NEXT WEEK’S PROGRAMMES.

Star (Christchurch), Issue 17758, 30 January 1926, Page 6

NEXT WEEK’S PROGRAMMES.

THE PICTURES

QVXSX'S THEATRE “ LORRAINE OF THE LIONS ” QXTSS2TS THEATRE “ THE SX&ETT OH* SEVILLE ” IVERTBODT’S THEATRE “ CLA-SSOT*!) ” ftRXATXX CRYSTAL PALACE . . “ SCARAMOUCH* ” ORA3CI> THEATRE “ CHJtX. SHY " GRAND THEATRE “ TRHJ ROMANY " LIBERTY THEATRE “ LITTLE ANNIE ROONEY ” BTRAVD THEATRE “ SOUL !FIR» *’ STRAND THEATRE “ TR* TEASER ” THE THEATRES. THEATBB ROYAL " M‘VI IX XO JAW* ” FULLER'S OPERA HOUSE HHVUB AND VAUDEVILLE

gasggggsmgiSggsragiagsisssMSEga^^M^^ 44 LITTLE ANNIE ROONEY/* LIBERTY THEATRE The United Artists’ special feature, •* Little Annie Rooney.” is being ■hown at the Liberty Theatre, commencing at. noon- “ Little Annie Rooney *’ is a feature for everybody. It has laughs galore; it has a real story that holds one from start to finish; there is just a tear or two and a lot of human interest, but most of all there is Mary Pickford as a ragged little tomboy of New Y r ork East Side, the leader of a gang of boys, a fighting, laughing, happy Irish lass of the slums, who meets her crucial test when it comes like the little heroine she is. It is the kind of picture that only Mary Pickford can play. It is the type that made her famous, and in “Little Annie Rooney” she is at her best. The theme moves through many different phases with ease and logical sequence, while the picture is rich in incidents of both humorous and pathetic nature. Hard knocks and softened blows, sweethearts and rivals, alley fights and street games are features of the trials and tribulations of “ Little Annie Rooney.” waif of New York slums, and never was Mary Pickford more laughter-provoking, more tear-com-pelling. than in this portrayal of the ragamuffin, hoydenish role that made her the world’s sweetheart. Special matinees will be given at the Liberty Theatre. There will be two sessions daily, at noon and 2.30 p.m., whilst the evening session will commence at 7 p.m. The box plans for the brief season of six days only are now open at The Bristol Piano Company, and iiv tending patrons are advised to book their seats, as record attendances are anticipated. GRAND THEATRE. HAROLD LLOYD IX “GIRL SIIY.” At seven thirty last night not a scat was obtainable at the Grand Theatre, which is a testimony to the popularity- of Harold Lloyd. His latest picture "Girl Shy,” was received with roars of laughter, which lasted throughout the whole screening. Here is a picture that may be recommended to anyone as being one of the most worthwhile things witnessed in a long, long time. Lloyd is seen as a small town tailor’s apprentice, who, bashful to an extreme degree, is trying to make a secret study of girls. And the more he studies them, the more he fears them. He makes the part one calculated to win the sympathies of any audience at the outset. Besides being one long laugh, “Girl Shy” has the added merit of possessing a really dramatic story as its background. The supporting cast, a small but entirely capable one, includes Jobyna Ralston as the feminine lead. Richard Daniels and Carlton Griffin. Fred Newmeyer and Sam Taylor co-directed from a story by Taylor, Ted Wilde, Tim Whelan and Tommy Gray. Seats may be booked at the Bristol Piano Co., or by ringing the theatre, 44 SCARAMOUCHES AT GREATER CRYSTAL PALACE. GREAT SAB ATI XI STORY STARTS OX MONDAY. A picture that is art supreme, in which the vivid passion of the author's writing, dealing with the minds of men and the fury of an outraged people, has been portrayed in dumb show upon a silver screen. This is “Scaramouche,” the Rex Tngram picture, to show at Greater Crystal Palace next week, commencing on Monday. Rafael Sabatini's great book has been made a great picture: massive in setting and impressive in its realism, its deep theme ably portrayed by a cast that, it seems. «ould not be lettered. “Scaramouche" is among the greatest pictures that have been produced. The players convey to the onlooker an unwonted sense of being vitally alive, as though the wheel of time had been turned back for more than a hundred years, so that the early days of the French Revolution were current. once more. Ramon Novarro. Alice Terry and Lewis Stone are the chief players, though there are many others of almost equal interest, and vast crowds were called into service for the mob scenes. The whole, in a setting of old France and Paris, appeals to human emotions in an intensely subtle fashion, while there is unfolded this story of days gone by. While the people of France, groaning under the oppression of the allpowerful nobility, were giving vent to the first ominous tones of their vast complaint. Andre-Louis Moreau, after two year? at a law school in Paris, returns. with his bosom friend Philippe de Vilmordin, a divinitv student, to his uncle. M de Kercadiou. at the Chateau Gavrillac. On arrival at the village, thev witness a sorrowful procession bearing the body of a man, shot by the order of the Marquis de la Tour d’Axyr for poaching in his preserves, which were adjacent to Gavrillac. Philippe upbraids the Marquis for his action, and is cold-bloodedly insulted into a one-sided duel, which inevitably results in his death, whereat Andre vows vengeance. An edict had just been issued by the King, Louis JCVT* ordering that the oppression ol

