AMUSEMENTS.

Otago Daily Times, Issue 19980, 23 December 1926, Page 8

AMUSEMENTS.

EMPIRE THEATRE. In her latest picture, “EUa Cinders,” which is being screened at the Empire Theatre this week, Colleen Moore scores one of the most singular triumphs of her already triumphant screen career. Ella Cinders (according to the story) in tho Cinders’ household, does all the work which adds to the home comforts of Lotta and Prissy Pill, her step-sisters, and Ma Cinders, her stepmother. But Ella has one joy in her life. This is the smile of Waito Lifter, the ice-man Then one day Ella becomes excited by the announcement that there will be a movie contest in Ennytown, and that the winner will be sent to Hollywood. By taking care of children, Ella makes enough money to have herself photographed, and this photo she enters in the contest. The night of the big ball Ella appears with Waite. She is dressed in one of Lotta’s gowns, and uses ,a piano scarf as a cape. Just as the judges see her, Ma Cinders also spies her piano scarf and drags Ella home. Nest day the judges arrive to award the prize to Ella, much to the djs gust of Ma Cinders and her offspring. So Ella is sent to Hollywood to become a star. Waite goes home to his wealthy father, for he has been carrying ice only to keep jn training fot football. He says he will marry Ella. His father savs she is after his money. In Itollywood. Ella finds out that there is no job waiting for her. After a hilarious chase with a gateman, Ella gets into the studio and breaks up many scenes which are in course of production. Finally she is caught in a fire scene and, thinking it is real, she acts very realistically. The director thinks she is a great actress, and gives her a contract. Waite at this time is leaving for Hollywood, for he has sent Ella a letter telling her ho is “broke,” and she tells him to come on and she will buy him an ice wagon. They moot again in x desert, when Waite’s train stops, and matters are all cleared un. OCTAGON THEATRE. Paramount’s remarkable story, “The Wanderer,” founded on the parable of tho prodigal son, is still a very strong attraction at the Octagcm Theatre this week. While in the essential teachings and truths it fe to all intents and purposes the same, yet, for dramatic power, additions have been made to the simple Biblical story. Jether, son of Jesse, patriarch of Hebron, is weary of the monotony of his pastoral * life (so the story runs) and of the angry chiding of his harsh and elder brother Gaal. A passing caravan gives him a glimpse of the beautiful Tisha and an ambition to see the great city beyond the hills. Despite the entreaties of his mother and the maiden Naomi, he demands his portion, and, accompanied by the dissipated spendthrift Tola, leaves for the city, where he learns to drink and dice and Luis into the snare of the siren Tisha.. His portion squandered in idle and luxurious life, he finally risks all that remains to him at the dicing table —and loses. Tisha, vexed that he is unable to buy her a necklace she craves, transfers her affections to Pharis, a giant sea captain. Jealous and desperate, Jether yields to the tempting of Tola to play with loaded dice, is discovered, humiliated, and reviled. He breaks through the drunken crowd that mocks him and goes to Tisha, whom he finds in the arms of Pharis. Bitterly he reproaches her with his damnation and leaves her house. But the lure of the charmer is too strong for him, and he is drawn back into the net. iue miraculous intervention of the Lord brings about a reconciliation between Jether and his father, and the feast is spread to celebrate the wanderer’s return and his betrothal to Naomi. EVERYBODY’S THEATRE. Under a cynical sky, dotted with doubting stars, 50,000 human beings and half a million beasts enact a drama that is greater than the hand of man has written. It is Paramount’s story, “Grass, which is being screened at Everybody s Theatre this week. Barefoot, trekking across plains ds hot as the lava of Vesuvius, fording glacial streams that petrify with a touch, climbing mountains, deep, unted, and unshod, they go—on and on. Ihe story is a drama conceived by catastrophe and played by force of circumstances. It has been screened so all the world might know that somewhere, in a forgotten land, a lost people are lighting inclement Nature for ,one blade of grass.. The other feature picture is entitled “The Sky Rider, with Jacqueline Logan and Captain Nungesser in the leading roles. QUEEN’S 