ENTERTAINMENTS

Southland Times, Issue 18965, 13 June 1923, Page 7

ENTERTAINMENTS

CIVIC PICTURES. “THE KENTUCKY DERBY” AND “GRANDMA’S BOY.” Harold Lloyd’s latest and most ambitious production, “Grandma’s Boy,” did not arrive in Invercargill until the late express last night, consequently those among the huge audience who went to the Municipal Theatre purposely to see the great comedian were to a certain extent disappointed, but the management made it possible for all who desired it to attend a later session. Notwithstanding the disappointment it was the unanimous opinion of all those assembled that the management of the Civic had never presented a finer or more attractive programme. “The Kentucky Derby” is a picture that will be talked about for months, so great is its appeal to all sections of the community, especially to those who have a good horse and revel in the excitement of a contest wherein the best horseflesh in the land is seen in competition for classic laurels. As the name implies, the greatest event in the annals of sporting Kentucky is made a feature of in this fine film. The race shown was taken when Morvich, the greatest horse America has produced, won the Derby and won it handsomely. But the racing scenes are only a section of this picture, which holds so much that it is difficult to condense into small space a sufficient description of all its merits. There are thrills galore, and a wealth of exciting incident, with a sentimental interest running through. Such a combination is a sure fire guarantee of perfect entertainment, and as such we have every justification in recommending it most cordially to everyone—whether they be picture fans, sporting people or just plain folks. Harold Lloyd, too, will need little recommendation. Ho has carried his “lamps of laughter” through many successful short comedy subjects, but in “Grandma’s Boy” he excels himself. He has never done anything better than in this, his firat five-reeler. He is seen as a very tame young man, afraid of his own shadow. Grandmother wouldn’t have it that he was a coward at heart, and in her wise old way she put him to the test. You must see how! The shadows of pathos and the high lights of comedy are painted with the art of a master, and by this contrast make of this a real gem. Lloyd is a comedian—the prince of comedians—and he is more. He is an artist, and in his own particular sphere there is no one to touch him. It should not be necessary to stress the fact that a visit to the box office is advisable, for the rush will be considerable both at the matinees and night sessions at 2 p.m. and 7.15 each day. Plans will be at the Bristol until noon and later at Mrs Gawn’s or seats may be reserved by ringing No. 380. Day sales are at Mrs Gawn’s,

ALBION THEATRE. “GARRISON’S FINISH”: GREAT RACING PICTURE. Jack Pickford has returned to screen stardom in a blaze of luminous glory. The vehicle in which he rides back to the top crest of popular favour is “Garrison’s Finish,” an Allied Producers and Distributors Corporation release and it is certainly an ideal beginning for a new series of Jack Pickford pictures. This unusual feature opened a three nights’ engagement at the Albion Theatre and a large audience made known its full approval in unmistakable applause. It is certain everyone liked Jack in the role of a dashing, debonair jockey. He ingratiated himself most decidedly in his natural romancing with Madge Bellamy, leading woman, who proves an excellent foil. Besides, he gave several occasions for genuine thrills in some of the more exciting scenes. “Garrison’s Finish” is an intensely interesting story of the race-track and racing. Dependent upon the outcome of a certain big race is the happiness and heart affairs of hero and heroine. Unexpected events pile on to each other with breath-taking rapidity for a while until the element of suspense created thereby becomes so great as to keep one sitting on the edge of the chair. In short, one of the speediest stories ever projected on the screen is unfolded in this picture. The supporting cast is especially good. In addition to an outstanding performance of merit by Mies Bellamy, there are excellent characterisations by Clarence Burton, Charles Ogle, Charles A. Stevenson, Ethel Grey Terry,, Audrey Chapman and Dorothy Manners. The play was written by Elmer Harris, who based it on W. B. M. Ferguson’s novel by the same title, but in the adaptation it was plainly necessary to make numerous changes in the plot and action to conform to screen requirements. When Harlan Carr inherited his Uncle Ebenezer’s “Jack O’Lantern” house, and took his bride there to live, he little realised that he would soon be the unwilling host of a score of hungry relatives. But in less than a week they were there, bag and baggage and a few trunks in addition. And then things began to happen. There were strange sounds at night. A black cat made the house his headquarters, and a shadowy figure floated through the halls at night. There is mystery in this story and a climax that will fairly make your hair stand on end, and through it all there is a vein of comedy that will make your sides ache from laughter. The name of the picture is “At the Sign of the Jack O’Lantern.” It is screened at 7.30 p.m. in conjunction with a comedy and the ladies’ latest fashions in colours from Gay Paree. Seats may be reserved by tojephoning the Albion and day sale tickets are obtainable at Dunlop’s (next Bristol).