the poor by the nobles must cease, ■ and Andre, his mind a turmoil at this defiance of God, King and humanity, goes to his uncle for advice. Kercadiou scoffs at the suggestion that so great a man as the Marquis should be brought to justice. Andre sees the Marquis in the grounds of the chateau with his cousin, Aline, who had vowed her love for Andre two years ago, and the young man. his heart full of bitterness, leaves the chateau to find justice in ‘a world where none existed. Aline runs to him as he leaves, never having forgotten her love, but he disregards her. thinking her prepared to marry the Marquis. Morning finds him at the town of Rennes, a centre of the new movement for freedom, where he takes part in a demonstration, inflaming the people by a suddenly-dis-covered gift of eloquence. Driven from the town as a fugitive, he returns to Gavrillac, where Aline saves 1 him from the dragoons, and swears not ' to marry the Marquis. He joins a band ' of strolling players, which in a short ' time he elevates to the position of a first-class company. At this time Madame, de Plougastel, a friend of Aline’s, invites the girl to visit her at Paris, where they witness the first performance of a new’ comedy, “Figaro Scaramouche.” Andre and the girl recognise each other, and Scaramouche goes to his room, after the final curtain in blackest despondency and bitter shame, for besides having been recognised by Aline, he had seen her companion, who was none other than the Marquis. What Scaramouche did not know was that Aline had neither asked nor desired Tour d’Azyr’s presence, he having at first been the occupant of the box next to her own. Climene, the daughter of the proprietor of the company, had been trying in vain to conquer Andre’s heart, but coming to his room now finds him in fit mood, and he promises to marry her, telling her in his agony of spirit that she was far above a great lady w’ho would sell herself for rank and power. Then Aline comes to see him, but they part in anger, then the last straw is placed upon his load by the fact that the Marquis seduces Climene, his promised wife. For the last time he dons the garb of Scaramouche, and in the theatre delivers a great speech in which he so inflames the audience that they mob the box in which the Marquis is sitting, and he barely escapes. Meanwhile Aline has told this man that there can be no more friendship between them, and her days are haunted by the thought of Scaramouche. Andre becomes a teacher of the sword and fencing, but political events are moving rapidly about him. The people have become represented in the National Assembly, where the power of their great orators, Danton, Marat and Robespierre, causes great uneasiness to the nobles, who, finding words of no avail against this Niagara of oratory, turn to their old weapon, the sword. By challenging to duels various of the more dangerous of the people's- representatives, the - most dangerous swordsmen among the nobility were ridding the Assembly of them, and had weakened the spirit of the people and tempered the valour of their representatives with discretion. At this stage Andre is made a member [ of the new party with a set purpose. Being an expert swordsman, he in 1 turn challenges the nobility, with dis- , astrous results for them, and he is hailed as the saviour of the people. Some very dramatic and excellent scenes appear at this stage of the picture. The Marquis visits Aline again to plead his cause, and she learns that he is to cross swords with Andre in a little while. She offers herself as the price for which the Marquis should call off the duel, but he refuses. . On the day of the duel, Andre plays with his op- ; ponent, and finally wounds hipi in the arm. Aline and Madame Plougastel arrive at the duelling grounds as the wounded Marquis emerges. Aline, believing Andre to be dead, swoons in the Marquis’s arms, and Andre, seeing this, misunderstands. Bloody revolution at last breaks out in Paris, and * Aline and Madame Plougastel find !" escape barred to them. Andre comes ° to their aid, and suddenly realising s that Aline loves him, a vast part of his despair is lifted. He has learned that Madame de Plougastel is in truth - his mother, and lends his every effort a to escaping with them from Paris, but i he finds in the house the Marquis, i. wounded in escaping from the masa sacre at the Tuileries. Madame de Plougastel flings herself between the e two men. intent on killing one an- >- other, and cries out a piece of informai- tion that stuns Andre and brings a most unexpected turn into the story. ,f From this scene until the end is a whirl e of action, combining desperation, dese pair, violence and final triumph, and rx the great story closes with enough left to the imagination to lend added pie quancy to the whole. The whole picture is excellently con- / ceived and executed. The acting could / not be bettered, the settings are elaborate. and the whole atmosphere breathes the spirit of the times. In connection with “Scaramouche," the “ Stereoscopiks " novelty will be s presented for the first time in Christchurch. This novelty is known as the *' Third Dimension of the screen. With ordinarv pictures there are only two ° dimensions. namely, length and breadth. In the “ Stereoscopik ” pic:v lure, however, the figures and scenes of the film actually have depth, the. e audience being provided with special ° coloured glasses . to wear during the e screening, which help to produce the weird effects. The novel effects of a > crayfish being dangled before the ej’es i. of the audience can readily be imaginle ed. The figures seem to come right off is the screen and pass over the heads of v- the onlookers. One of the scenes deis picts a cowboy swinging his lariat, l- This shoots out, and it is understood i\. that it takes a person of imperturbit able calm to avoid throwing up his d I hands in order to ward off the dropis P»ng rope. . * In addition to these two great fea-

