AMUSEMENTS.

Otago Daily Times, Issue 20190, 30 August 1927, Page 7

AMUSEMENTS.

EMPIRE THEATRE. “ Partners Again,” another of the celebrated Potash and Perlmutter series of productions is the attraction at the Empire Theatre this week George Sidney and Alexander Carr appear in this picture, which is an entirely new production, with new adventures, new humour, and renewed ability. The careers of Potash and Perlmutter have been followed on the screen by a great many picture-goers, but they will find in this latest production a host of new dilemmas and quandaries, incidents and humour, that will make the careers cf these favourites even more chequered than they were before this story was released. In the new piece, they enter the automobile business, handling the world’s worst automobile, the Schenckmann Six. At first glance one would scarcely realise the amount of wholesome comedy which may be derived from this line of commercial pursuit. Not alone as auto merchants, but as amateur aviators, do they regale their audiences. It becomes necessary to escape the highly indignant purchasers of automobiles and stock in a worthless motor which has been distributed by the partnership, to take a hurried trip across the national boundary via the air. And tho scenes where the delirious Abe, clad in nightshirt only, clutching a.hot water bottle and cavorting about the flimsy wings of tho plane in mid-air, finajly dangles by a shred of his shirt to the wing of the ’plane will live long in _ the memory. It is by far the most ludicrous and laughable of the adventures of this pair of worthies as yet to reach the screen. Supporting Sidney and Carr is a noteworthy cast, including Betty Jewel, Allan Forrest, Robert Schabie, Lillian Elliott. Earl Metcalfe, Low Brice, Gilbert Clayton, AnnaGilbert, and many others. An additional attraction is the return of Mr Jack Lumsdaine, the whispering baritone, who nightly causes the rafters of the theatre to ring with the applause of appreciative audiences. On his former visit to the Empire Theatre he was well received, but on this occasion he has captuied even more admirers, and the eagerness of the crowd to hear him give just one more item postpones time and again the commencement of the ordinary screen programme. OCTAGON THEATRE. The love story of the ages, with an artist in the leading role is attracting great houses at the Octagon Theatre this week. This is “ Don Juan,” featuring John Barrymore, who has as his leading lady Mary Astor. The original story of “ Don Juan ” was written by a Spanish monk, Gabriel Toller (1570-1648), whose secular works wore presented to the world under tho pen name of “ Tirso do Molina.” As conceived by de Molina, the story was intended to point a moral in favour of the spiritual life. Don Juan, at the age of five, is accastomed to tho visits of his mother's lover. He remembers his father’s unexpected return; and the exile of his mother, the consignment of hor lover to the long tortures of the dungeon. He, at 10. knows tho succession of beautiful courtesons who take his mother’s place. Ho remembers the one of them that stabbed his father. Ho can never forget his father’s dying cry: Destroy women or they will destroy you.” This conception of womanhood is indelibly fixed in his mind. Next he is seen at the age of 20—an Adonis—living in lavish splendour, sought by all tho famous beauties of the day, among them the ruthless Lucretia Borgia, sister of Cesare Borgia. The one pure love, blossoming like a white flower in this poisonous garden, the jealousies, tho intrigues, the Bacchanalian mirth, the fighting; tho suffering, and the final reformation of tho gorgeous sinner, make tho story of tremendous dramatic force. QUEEN’S THEATRE. Peter tho Great, a canine actor of remarkable intelligence, is the outstanding performer in ‘“Wild Justice,” the prinoipi attraction at the Queen’s Theatre; It is an unusual story, the opening passages of which show an old man lying in an isolated calkin in the mountains, his giant dog Arno crouching beside him. A tmy hole in window pane shows where the murderer’s bullet has entered. The remainder of the story is intensely exciting, and in tho end Arno deals .out justice to tho murderer. In support is “ Valencia.” EVERYBODY'S THEATRE. In “ Tho Perfect Sap,” the main picture at Everybody’s Theatre, Pauline Starke arm Ben Lyon are the featured pl .yers. It is a successful adaptation of the Broadway stage play “ Not Herbert.” by Howard Irving Young. It is the story of an idle son of wealthy parents,' who takes up a correspondence course in detective work. To become more familial with criminal methods he breaks into a house, but while he is there ho is surprised by genuine burglars, and the consequences provide plenty of amusement. Tho second picture is “ New York.” PLAZA AND GRAND THEATRES. Matt Moore and Marie Prevost head the oast of the Warner Brother’s production ot “ Tho Cave Man," directed by Lewis Milestone from the adaptation of Gilette Burgess’s story by Darry C. Zuneok. As Myra Gaylord, Miss Prevost is seen as a daughter of a family of the too rich and too idle class, whose existence has consisted of vicarious pursuit or artificial thrills. Her problem has been how to amuse herself, and so, at a tender age, she finds her thrill possibilities nearly exhausted. Matt Moore plays Mike Smagg, a burlv, tobacoo-chew-mg and red-flannoiled coal hpaver. The second attraction. “ Down the| Stretch, is a race story featuring Marion Nixon. “SORROWS OF SATAN.” Marie Corelli’s famous novel, “ Sorrows of Satan,” has been adapted to the screen, and will be shown for the first time at the Empire Theatre on Friday. Adolphe Menjou takes the leading role, and is supported by Ricardo Cortez, Carol Dempster, and Lya de Putti. The story tells how Geoffrey Tempest, a struggling author, living in poor lodgings in London, has just posted his last effort to the publishers. Across the hall is Mavis Claire, also struggling, and a friendship has sprung up between, the two. They have a meal in a cheap restaurant, and Geoffrey is not willing to part quickly at Mavis’s dopr. He suggests that he stay in her quarters for a while, but she resents this, and he has to return to his own cold, bleak rooms. She relents for her harsh parting, and prepares a little note. Geoffrey sees it being put under the door, and brings her into the room. The next morning. Mavis finds the landlady in her room demanding an explanation of the night’s happenings. When she has gone, Geoffrey comes again and they set out to the registrar’s to get a marriage license. They part after getting the license, Mavis goes back and prepares for their marriage, while Geoffrey goes to his publisher. A new surprise awaits Mavis. One of her stories has been accepted, and the money helps with tho meal for Geoffrey. He however, finds that the publishers do not want more of his work. In anger and bitterness he returns to his room. He reviles everyone, offering to sell his soul to Satan for riches. >