AMUSEMENTS.

Otago Daily Times, Issue 19905, 27 September 1926, Page 2

AMUSEMENTS.

OCTAGON’ THEATRE. Between 1914 and 1918 almost every soldier in the British armies in France fought at Ypres, and every one of those lucky enough to survive that inferno treasures a memory of it and will thrill to live over again at this distance those dark yet glorious days. . Ypres became and has remained a symbolWhat Jerusalem is to the Jewish race, and Mecca to the Mohommedan, that will Ypres be to the millions whose dear ones died in its defence. Ypres gradually drew into its maelstrom the fighting troops of the whole Empire; it would be difficult to discover amongst the millions of our people at home and overseas one who had absolutely no association with that historic battlefield. “Ypres” is not merely a record of war — it is a revelation of our British fighting spirit; of the humour, too, which made unendurable things endured, and lightened moments that were otherwise stark tragedy. In “Ypres” the pioducers have had the privilege of access to rll the official records, which enormously enhance the realism of the film. And yet, so cleverly is reconstruction interwoven with reality that it is difficult to distinguish them on the screen. . When people walk down Whitehall and se3 the Horse Guardi on parade, they little realise what these cavalrymen did in the second battle of Ypres, when, dismounted, they replaced infantrymen in the line, and held it. Theie are few situations, real or fictional, more dramatic than the desperate moment at Hill 60 in circumstances so appalling that only three men answered out of a muster-roll of 450—Lieutenant Colonel Birchall, who rallied the Canadians during the first gas ottack; Corporal Fisher, who covered their retreat; Private John Lynn, who, with his machine-gun, stayed the German advance single-handed; Sergeant John Moyney, of the Irish Guards, who. after being surrounded, safely brought back his 15 men, one of whom, Private Woodcock, earned tho V.C. by rescuing a comrade from the river under the heaviest fire; Captain Clement Robertson, who walked in front of his ranks to show them the way; Lance-corporal Peeler, of the Australians, who captured a German pillbox single-handed; and Lieutenant Shankland, who, with 50 men captured Bellevue Spur, the key to Passcnendaele. Two of tho most thrilling scenes are the chase and destruction in raid-air by . Lieutenant Warneford, of a raiding Zeppelin, and the crushing of a German pillbox by a charging tank. Humour there is in “Ypres. ’ as there was humour in Wipers. A raiding sergeant, hearing tho guttural “Nein, nein!” from a German dug-out, throws in a bomb, with "Ninel Then share that amongst you!’ In a lighter vein is e letter beginning “Dear Alfred, —Just a line to let you know it is raining here, and to hope as how the sock came in handy.” A concert behind the lines, H., _ baths, and even “orown and anchor” bring out tho humour that underlay that tragedy and lighten the moving story. EMPIRE THEATRE. The feature picture at the Empire Theatre, whidi has already proved a draw, is “Skinner’s Dress Suit, in which Reginald Denny plays the leading role. Commenting upon comedies generally, and “Skinner’s Dress Suit in particular Denny says;—“Tho great comedians of the stage and screen do more than make you laugh. They make you think as well, and beneath your chuckles and laughter there is an undercurrent of sympathy. Not only that, but their work acts more or less as a sermon, in that, by seeing them in their undignified situations, we are unconsciously taught what not to do.” And Denny bears out his own statement, which is a result of careful stud., and research, remarkably well. He is known throughput the length and breadth of Filradom as the screen’s foremost interpreter of farcical roles. And, while audiences laugh at him, they sympathise with him. In “Skinner’s Dress Suit” his long scries of smashing hits ha.; been climaxed. This story by Henry Irving Dodge, which has sold over a million copies in book form, has been carefully adhered to by the star and his director, William A. Seiter, and the result is a delightfully funny situation comedy. Denny as Skinner is superb, and he is ably aided and abetted by charming Laura La Plante as “Honey, his wife. The two leading players have been given a wonderful supporting cast in this modern comedy of the mishaps and adventures of a young married couple who find themselves in difficulties with instalment houses and partial payment concerns. Hie cast is as follows: Reginald Denny, Laura La Plante, Ben Hendricks, jun.. E. J. Ratcliffc, Arthur Lake, Hedda Hooper. Lionel Brahm, Betty Morrissey. Henry A. Barrow, William A. Strauss, Lila Leslie. Lucille Ward. Broderick O Farrell. The plot takes a novel turn, and the final scenes are surprising and unexpected. The new programme also includes several good supporting pictures, and choice musical selections will be played by the Empire Orchestra. PLAZA AND GRAND THEATRES. It is said of Johnny Hines in “Rainbow Riley,” one of two new pictures at the Plaza and Grand Theatres, that it affords even a greater array of thrills than are provided in real melodrama. In one scene, the inimitable star is seen dangling on a frail-looking rope above the gaping jaws of a ravine, hundreds of feet deep. That is only one of the Rainbow Riley thrills but is in itself sufficient to prove that here is a man absolutely without even a suspicion of “nerve." In this big comedy production, Johnny gets the laughs just when you expect a tragedy, so unconcerned are his antics. It is probably hia ability to turn drama into hilarity at a second s notice—under amazing circumstances that has made him the popular favourite he is The versatility of Hines doesn t stop there. For in the tender love scenes with Becky, there could be no more ardent Romeo than the same t-ohnny, who handles the romantic touches just as convincingly as he holds a horde of mountain bandits at bay when danger lurks. ihe picture is “A Six-shooting Roma,nco, QUEEN’S THEATRE. “ Mike,” a Marshall Neilan production, from the Metro-Goldwyn-Mayer studios, is one of the principal Pictures at the Queen’s Theatre this week. Sally 0 Neill, who is known as the screen s wonder girl, plays the leading role, and she is supported by William Haines, Ford Sterling, and Charles Murray, and a host of others. The humour of the picture is fresh and free, and runs the gamut from subtle wit to broad comedy. The story tells how an Irish girl made life a riot for herself and her family, finally helping to foil a band of notorious robbers who had looted a mail train The adventures and romance that invaded her life in the meantime make a delightfully humorous story plentifully supplied with thrills. “ Mike tenches no lesson; it-presents _no new problem; it probes no deep sociological cfuestion; its sole mission is to entertain and this it accomplishes in a thoroughly delightful manner. This is the result of the interweaving of three essentials—-fast comedy, strong love interest, and intense excitement. The programme also includes several excellent supporting pictures. EVERYBODY’S THEATRE. Raymond Griffiths plays the principal role in “ Hands Up,” one of the featured pictures at Everybody’s Theatre this week. There is an attractive supporting cast, which includes such well-knowh players _as Marion Nixon and Virginia Lee Corbin. The second feature is “ Stephen Steps Out,” a comedy packed with dramatic situations, in which the star is Douglas Farbanka, jun. Joseph Henabery directed the picture, which is an adaptation of “The Grand Cross of the Crescent,” a story by Rochard Harding Davis. Theodore Roberts is featured in the principal supporting role, and Noah Beery, Harry Myers, and Frank Currier are cast in important parts. COSY CABARET. The Cosy Cabaret held its full complement of patrons on Saturday evening, the floor being occupied without intermission until midnight. Arthur Gordon and his dance hand, as usual, supplied an excellent musical programme.