tures there will * also be shown a comedy and latest news film. Following the established custom, particulars of next week's musical programme will be announced in Monday’s newspapers. The box plan is at The Bristol. or. when The Bristol is closed, at the theatre, but seats may be reserved by telephoning Greater Crystal Palace. Number 3755. 44 CLASSIFIED/’ OLD-FASHIONED PARENTS AND UP-TO-DATE DAUGHTERS. A CORINNE GRIFFITH CLASSIC. EVERYBODY’S THEATRE, MONDAY. Gorinne Griffith in. the big First- National production, “ Classified,” to be presented at Everybody’s Theatre on Monday,' has made a remarkable divergence from her established roles, playing with superlative ease and, her customary charm the sophisticated flapper of the present day. In this new role Miss Griffith loses none of her dignity, but the avid, breathless search for pleasure which so characterises modern young girls is sent. in the star’s work in all its entity,, thu? enabling the main element of “ Classified ” to be in no way obscured in Miss Griffith’s stately and cultivated personality. As Baba Comet, the impoverished clerk in a big daily newspaper. constantly seeking to bridge the gulf that to her meant Fifth Avenue, Corinne Griffith throws convention to the four winds and uses all sorts of means to achieve her twin ambitionposition and wealth. Just how far she goes in this pursuit, and how near the brink of the precipice she finds herself is a remarkably appealing and compelling exposition of histrionic artistry and abandon. The many’ admirers of Corinne Griffith should not miss this opportunity of seeing “ Classified,” if only to witness the versatility of this clever actress in her supreme ability to portray this role which is so surprisingly different from her usual characterisation ; “ Classified ” conveys a wealth of meaning to hte understanding members of. the public, which will be readily appreciated .by Everybody’s discriminating clientele. Everybody’s “ Select ” Orchestra will play a special musical programme, embracing the following numbers:— “Italian Folk Songs” (Langey), violin solo, “Midnight Bells” (Kreisler);

entr’acte, “The Answer” (Wolstenholme) ; “Kissing Time” (Caryll) ; ballet music, “Miniatures” (Ansell) : fox-trot, “Seventeen” (Kahn). The box plans are now open at The Bristol Piano Company, where seats may be reserved. . THREE BIG FEATURES. QUEEN’S THEATRE, MONDAY. A particularly attractive programme has been arranged for screening at the Queen’s Theatre, commencing at 11 a.m. on Monday. Heading the list is Universal’s amazingly dramatic spectacle, “ Lorraine of the Lions,” starring Norman Kerry and Patsy Ruth Millar. “ Lorraine of the Lions ” abounds in thrills as crisis after crisis builds up to the dramatic climax of the picture. The story is one of contrasts, and concerns a girl of the primitive, who has lived all her life in the jungle with only animals for companions. After many years she is rescued and taken back to civilisation. She is a tigerish little beauty whose entrance into polite society creates a turmoil of passion and jealousy, as she observes none of the laws of convention. Priscilla Dean, volatile, vivid and fascinating, is starred in the greatest film of her career, “ The Siren of Seville.” In the field of tempestuous, emotional, histrionic art, Priscilla Dean has no equals, and in the multi-coloured romance, laid in the city of bull-fights, where blood runs hot, and much is risked for a soft glance from dark eyes, Priscilla Dean is a ravishing senorita “ par excellence.” The third big feature is the first episode of Universal’s latest serial, /‘Samson of the Circus.” As may be judged from the title this great w’ork is redolent of the sawdust ring, and abounds in thrills and exciting incidents. In connection with “ Samson of the Circus,” 1 a bicycle competition will be held for children not over sixteen years of age, a brand new “ Couchman ” bicycle being given to the child who gives the correct solution of a sentence, one word of which will be shown on the screen each week. The box plans are now open at Webley’s. STRAND THEATRE. “THE TEASER’’ AND “SOUL FIRE.” In “ The Teaser.” which heads the programme at the Strand Theatre, Laura La Plante takes the part of Ann Barton, the neglected daughter of a wealthy family, who takes a position as cigar-counter girl in the hotel in her home town. There she meets James MacDonald, a flashy. breezy cigarsalesman—and they fall in love. When she leaves the counter to return to the home of an aristocratic aunt she discovers that her new lover is ver3* unwelcome, and he realises, after her aunt had invited him to an affair where members of the girl’s set were guests, how coarse he must appear to them. A friend of his. an exiled nobleman turned tailor, volunteers to educate him into being a gentleman, and while his course in etiquette is being painfully studied, the girl, angry at her aunt’s interference with her love affair, proceeds to flirt with all the married men in their set, to get even. Then a divorce, a threatened use of the girl’s name as a co-respondent and the return of the “ New Mac.” her now educated lover, and complications pile up fast and furiouslv. The solution of the tangle of love and laughter comes in a hilarious denouement. Richard Barthelmess has the leading role in “ Soul Fire,” the second feature on the programme. Episode 15 of “ The Fighting Ranger ” will be Shown. HARBOUR LIGHT THEATRE The outstanding attraction at the Harbour Light Theatre next week is the great Universal production. “The Phantom of the Opera.” This is Lon Chaney’s greatest picture since “The Hunchback of Notre Dame,” and as a spectacular production even excels it. Five thousand people are used in the cast, and most of the scenes are depicted in the magnificent Paris Opera House. “The Phantom of the Opera” will be screened for three nights, Tuesday, Wednesday and Thursday, with

