, when jealousy come* into her life, she invests the part witli deftly conceived touches that carry her from the thoughts of lovo and happiness to hatred and revenge. OPERA HOUSE. MARY PICKFORD PLAY. In all her long career Mary Pickford has never been moro appealing nor sweeter than in tho hospital scenes in “Little Annie Rooney,” her new United Artists Corporation production, now at the Opera House. Miss Pickford docs somo of the finest work in these scenes. She does not look a day more than fourteen, and her characterisation of tho little girl who gives her blood to savo tho boy she idiolises, thinking that she is giving her own life is a masterpiece of tho screen. Miss Pickford’s winsomo and appealing personality stands out all through her now picture, but tho hospital sequenco is ono that picture fans will nevor forget, and ono that stamps Mary as truly ono of the great artists of all time. But tho pieturo is by no means a sad ono ail through, thero is rollicking comedy that has tho largo audience in roars of laughter. The world’s sweetheart is again in tho rolo of a tomboy, in a part similar to what sho had in “Tess of tho Storm Country,” but with more opportunities for her undoubtod penchant of comedy. As tho leader of a gang of nondescript boys she cxcells hor previous best and enters into the part as though sho really was what sho is supposed to bo —a tomboy-girl of fourteen years — that is real art. Hard knocks and softened blows, sweethearts and rivals, alley fights anil street games feature the heart story of Littlo Annio Rooney, a ivaif of New York’s slums, and never was Mary Pickford more applealing, more laughterprovoking, more tear-compelling, than in /this portrayal of the impish, muffin, hoydenish role. “Little Annio Rooney” will bo shown at tho Opera House till Friday night. PALACE THEATRE “THE COUNT OF LUXEMBOURG.” Tho popularity of tho Palace Theatre was again demonstrated in a very markc-d manner last evening, when the screening of “The Count of Luxembourg” was attended by an overflowing audience .and which expressed its approval in no uncertain terms. Tho policy laid down by the management of providing only the very best of selected pictures for tho enjoyment of patrons is well illustrated by the offerings of this week, when two of the greatest film trium ills yet releasod aro being screened. Franz Lehar’s comic operetta, “Tho Count of Luxembourg,” . screens again to-night, and for tho remainder of the week tho first National super special, “Tho Spoilers,” from ltox Beach’s greatest book, will hold tho attention of tho crowded houses, which will bo no moro than its due. This now and greater “Spoilers” is produced with a cast which will bear comparison with any cast ever gathered together for tho making of a picture. Milton Sills, as Uienister, eclipsos the effort put forward by William Farnum in the same part ten years ago, when Colonel Selig produced a picluro from tho same book. The groat advances mado since that time in technical effects and acting ability have made themselves very apparent in this great epic of tho Yukon. There will bo three screenings of this film in the evening, with one matinee on Saturday, at. 2 p.m." r