EMPIRE THEATRE

Otago Daily Times, Issue 18320, 10 August 1921, Page 6

EMPIRE THEATRE

“Paying the Piper,” the feature film at the Empire iiieatie, may be described as a sgrmon against tbo irivouty which characterises the doings of many in tile inner circle o- society in New kora. The text is that mammon is a jealous god, and if hia favourites scorn his gifts destiny is called in, the riches vanish, and the votaries of pleasure are taught a much-needed lesson under tne whip or adversity, 'l lie opening scene shows tne daughter and son ox millionaire lathers being brought up in the lap of luxury; but the girl is spoilt by an indulgent lather, and the son is spoilt by a neglectful parent, ihey grow up as m.ght be expected, and'on attaining maturity, a marriage is • arranged between the young lolks without any thought of Cupid. Aleanwhilo the young man ‘'enjoys” his fling in a fast set, wncre ne encounters his father, and the girl also enters a similar circie, where she, too, meets her parent. As a subsidiary plot, there is a daughter ol an organgrinder who takes to the stage and achieves lame as a dancer, wlien she attracts the attention ot the millionaire’s son (young Graham), while a gardener’s son (who loved her as a child and b.nds his love strengthened now that he has become a suceesstul architect) acts as her guardian angel. Meanwhile the architect is employed by the father ot the rich girl (Barbara Wyndham) to superintend some buildings, and Barbara spends her time flirting with him. There is an orgie of pleasure-making, in the midst of which Barbara and Young Graham enter very light-heartedly into the estate of matrimony, and their marriage spells temporary misery for the dancer (Marcia Marcella). Then comes a crash on Wall Street, both millionaires are ruined, and their children are dragged down with them. In this extremity Barbara determines to take to the stage, but one experience sickens her of her desire, and she returns to her husband a chastened woman, so that the curtain is rung down upon two happy couples. '1 he scones are set for the most part in palatial residences, and, as the filming is good, and the costumes worn are gorgeous, the eye is pleased throughout. Added to this, the drama abounds in dramatic situations, and the moral —which is not obtrusive, but is preached throughout the play—is a distinctly healthy one. The supports are good, including a Burton Holmes travelogue, showing some delightful scenery in Hawaii, and comedy cartoons. There is also the comedy “Ghosts in the Garrett,” in which Dorothy Gish appears to such advantage. The Empire Grand Orchestra, under Mr G. Pettit, played excellent incidental music, including the overture to "Lucrozia Borgia,” in which the haunting melody sung by the tenor when he discovers that Lucrozia is a murderess is introduced.