'THEATRE. Featuring John Barron, June Marlowe, and the wonder dog Rin-Tin-Tin in the principal roles, “Below the Line 18 a popular attraction at the Queen s Theatre this week. The story tells how a snarling, vicious dog is made loyal and fine through the tenderness ot a boy that loved him. Unkempt, broken in spirit, and trained for brutal fighting, Rin-Tin-Tin becomes a powerful, courageous friend to his master, and saves him from the lustful, unscrupulous hands of a murderer, who has bullied and cowed the entire village into frightened submission. Rin-Tin-Tin’s understanding of humans is uncanny, and brings’him into the hottest part of the fight, a dynamic, irresistible fighting “wonder dog.” Found outside a wretched village by Donald Cass, a kindly but uncouth youth, Rin-Tin-Tin quickly responds to kindness and affection. He becomes a fine, loyal dog. The subsequent scenes are very thrilling. PLAZA AND GRAND THEATRES. “Rustler’s Ranch,” a story in which Art Acord plays the leading role, is one of the main features at the Plaza and Grand Theatres this week. It is a Western picture, true to type. Coupled with this is “Soul Matesa passionate romance in which Aileen Pringle is featured. IvING EDWARD THEATRE. “The Volga Boatman,” Cecil w de B. Mille’s wonderful story of love and revolution, of racial and class hatred, is being screened at the King Edward Theatre this week. There is also an attractive supporting programme, consisting mainly of comedies and gazettes. “SALLY, IRENE, AND MARY.” A startling story of stage life, and the life behind, of which the public never hears, comes with “Sally, Irene, and Mary,” the new Metro-Goldwyn-Mayer picture to be screened to-morrow at the Empire Theatre. It is told with a .clear understanding and an intelligent insight. Based upon a famous stage success by Edward Dowling, this picture tells the story of three beautiful chorus girls, and what life brought to them. There was Sally, cold and egotistical, and well schooled in the wants and whims of men; Irene, the dreamer whom life passed by; and Mary, an unassuming Irish girl, who asked little of life, and gained a priceless possession. Theatrical life has always a distinct glamour and intriguing charm for dwellers in the less romaptic walks of life, and Goulding has transferred to the screen a story with a delightful human appeal. Sally’s love for a philanderer, Irene’s luckless infatuation for an insincere worldling, and the tragic consequences of her fit of pique, and little Mary’s sweet romance with her unassuming lover, are the dramatic threads in the warp and woof of this great production. The tense drama is relieved by rare comedy gems, in most of which Sally O’Neil, the talented young player, who appeared so successfully in “The Auction Block’’ and “Mike,” is prominent. She is cast as Mary, and is supported by William Haines, Constance Bennett, and Joan Crawford. “A KISS FOR CINDERELLA*” The imaginative whims of James M. Barrie, the directorial artistry of Herbert Bvenon, the piquant personality of Betty Bronson, the three factors that were responsible for the success of “Peter Pan,” combine t make “A Kiss for Cinderella saia to be one of the screen’s mqst notable achievements. Like “Peter Pan,” which was Paramount's special Christmas offering last year, “A Kiss for Cinderella ’ will be this year’s special Yuletido attraction, at tho" Octagon Theatre, commencing to-morrow. Unlike “Peter Pen, however, “A Kiss for Cinderella” is not entirely pure fancy. It is, as a matter of fact, a vivid modern day appealing romance, laid against a background of the London slums, with a lovable little heroine jn the person of a lonely half-starved waif and a sympathetic policeman as the hero. The story of this little “slavey,” who dreams of the day when she will be invited to a marvellous ball where a handsome prince will pick her out as his princess, is the one that only Barrie could have written—altogether delightful and filled with laughs and tears, and enlivened by all those w imsical touches that are part and parcel of every Barrie story. And only Herbert Brenon, dreamer, realist, and craftsman that he is, could have translated it to the silver sheet in terms of poignant human drama and inimitable comedy without destroying its essential fantasy. Betty Bronson, who showed in “Peter Pan” that she possesses that wistful elusive quality so necessary for the peaceful portrayal of a Barrie i heroine, gives a finished performance. I