ENTERTAINMENTS

Southland Times, Issue 20172, 7 May 1927, Page 4

ENTERTAINMENTS

CIVIC PICTURES. ZANE GREY’S “FORLORN RIVER” AND TOM, MIX, WITH TONY. There is fine entertainment promised at the to-night, when Tom Mix’s latest “The Great K and A Train Robbery” and Zane Grey’s “Forlorn River” are listed for screening. You will need to get a tight grip on your seat when Tom Mix in “The Great K and A Train Robbery” hits the screen for the film has more thrills, more hard and fast riding and more good scenery than you’ll get in a dozen other Westerns. Tom is cast in the role of Tom Gordon, railroad detective, who has the tough job of running down a gang of desperadoes who have experienced unusual success in looting K and A trains. The gang makes things almost as hot for Tom as he does for them. But he finally corners them, does some realistic stuff with his fists and wins the daughter of the president of the K and A railroad. This is a story of hard-riding desperadoes, an agile quickwitted horseman and airtight situations, out of which the detective must fight or race his way to safety. It was filmed in the Royal Gorge, the grandest of all American’s scenic spots and the camera has caught all the rugged beauty of the coloured location. Mix on Tony, carrying a girl on his saddle, rides alongside a railway train and lifts her to the observation platform. Then he leaps aboard and is mistaken for a bandit. The girl proves to be the daughter of the president of the road. With these as the opening scenes the picture drama rushes through a succession of thrilling escapes and pursuits until the detective at the actual scene of the robbery foils the outlaws. With the story by Zane Grey, the production by Paramount, and a brilliant cast headed by Jock Holt and Arlette Marchal, “Forlorn River,” promises to be an inordinately attractive offering. Despite its western and essentially virile source for Zane Grey never writes a drawing-room story—the picture is not alt pitched battles, crumbling ranches and a series of irreclaimable villains. Sheriffs, of course, figure prominently in the action, but they are very human sheriffs. Melodrama, with the seasoning of good comedy, should best sum up, the artistic nature of “Forlorn River,” and it is, naturally, immensely thrilling. They are not foolish thrills, just included as sensation but logical and entertaining, and contribute in large part to the success of the picture. One of the most interesting features of the production is the contradictory character played by Jack Holt. Never before has Zane Grey sketched “a good bad man” into any of his books, and never has Holt played one, and this character lends much interest to the story. A thoroughly impeccable hero becomes tedious; they are not real; but the hero of “Forlorn River” is very real, very dramatic at times, and, like a good hero, at the end, very romantic. The purely dramatic touches in the story give it a stolidity which is indispensable, which coupled to the admirable acting, makes it a superior production in every way. Raymond Hatton, although a most distasteful character in the picture, occasionally blossoms forth as the inimitable comedian he secretly is. Arlette Marchal, the wellknown French artiste, is leading lady, and plays her part with a fine appreciation of its emotional feeling. An animal comedy, Dinky Doodle cartoon, Fox News, etc., will also be shown. ALBION TO-NIGHT. FRED HUME IN “PROWLERS OF THE NIGHT”; ALSO IRENE RICH IN “COMPROMISE.” When the pursuit of duty is contrary to the path of love, the right road to travel is hard to chose. In “Prowlers of the Night,” the Universal-Blue Streak Western, which comes to the Albion Theatre today, Fred Humes faces just such a decision. As sheriff he pledged himself to fight crime and pursue those who evade justice —as a lover he told the girl of his heart he lived for her alone. When he discovered that the girl’s father was the man he sought as sheriff, he was face to face with a problem which a lesser man would not have been able to cope with. This situation builds into a drama which makes “Prowlers of the Night” one of the most interesting of Western dramas and one which does not depend on trick riding or uncalled for fights to speed up the action. Fred Humes, who built up an enviable record for himself in two-reel Westerns, now branches out as a feature length Western star and “Prowlers of the Night” is his first effort in the extended form of celluloid endeavour. Barbara Kent, Universal’s new feminine find, plays the leading role opposite Humes, and it is her first cinema effort. Winner of a Hollywood beauty contest, Miss Kent made one test, which revealed her capabilities and she was immediately signed by Universal. Ernst Laemmle is responsible for the direction and the cast includes “Slim” Cole, John T. Prince, Joseph Belmont and Walter Maehle. “Compromise” is a film that has everything. When a lovely woman stoops to compromising her ideals to match the standards of a less sensitive world, she stands a greater chance for happiness. At least, so it would seem after seeing charming Irene Rich in “Compromise,” the Master Picture, which opens to-night at the Albion Theatre. While beautiful Joan Trevore fought against compromise, setting her ideals above the lax standards of her friends, she suffered and was constantly humiliated. It was only after she had forgiven her erring husband, and realised the weakness of human nature, that she faced understanding and peace. The supporting cast of “Compromise” includes Clive Brook, Louise Fazenda, Pauline Garon and Raymond McKee; as brilliant a group of players as has been assembled for one production in a long time. “NO, NO, NANETTE.” “No, No, Nanette,” which is to be presented here on Thursday and Friday nights, May 19 and 20. and on Friday afternoon, by the J. C. Williamson, Ltd., management by arrangement with Sir Benjamin and Mr John Fuller, has been attracting record audiences in Australia for the past two years. It had its Australian premiere in Melbourne where it ran for upwards of six months, and it was then chosen to open the new and elaborate St. James Theatre, where it held the boards for 26 weeks. Afterwards it was staged in Adelaide and Brisbane, and in each of those places it succeeded in breaking all known records. Its first production in New Zealand took place at Wellington before a crowded and representative audience, and the success it achieved on that occasion was so sensational that on the following day the plans were rushed and practically the whole of the dress circle and stalls were booked out for the whole of the balance of the season there, including the matinee performances, which proved very popular, as it is a play that makes an appeal to the younger generation of playgoers. “No, No, Nanette” ran for four consecutive seasons in London, and it is at present being played by no less than ten companies throughout England. It was a stroke of good fortune for the directors when they procured the services of Miss Elsie Prince for the leading part in “No, No, Nanette,” as her dashing acting, her clever dancing, together with her charming personality and delightful singing voice have materially assisted in making “No, No, Nanette” an outstanding success. Mr Jimmy Godden, the clever London comedian, is said to be screamingly humorous in the role of Jimmy Smith, and in the fun-making he is greatly assisted by the light London comedian Mr Charlton Morton, who is also a talented dancer. Miss Olive Grant is another London artist, who has made herself immensely popular in Australia and New Zealand. Others in the cast are Miss Elsie Parkes, Miss Nellie Dean, Miss Phyllis Du Barry, Miss Marjorie L’Strange, Mr Claude Holland and Miss Gladys Hermes. A big feature of the production is the original dancing and the brilliant ensembles, and other features are the superb frocks and the beautiful scenic effects. A full operatic orchestra and chorus are under the direction of Mr Harry Jacobs. The box plans will be opened at The Bristol Piano Co. on Tuesday, May 17. Children will be admitted at half price to the afternoon performance on Friday, May 20.