ENTERTAINMENTS

Southland Times, Issue 20395, 26 January 1928, Page 5

ENTERTAINMENTS

POPULAR PICTURES. RIPPLING COMEDY AND TENSE MELODRAMA WITH JACK PERRIN IN “SILENT SHELDON” ALSO “BORROWED FINERY” HIGHLY ENTERTAINING FILM. If you like to feast your eyes on the vastness and beauty of the wide open spaces which Mr Harry Leon Wilson has celebrated so justly, if you enjoy real riding by real cowboys, or at least boys who ride as though they were the real thing, then you will certainly have a good time at “Silent Sheldon,” the new Harry Webb whirlwind western starring Jack Perrin, which opened at the Popular Theatre yesterday for a three day’s run. The story revolves around Jack Sheldon (played by Jack Perrin) a young man who after lolling lazily all his life in the satin life of luxury, is suddenly confronted, while breakfasting in bed, by a telegram which informs him tersely that he is absolutely penniless except for a ranch in Arizona. The young man thereupon sets out, with his coloured valet, his horse, his dog, and his car, making without further ado for the wilds of Arizona, there to put the ranch upon a paying basis. How he is tricked by a couple of villains who have found gold upon his property and are appropriating it for themselves, how he comes out triumphantly against them, and how he falls in love with the only daughter of the owner of the ranch next his, forms a film of amusing and exciting incident. The lavish display of beautiful and costly gowns worn by the principal characters is one of the outstanding attractions of “Borrowed Finery,” now showing at the Popular Theatre. The film contains many dramatic situations as the unhappy story of the little dress model is unfolded, but there is a good admixture of comedy which gives variety and maintains the interest. The principal role is taken by Louise Lorraine, who makes an attractive heroine, and givqs a meritorious performance. She is ably supported by a strong cast, including Ward Crane, Lou Tellegen, Taylor Holmes, Barbara Tennant, Hedda Hopper and Gertrude Astor. The supporting programme maintains the usual high standard set by this theatre. AT THE CIVIC. LEWIS STONE IN “THE PRINCE OF HEADWAITERS,” GARY COOPER IN ‘THE LAST OUTLAW” AND GEORGE PROCTOR, TENOR (LATE OF N.Z. DIGGERS). The Civic programme is a good one. They usually are good at this popular house which has long had the refutation of screening pictures of a consistently high standard of merit, but this is one that calls for special mention. Lewis Stone, that polished gentleman of the screen, has a most satisfactory role and one for which he is eminently suited in “The Prince of Headwaiters.” Robert Agnew and Lily an T ashman too give first rate performances, as also does John Patrick who as the “comedy relief” is certainly a bright spot in the film. Pierre Duroc (Lewis Stone) marries a rich young American girl in Paris. The pair are separated by her father, who, furious at the marriage, takes his daughter back to America. Later, she dies, after giving birth to a son. This is unknown to Pierre, who after many years, has become “The Prince of Headwaiters” at the Ritz in New York, and is comfortably off. He sees one of the guests falling for the wiles of a pretty but notorious gold-digger; arj he is impelled to protect the victim. He later learns that the young man is his own son, who had been born soon after Faith’s arrival in America, and with her death it had been decided to keep the knowledge from him. He threatens to reveal his identity to the boy, but Faith’s father informs him that such a move would ruin the son socially, and make his forthcoming marriage impossible. However, he decides to get his son out of the clutches of the gold-digger. At first his interference brings a sharp and bitter rebuke, but the boy realises his mistake later, and Pierre is eventually able to break off the infatuation. “The Last Outlaw” is an excellent outdoor picture introducing Paramount’s latest outdoor star Gary Cooper. In “The Last Outlaw” there is a solid dramatic plot, a fair amount of humour, and three firstclass actors (which includes “Chick from Chicago”), not to mention many lesser lights. A very pleasant interlude in last night’s programme was the appearance of the talented tenor Mr George Proctor, who ws accorded a great reception. His numbers included “Youth,” “For You Alone” and “Take a Pair of Sparkling Eyes.” Mr Proctor will be heard again tonight and the full picture programme will also be shown. ALBION THEATRE. ENTERTAINMENT DE LUXE. RONALD COLEMAN AND VILMA BANKY IN "THE NIGHT OF LOVE,” ALSO NORMA SHEARER IN “AFTER MIDNIGHT.” Swashbuckling gallants, dastardly villains, brave men and fair women, in a dazzling, sure-fire, swift-moving romance of feudal Spain, credit Samuel Goldwyn with another one hundred per cent success with “The Night of Love,” featuring Ronald Coleman and Vilma Banky, which opened to a theatre simply packed to overflowing at the Albion last night. Coleman never looked more handsome than he does as the brave romantic Spanish bandit, seeking revenge against the dastardly Duke for the murder of his childhood sweetheart. Miss Banky is more beautiful than ever, if that is possible, and as the Duchess de la Garda, kidnapped by Coleman on her wedding night, she fights and loves with a nerve and abandon that moves audiences almost to cheers. It is evident that the fair Vilma, who came from far Hungary a little over a year ago, has progresed marvellously during her stay in America, for in addition to being one of the most beautiful women on the screen, she is to-day the most accomplished of the younger actresses and in “The Night of Love” makes her character an outstanding triumph. The story opens with a marvellously beautiful gypsy wedding sequence wherein Ronald Coleman as a gypsy prince, returned from wanderings in far countries, is about to take unto himself a bride of his people. The ceremony is most impressive, and the denouement when the Duke kidnaps the little bride had the audience fairly trembling with emotion. Mies Laska Winter was beautiful as the gypsy bride, giving true pathos to the scenes where she kills herself rather than return to her own people an outraged woman. Hardened and obsessed by a desire for vengeance, Coleman turns bandit and with a heart of hate harries the Duke. Years later, on the wedding night of the Duke and the beautiful Princess Marie (Vilma Banky), he comes again to the fore and, with his outlaw crew, storms the Duke’s castle and kidnaps the Duke and Duchess. The scenes where Coleman in the bandit stronghold forces the bride and bridegroom to dine with him are especially effective, as are also the scenes where the Duchess throws herself over the balcony. “After Midnight” strikes a new note that every fan will respond to. Woven around the little world of men and women who wake up when other folks are between the sheets, it is founded on fact and presents a little known side of city life in all its splendour and tragedy. Gwen Lee plays the jazzy, devil-may-care sister, and how she puts it over! Pep, sparkle, comedy, tragedy, romance and thrills—they’re all in “After Midnight.” The musical programme by the Albion “select” orchestra under the able direction of Mr R. Pettitt is worth going a long way to hear.