matinees on Tuesday and Thursday. The reserve plan is at Hatton’s. * On Friday “Spook Ranch,” starring Iloot Gibson, will be shown, with two comedies. On Saturday "Her Sister from Paris.” featuring Constance Taimadge, will be shown. FULLER’S OPERA HOUSE. Another brilliant programme is promised for Monday night at Fuller's Opera House. The popular Con Moreni Silk Stocking Revue Company will be seen in yet another new production entitled “ Nicey, Nicey.” This is a show with a distinct plot built around a most amusing matrimonial tangle. Excellent parts have been allotted to the principals, while new scenery and wardrobe have been provided. The ballet has plenty of work, while the musical numbers are carefully chosen. The vaudeville section will see the first appearance of Morris and Cowley, a pair of burlesque vocal comedians who have recently arrived from London. Bella and Morris are other new arrivals who will be seen. in a bright song, patter and dance offering. Johnny Moore, the brilliant Scottish comedian and dancer, has some delightful character sketches to offer, while new items are promised by Jennie Roy, popular comedienne, Enid Parker, clever violinist, and the Murfayne Duo, xylophonists and entertainers at the piano. Seats may now be reserved at The Bristol. “ LEAVE IT TO JANE.” THEATRE ROYAL TONIGHT. This evening, commencing at 8 o’clock, at the Theatre Royal, the J. C. Williamson Musical Comedy Company of one hundred and fifty members will appear in “ Leave It To Jane.” Thus the critic of the Wellington “ Post ”on Leave It to Jane,” which will be played in Christchurch for the first five nights of the season: —“Leave It To Jane ’ is a musical comedy eminently suitable for the occasion. It was immensely popular at the Grand Opera House last night. Applause was frequent, spirited and well deserved; laughter was loud and often, and with good reason. So far as some of the characters were concerned, ‘ Leave It To Jane ’ appears to have been specially prepared for the delectation of

‘ the tired business man/ but not exclusivelj' - for his consumption, as its generally hearty reception last night made evident. Its story imposes no great intellectual strain in following, and, unlike so many such musical plays, it has a coherent plot. Jane, charming daughter of Professor Witherspoon, of Attwater College, inveigles a brilliant footballer destined for Bingham College, deadly rivals, to play for Attwater in a great Thanksgiving Day match. He does, really wins the match against his own college, but also wins the girl. The comedy is constructed on the meccano principle, in that anything can be added to it, anything taken away, and still something definite can be made out of it. ‘ Leave It To Jane ’ is remarkable for several outstanding features, such as the delicious comedy of Athol Tier, a freshman at Attwater, straight from Oshkosh; the exceedingly pretty, if unenduring, music, and the variety and beauty of the dresses. Athol Tier is a genuine and original comedian. Tall, thin, and with a dance manner based on the principles of St Vitus, he is a comedian of skill as well as of originality. He had an admirable partner in comedy in Miss Dorothy Lena. Both were rapturously applauded. Miss Mona Barlee, as Jane, was a safe artist to trust with the role—pretty, graceful and with clear articulation and a pleasing voice. Other principal parts were well taken. The chorus was excellent, the costumes were q triumph of the designer’s and coutourier’s arts. All were different, all were in good taste, all would well repay detailed study. The scenery was pretty, and the lighting managed with artistic effect. As a specimen of the producer's fine work, ‘Leave It To Jane * leaves little to. be desired. As a wholesome entertainment it is bound to be a great attraction.”