ENTERTAINMENTS

Southland Times, Issue 18971, 19 June 1923, Page 6

ENTERTAINMENTS

ALBION THEATRE. “HEROES OF THE STREET” TO-NIGHT. “Heroes of the Street,” which will have its first showing at the Albion Theatre tonight, is the sort of picture that makes the hair stand on the head and keeps it standing there. It is packed with thrills, and checkered with comedy and pathos, so that you catch yourself roaring at one instant and gulping in ycur throat the next. This is a different picture, with emphasis on “different,” due to the genuinely touching love story and the pranks and fights of young Wesley Barry, the star. Wes is decidedly “it” and runs away with the honours. He romps through the picture with the gusto of a jazz orchestra at its jazziest, and is at his best. W T e have seen him in “School Days” and “Rags to Riches” and enjoyed his fun. This picture is even better. “Heroes of the Street” is, brifly, the story of Mickey Callahan, who finds life one fight after another with the kids of his neighbourhood. His father, a policeman, suddenly loses his life at the hands of a mysterious gang of crooks. And, after Wes and his mother are plunged in black grief, the lad sets about sleuthing for the man who made him an orphan. We won’t tell you how he does it. but we will let you into the secret sufficiently to say that it is done through a number of the most comic escapades and hairbreadth adventures ever imagined. A beautiful romance is interwoven through the picture. The combination of irrepressible fun-loving Wes as a detective and Marie Prevost as the innocent actress in the power of a sinister plotting producer is unbeatable, and makes this Warner Brothers production the best that has ccme here for many a moon. Art Staton and Jcsie Sedwick, co-stars of Cliff Smith’s latest production, “Western Hearts,” the first feature screened, had a, narrow escape from serious injury during the filming of the Western offerings. During the “shooting” of one of the scenes, Miss Sedwick is being beaten, and her pet wolf hcund saw what was going on, and went to her rescue. Before he was called off, both Sedwick and Mr Staton were cut and scratched, and Mr Smith was forced to seek shelter until other clothes were brought to him. Mack Sennett supplies the fun of the night in the comedy “Gymnasium Jim” this comedy supplies fun in exceleis. Seats for to-night and Wednesday, may be reserver by telephoning the Albion (738). CIVIC PICTURES. Four distinct and worthy attractions are listed on the programme to be shown at the Municipal Theatre to-night. These are Hoot Gibson’s latest, “The Loaded Door,” Gladys Walton in “The Trouper,” Johnny Hines in “Tetchy’s Hold-Up,” and last, but not. leas! Brownie, the wonder dog, in the Century* comedy, “Short Weight.” With such a varied and well-selected programme there should be no lack of patronage at the Civic to-night, and the two following nights. The comedy and novelty element is well provided for by Johnny Hines and Brownie. There is plenty of action accompanied by Western thrills in Hoot Gibson’s latest sensation, and there is a romantic interest in the Gladys Walton production. Mary Philbin, Universal’s latest find, fills a role in “The Trouper,” as also do Jack Perrin and Kathleen O’Connor. Gladys Walton appears as Mamie Judd, who saw life from under the burdens of a wardrobe slavey’s existence. She got two dollars a week—some weeks. Fate offered a redeeming feature in the handsomeness of Herman Jenks, probably the worst actor in the world, but a bear to Mamie. He was the “heavy man” of the road company, with which she was dragged around over the country. Occasionally the company made enough money to eat three times a day, but generally they let some curious person in each town invite ’em out. Irene La Rue, the leading woman, was kind enough to permit Herman Jenks to love her, and he was goofy enough to appreciate the privilege. Getting “stepped on” finally to the limit of endurance, Mamie was advised by a hard-boiled choruser to hit back and talk American. She did, and then the fun started. In “The Loaded Door,” Hoot Gibson has opportunity to further solidify his reputation of being the finest horseman on the screen. Always ready for a fight or a frolic, he displays his ability to do both in fine fashion, to say nothing of his wondrous way in romance. Harry Pollard, who directed “The Leather Pushers,” also directed this one.