ENTERTAINMENTS

Southland Times, Issue 20042, 2 December 1926, Page 9

ENTERTAINMENTS

CIVIC PICTURES. %>LD LOVES AND NEW” AND “CLAUDE DUVAL” Once again the Civic has a programme that is full of popular appeal. Edith M. Hull’s ‘The Desert Healer’’ is the basis of a fine picture called “Old Loves and New,” in which Lewis Stone and Barbara Bedford both give finished performances. Opening in England in war time, the scene is laid with Lord Gervas Carew giving a party in honour of the christening of his infant son, with Lord Clyde Geradine, a young officer with whom Carew’s wife is smitten, present. All the officers are called back to the front except Geradine. Upon his return, after being wounded, Carew finds his wife flown and his infant son dead. Unable to stand the atmosphere of his home, Carew is found some time later in Algiers, where he has gone to forget his troubles, and becomes a powerful Sheik, in the service of the French Government. Geradine, who has married Marney O'Meara, is also new in Algiers. Out riding one day Marney loses herself and is attacked by robbers, but is rescued by Carew, who takes her home safely. The most valuable horse she is riding is taken by the brigands. She arrives home to find Geradine furious over the loss of his horse, not caring about her misfortune, and is in a drunken state, a usual thing with him at this time. He viciously assaults her, and Carew, arriving on the scene, rescues her, punishing the miscreant with a horsewhip, afterwards taking Marney away to his desert rent. From this stage matters move rapidly to an exciting climax. A story of the most exciting, most romantic and altogether charming neri ■! o f England’s histo v -<s unfolded in th-» British production, “Claud- Duval.’’ The name of Claud? Duval ,s as famous as that of Robin Hood, for hs e.-.’.l its on the road, his hatred of the :'■ i class and kindness to the poor is . de him : kin to the gentleman of Lincoln Fr s.. But the story of Duv: 1 is very dT’rrcr.t in its trappings. All the daring ar.d unconventional intrigue that was a feature of high life during the Stuart dynast}' is a primary element of this romance, for the indiscretions of a duchess sent him on the road, and it was the courage of a duchess who lured him from the road. While the main theme threads its way und sturbed through the picture, there are sundry “affaires” of lords and dukes which rather remind one of the old adage that “Jack is as good or as bad in this case as his master.” The picture has, like all good pictures, a happy ending, Duval escaping to France, and a noble lord and lady finding - dace through the outlaw’s help. “Claude Duval - ’ is real entertainment, and at no time during the picture does the interest flag. Fay Compton, the popular English actress, plays the Duchess of Brentleigh, and Nigel Barrie appears in the title role. ALBION THEATRE. DOROTHY AND LILLIAN GISH IN “ROMOLA.” George Eliot’s romantic tale of Italy, “Romola,” is splendid material for a photoplav. as evidenced in the Metro-Goldwyn-Mayer epic which brings Lillian and Dorothy Gish together again on the screen. That “Romola” is one of the great pictures, there can be no doubt. It is founded on an English classic, that lives and breathes action, romance and intrigue, and was filmed in the actual settings of the novel. Proud Florence and her hated neighbour, Pisa, were restored to the grandeur of Medicean days, and peopled with their own citizens, headed by a cast of film players possessing ability to enact their roles convincingly. Aside from the Gish Sisters, outstanding figures of the cast ar? Ronald Colman and William H. Powell, who plays Tito Melema excellently. Others who demand notice are Charles Lane, and Herbert Grimwood, who bears a striking resemblance to the likeness that have survived of the original of his character, the monk Savonarola. Although the story takes its title from the principal feminine character, Romola, the theme is the sudden rise and equally dramatic collapse of Tito Melema-—of how he rose from a shipwrecked wanderer to be ruler of Florence, with the throne almost in his grasp, and of his dual love story in which the proud Romola and the pretty peasant, Tessa, figured. The picture abounds in drama; ic moments —the pirate attack on the peaceable merchantman; the miracle that could not save Savonarola; the crown of Florence slipping from the greedy fingers of Melema: the verigeance of his crazed, betrayed foster father—it is impossible to enumerate them all. Romola will be screened for two more nights only, and intending patrons are strongly advised to book early, and there is every indication of rush business each night. Plans are at The Bristol, or telephone 738. In addition to Romola, there is a comedy that has a scream of laughter in nearly every foot, also an interesting Pathe News.