ENTERTAINMENTS

Manawatu Standard, Volume XLIX, Issue 80, 4 March 1929, Page 3

ENTERTAINMENTS

KOSY THEATRE. “HONEYMOON FLATS” AND “SOMEHOW GOOD.” Saturday’s huge audience was delighted with the exceptional programme at the Kosy. George Lewis and Dorothy Gulliver head a strong cast in “Honeymoon Flats.” These two well-known stars were featured prominently in “The Collegian” series, and now they are starred in dramatic roles. In this feature they both give sC good display of their talent. The story unwinds about the young Claytons, the girl a daughter of wealthy parents and tho boy a struggling young college graduate who insists that he support his wile on his own salary' despite his mdther-in-law’s patronising attitude. It also concerns a friend who is married, both he and his wife having their private l*vo affairs. These are worked into the story neatly. Also showing is Fay Compton and Stuart Romo in a most appealing story entitled “Somehow Good.” Tho drama concerns a young wife who under tragic circumstances becomes separated from her husband. Eighteen years later, in tho tho moment when ho has lost his memory as a result of an accident, he is restored to his wifo and falls in love with her. Tho past differences between the man and wifo are forgotten and they continue to live in happiness which was so rudely terminated some years previously. This is a programme that tho management can highly recommend, and will be repeated to-night. PALACE THEATRE. “A WOMAN IN PAWN.” Among big British film successes “A Woman in Pawn” takes a prominent place, and it is interesting to note that an essential factor of its success lies in the good acting put up by a skilfully built-up cast. The latter has for the principal players John Stuart, Gladys Jennings, Chili Boucher, Lauderdale Maitland, Tarva Penner, Karen Peretsen and Evelyn Taylor. The play is based upon the inviolability of the marriage bond. Of further interest is the fact that the producer of tho film is a Londoner, whose extensive education spread over studious days at St. Paul’s, Cambridge University and Paris, also his subsequent theatrical career, well fit him for production of films offering food for thought as well as entertaining action. His first stage engagement v/as at the Odcon in Paris and afterwards ho became a pupil of the late Sir Herbert Tree. He was with the Liverpool Repertory for two years, then becoming stage director for J. B. Fagan in London for three years. Tho locale of the story is London, and advantage of this fact has been splendidly taken, with the result, that gratifying glimpses of the city at its busiest appear in the picture. The picture is showing at the Palace finally to-night.

“THE COSSACKS” TO-MORROW. Most pictures havo to do with love, of course. But it has romained to John Gilbert, more or less noted as a lover, to inject a new idea into this thing that screen drama is made of. This idea—and it is an intensely dramatic and powerful one--is to be seen in “The Cossacks,” his new Metro-Goldwyn-Mayer vehicle, to bo shown at the Palace Theatre to-morrow. But thoro is still another element of love in it; one that lends itself to more powerful drama, and that is tho lovo of father and son. It is the love that drives a father to absolutely torture his son until the boy is bent to his ideals; tho lovo of a strong fighting man that becomes almost a fanaticism under the stress of emotional turbulence. Still, through it runs tho sweetest love story in the world; tho romance of a boy and a girl tossed hither and thither by the resistless tide of affairs. Gilbert is the swashbuckling Cossack soldier on the Russian steppes. Miss Adoreo is charming as a peasant girl. Ernest Torrence, as the stern old Cossack chieftain, is a figure of compelling power, and Mary Alden, as the hero’s mother, Dale Fuller, Josephine Borio, Neil Neely, Yorko Sherwood, Joseph Mari and Paul Hurst make up a truly notablo cast. Plans aro at Martin’s. THEATRE DE LUXE. EMIL JANNING’S MASTERPIECE. London’s slums have been called the cup that holds the world’s., dregs. That would appeal to Emil Jannings, character star, as a sitting for his dramatic talents, and the idea, evolved by him, has been translater into a motion, picture called “The Street of Sin.” This now Paramount production, Jannings’s successor to his magnificent picture, “The Way of All Flesh,” is declared by many to be even more powerful in theme and characterisation. It tells tho story of Sledgehammer Bill, who is the terror of tho district where ho lives, a slum area in Limehouse. To this particular, evil smelling quarter comes Elizabeth, a Salvation lassie and an assistant. With much bandinage they are received. Tho noise interrupts Bill and his cronies planning a burglary. He steps into tho hotel bar and is edding fresh indignities on the assistant when his eye catches sight of Elizabeth. . From then on he has more thoughts for Elizabeth than anyone. Despite her hostile reception, and tho many insults Elizabeth starts an Army refuge. Attracted by the jeering crowd, on his way to a job, Bill is spellbound by her beauty and decides to join the Army. That night he breaks with his old cronies. Knowing that her man, Bill, has gone to the’ Army, Annie, a woman in 10/e 'ith him, follows, till is . growing restless and at last he can stand it no longer and decides to quit. In his anger he drags down a kerosene lamp and soon the rambling slum house is burning fiercely. To the bar comes news of the fire. Bill finally returns and after great difficulty rescues Elizabeth. In the days of convalescence ho realises the gulf between them and listens to Elizabeth’s plea for Annie whom he married. And so the little band of workers is once more at harmony. Splendid supporting films, among which is episode three of the “New Greater Collegians,” and attractive music by the Premier Quintette, contribute to an entertainment that it excellent in every Respect. Tho box plan is on view at Berryman’s.