AMUSEMENTS.

Otago Daily Times, Issue 20039, 4 March 1927, Page 12

AMUSEMENTS.

EMPIRE THEATRE. People in America paid hundreds of dollars to see the fight between Dempsey and Tunney for the world’s championship, and many of them secured only a poor and a distant view of the great contest. But the eye of the kinematograph was right at the ringside, and by its means the world has been enabled to follow the progress of the fight to much better advantage than many of those who were actually present. It is claimed that this picture is one of the finest boxing records, if not the finest, ever screened, and not a detail of the big fight has been missed. The picture will make its first appearance in Dunedin to-day at the Empire Theatre. The entire 10 rounds of what has speedily become one of the most memorable encounters in the history of the sport are shown in the film version, a thrilling, slogging, hard fight, in which the slow-motion “shots,” showing some of the more willing moments, are of tremendous interest to boxing enthusiasts in particular, and to all lovers of good clean sport in general. The film also is of immense educational value to all instructors and pupils. One most interesting incident is a stinging right which Tunney swung to Dempsey’s jaw towards the end of one of the closing rounds, a blow which did much to weaken the ex-champion’s rapidly disappearing powers of resistance. At the end, when Tunney is proclaimed world’s champion, and the two men shake hands, there is a pathetic touch about the attitude of the defeated man. It has always been so, and doubtless always will. However, the picture is a fight film, and is readily accepted as such. Although in this country boxing matches are not patronised by the feminine section of the community, one may say that this film is of as ranch interest to lady patrons as to the men. It is a clean fight throughout, and should hold no distaste for the most fastidious. OCTAGON THEATRE. The Dunedin public will have a further opportunity of seeing “Beau Geste,” the film version of Major P. C. Wren’s famous tale of the Foreign Legion, during the coming week, the Octagon Theatre having decided, in view of the remarkable success of the film, to extend the season. The magnficent broad sweep of this drama of the French Foreign Legion has not been surpassed, nor has thcro been a finer theme more masterfully executed—that of the devotion of three young English brothers, their smiling, unflinching sacrifice for each other and for duty. The drama of “Beau Geste” is brought to the audience with impressive force in the opening scenes which show a detachment of the Foreign Legion on its way across the African desert to relieve a fort which has been attacked by Arabs. Arriving at the fort, the commander of the relieving force finds no sign of the Arabs, and his glass reveals that in every embrasure in the walls a soldier is standing rifle in hand ready to firo upon the enemy. The bugle call elicits no response, however. Not a man stirs, and the gates remain closed. The commanding officer goes close to the walls and discovers that the men in the embrasures are all dead. This opens the mystery, which deepens and quickens as the story procrosses, reaching £rom the bahara to land, and involving there three of the main characters, the brothers, enacted by Ron ad Colman, Neil Hamilton, and Ralph Forbes. Colman, giving the finest and most romantic performance of his brilliant career, and Noah Beery as Sergeant Lejaune the cruellest beast and. bravest soldier in the Foreign Legion, dominates the production, although Hamilton and Forbes, as Colipan s . comrade mgwtinaircs, are close rivals for screen honours Not one of the many noted artists in “Beau Geste’ anydhing b t a fine characterisation. William Po*e“* Alice Joyce, Mary Brian, No™ an Jrevcr, Victor M'Laglen. and the others are ct tain to add to their popularity by their work in this picture. The story a worthy background—beautiful homes and the lonely fort seti among f enclip- hiilcs of sand dunes hundreds of met hteh There are a thousand thrills m “Beau Geste,” the sight of hundreds of coloured Touregs sweeping across the sand p£. Id dunes on bond»■* 'K screened twice daily. EVERYBODY’S THEATRE, comedy drama, 6 TMlass bi 4 a story of an American girl who goes to Russia and consorts with gSSw, wealthy personages. John. W. Gonsidme, iun general manager of the benenoa; organisation, and Sector Sidney A. Franklin selected more than t w o c costly dinner rings, bracelets, earrings, and brooches and quantities of solid silver service, and deposited a bond for their safe return to the jewellery firm at the end of each day’s work. Many of The Duchess of Buffalo scenes are laid n the luxurious palace of a Russian nobleman Among Miss Talraadge’s supporting Savers are Tullio Carmmati, former fending man and managing director for the late Eleanora Duse; Edward Maitindel Rose Dione, Chester Conklin, and Mart a Franklin. The story is an ongi--sal one'by Hans Kraly. Robert Fraser is cast in the leading supporting role in “The Foolish Virgin,” a fascinating and thrilling story of a young lady v\ i emerges ß with a clean and wholesome soul out of the slums in a big city. i ra.ei is the type of clean-cut American who persuades by personality as well ashis; trionic ability. In The I polish luyn he is cast opposite Elaine Hammcrstem, and does some dramatic acting. QUEEN’S AND KING EDWARD THEATRES. Lionel Barrymore, Norman Kerry, H. B Walthall, and Marcehne Day are the four m-incipal players portraying the story of “The Barrier,” for the Queens and King Edward Theatres to-day. The first is a member of tne famous Barrymore family. His work in “Enemies of Women has stood as his greatest achievement until his'magnificent portrayal in ’ The Barrier overshadowed it. Brutal, inhuman, pitiless as he is in the role of Stark Bennett, it has a pathetic appeal that leaves a lingering impression of regret that ia! did not have a more sympathetic role. Norman Kerry, handsome giant of numerous excellent pictures, makes an ideal soldier lover, and his athletic prowess stands him in good stead throughout a virile picture. Kerry appeared in the romantic lead in “The Phantom of the Opera,’ and here he is every bit as fascinating. H. B. Walthall, veteran character actor, has never done better work than iu this pitture. Marceline Day has her first big chance in the role of Necia, the beautifciu half-caste, and her brilliant performance, made charming by her radiant youth and fresh personality, augurs well for her future in motion pictures. > S.Tie photoplay is based on Rex Beach’s “The Barrier.” PLAZA AND GRAND THEATRES. The photoplay version of one of the most thrilling of present-day mysteryplays, “The Unknown Purple,” is '.ho chief attraction of the new programme at the Plaza and Grand Theatres. This play, by Roland West, who persoually directed the motion picture adaptation, was a sensational success on the New York stage, where it played for a solid year ana afterwards for two seasons on the road in all principal cities. Its themes may truthfully be called unusual. It revolves about a ray of purple light, the possession of which makes it possible for the one holding its secret to become invisible to the human eye. While in >v;.-it-ing his play, which is now also in published form. Roland West offered it as nothing more than entertainment of a different type, nevertheless it may be considered from a scientific viewpoint, as being a prediction of what may eventually be the world’s greatest discovery - the power to make sol d objects invisible to the human eye.