AMUSEMENTS.

Timaru Herald, Volume CXXIII, 30 April 1927, Page 2

AMUSEMENTS.

RIN-TIN-TIN IN “THE NIGHT CRY.”—AT FULLERS. June Alarlowc and Rin-Tin-Tin bid fair to become the most universally pupu'ar of screen teams, as AAarner Brothers’ production of “The Night Cry,” which opens at tlm Theatre Royal to-day, will prove. “The Night Cry” shows Rin-Tin-Tin, the famous dog star, in his biggest and best role, and the picture itself is thrilling and forceful. June Alarlowc gives a delightful perfonuancc as a p'ucky little pioneer wife, eager to save Rinty, the shepherd dog, from the villain (Gayne Whitman) ; John Harron plays her husband; little ALarv Alslier their baby, and the cast a'so includes Don Alvarado and Hemic Conklin. Rin-Tm-Tin, in the picture, has been falsely accused and persecuted lor plundering the hocks of sheep, and the Alartui family tries to protect him from the wrath of'the other shepherds. The dog knows that a condor has been responsible, and pursues the bird of prey in vain. Finally, in a thrilling fight with this vulture, he saves the Martin baby from its taious, and vindicates him self. Herman Ray maker has made an excellent production, from the story by Phil Klien and Edward Meagher, toiling the homely talc of a pioneer family in swift,- dramatic action. “The Night Cry” is decidedly worth while. The 'Theatre Royal management has been fortunate in the selection of supporting films for the main feature, and these will include “The Patlie Gazette,” a new copy.of the “Universal Nows Reel,” and another of the joyous Century comedies, “Snookum’s Outing.” The Royal Orchestra will maintain its good name with . a choice se’eciion of musical numbers. Seats may be booked through ’phone 570, or at the theatre office. The usual matinee will take place this afternoon. THOALAS AIEIGHAN. AT THE GRAND. In “Tin Gods,” the Paramount picture which conics to the Grand Theatre to-day. Thomas Ateighan lias secured for Jus support such capable players as Renee Actoree, heroine of “The Big Parade,” Aileen Pringle, star of “The Wilderness AV’oman,” William Powell, of “Almmi of the South Seas,” Hale Hamilton, star of many Broadway .successes, Join; Harrington and many others. Dr. AicCoy (Hale Hamilton) and the Padre wadeli Roger Drake (Thomas Aieiglian) enter a little church at Del Rio. It is built on a cliff projecting below a towering bridge. The priest asks about the man, and AfcCoy recounts his life. A rising young engineer, Drake, marries Janet Stone (Aiieen Pringle), ambitious daughter of a wealthy man. In the palatial home given them, Roger neglects his career. A baby boy is born. Janet becomes a candidate for the State Assembly. Their home is a political stamping ground. Drake comes to blows with one of the habitues, and Janet scathingly denounces his conduct. One day, the child disturbes a meeting, and the boy falls from .an open window to his death, and the couple decide to follow their own separato paths. Drake 'secretly takes- to drink, and goes to construct a bridge at Del Rio, South America. Taciturn and disagreeable, Roger is the only man unaffected by flic blandishments of Carita a dancing girl. AVhou stricken with black fever, it is she who c-ares for* him. Tony Santclli (AA’iliiam Powell), the cafe proprietor, shows Carita a newspaper, which gives an account of Janet’s campaign. On being defeated, the latter decides to visit Drake, and effect a reconciliation. Carita, thinking ho still loves his wife. leaps from the bridge, and so Roger returns each year t> a chapel he lias erected in memory ot the one beautiful episodo of his life. The supporting programme contains two n-azottes. a cartoon, a blue ribbon comcdv. entitled. “A Fratunity Afix- • '>.■’ Seats may be reserved as usual. Phone 486. GERALDINE PICTURES. Undoubtedly “The Bat” is the best guessing game which has reached the stage and, screen in many years. It will fill its destinv of entertainment at the Geraldine- Theatre to-night, sumptuously and thrillingly. . One of the chief reasons for the success of this Roland AVest motion picture mystery melodrama, from the play by Alary Robert Rhiiieliart and Avery Hopwood, is in its success in persistently challenging audiences to identify the arch criminal behind the stirring trail of mystery, which grows with gripping intensity as the film progresses. Anyone who intends seeing it would feel like adding another “murder” if a friend insisted on spoiling the peppery melodrama by explaining it beforehand. It 'is enough to say that doors and windows apparently opened by no human hands, shots in the dark, strange gliding, sinister visitors, and a fluttering signal of evil—a bat silhouetted on white walls — excite turmoil that bears upon even more portentous problems. Everything is sufficient to speed the heart-beats to trip-hammer pace.