AMUSEMENTS.

Press, Volume LVIII, Issue 17472, 5 June 1922, Page 12

AMUSEMENTS.

PJCTI'RE HOUSES. GEEATEH CRYSTAL PALACE. hUi'KKI.ATIVD ORCHESTRAL MUSIC. o:iJ TV7u PAG FEATURE PICTURES. .a': of Greater Crystal Palace, Mr V. M. Bh' o. .laims that the programme of <.:ciiestril and motion pictures for this v ei, commencing to-day, is one of the best h-a! lriglite«:i that he has ever offered at the b;j{ theatre. The two all-star super photo\.ayt '.riA themselves admirably to a euperla::r: probatar".9 of orchestral music, which hu3 if-eii r-.-hearsed to synchronise perfectly with ;he tcieciung of the big pictures. Some tin numbers which the world-'aroou* fc'j':;.phcr.y Orchestra will submit, under the • lie*.ir:,;ui«!ied cor.ductorship of Mr Alfred J. jiui are:—Overture, "The Poet and i'twi-n;'' (Su;jpe;; suite, "Casse Noisette" :l.iikov.-riky;; symphony, "Jupiter," first u.o-.'einni:', (Mozart); "Petite Suite de Con«v.-." (C>:eridge Taylor); "Traumerei" ;Schu.•i.ar.xi', violin soloist, Mr H. Ellwood; "Nor Dances" (Greig); "The Arcadians" 'M'yT.cV.'.cr;); "Excelsior" (Monti); "Chanson (Druro); "Fighting Tommies" 'Rouiton); "By the Waters of Killarney" (.Sanders); "That Haunting Waltz" (Gold-

A.l trio pictures on. the long three hours' programme are from the renowned Universal <-;"y stur::os, nr.d heading the new bill is a ' try crcellent five-reel masterpiece, entitled "i'.aying With Fire," in which the star part ii taken by vivacious and brilliant Mlr-dys Walton, who seems to be gaining in popularity all over the world with every tick of the clock. As Enid Gregory, in "Playing With Fire," Miss Walton plays the piano at a music shop, and through Lvr beauty and charm is practically responsible for all of the business that is done in tho melody shop. She lacks refinement and education, but only realises it when sho meets Janet Fenwick, a society tfirl who is hiding from her friends through her father's financial disgrace and ultimate suicide. Enid befriends Janet and gets hsr a filuation in the song-shop. JVinet, in return, teaches Enid a lot and awakens ambition in her, which, after many exciting and humorouß experiences, leads her temporarily into tho eocial whirl, much to the disgust of her boyhood sweetheart. The photoplay is beautifully and luxuriously mtmnted, and during the telling of the delightful story there is a huge fire, which is «aid to be the most thVilling ever screened. , The second big picture is claimed to be the swiftest photo-comedy drama that has ever come from tho famous Universal City fctudios. It is called "Headin' West," with popular Hoot Gibson as the star, and beautiful Louise Lorraine in the girl part. The opening of this fine comedy is unique and novel, and Gibson breezes into tho picture by iumping from an aeroplane and landing on his, old home in a parachute, much to the consternation of the natives and huge herd* of cuttle, horses, etc., with which the big ranch is stocked. All through the bjg picture fhero is a succession of thrills •nd excitement, so that tho audience is kept in constant suspense as to what is going to happen next. The supporting films are the ninth instalment of "Winners of the West," which was adapted to tho ecreen from the evergreen novel, "The Pathfinders. 11 an exceptionally amusing Century comedy, and the l&teef International News film. The box plan ie at The Bristol, or stats nifty be reserved by telephoning' Greater Crystal Palace, number 8758,

OBAND THEATRE. A wonderful tribute to the popularity of Mary Pickford was paid by Christchurch picture patrons on Saturday, when large crowds Mannbkd at tho Grand Iheatre in apito of the weather, to aee tho initial screening of "Pollyamii." Mary Pickford wa« the first "taring picture octrees to win universal {.raise. In the unfortunately long intervals between - her. pictures « rumour spreads that otter stars aro encroaching on her territory. 'Abes cornea another triumph of Mary rickion's art, and the world flocks to see and ptaifte. Th© <4 worid's sweetheart"' Jaary ricJctord ha* been called. To analyse the acting of tbo (tar ia an impossible taak> Her charm lie* in thai! certain indefinable power which neither tha English nor the French lttgoago can adequately express. pne thin* oootriimtea neatly to the away of the famous actress. • She has never appeared in a picturo which was not superlatively good, bhe has her parts allotted with the greatest cuic. Hfit stories are bright, healthful, and rull of colour. Starting off, then, with the ground ready prepared, Mary Pickford protates to reap the rich ,harvest to which her artistry justly entitles her. If you are sad, . "ifollyanna'' is the picture to see, tor -u taifea yoa out of yourself and introduces you to a* little girl whose rainbow smile illuminfMa the lives of all with whom .she comes in ..jctact. If yiou. aro' glad, "Pollyanna" is just' the-picture for you, for it is justly deacrfhed as a "glad" picture. Tho most blase ' of utotion picture patrons must concede that Mary Picktord reaches right to the heart of U£hgs. - Joy and love end, all that makes Jii» worth living are concentrated in atina." The story starts in a missionary's hot- in tft* western mountains. Tho miasionaax'a' daughter, Pollyanna, played-by Mary Pfckjord, is soothing her father's last hours wtth pfofmses that aha -will be' glad and rejoice throughout life. After tho death of Mcfalher Pollyanna is takra lo the home of ajnaiden aunt, whose disappointment in love Mtaa years before had made her immune fioki all the pleasant things of love. She waa even proof against the radianoe of Folly. am%' but the wild joy overflowed to the world round about her, and brought cheerftdpaaa to thehomes of many who had forgotten ita existence. Her gospel, "Be glad Cfc& 'Mjoioa," sustains Pollyanna through all sht rebufls of her aunt,, till on© dreadful day, herself in front of a motor-car to Mrk a little baby who had run on to the zOad.. 'Paralysed in both legs,' told she will jasrez walk again, even Pollyanna's philosophy breaks down for the time being. SWMcd by bar young playmate, Jimmy Bean, to play the ."Glad game" which Biie has «Hv*ys preached, Folly anna fltrmmonses a smile through bar tears and aays, "Well, I'm glad l iada mch good use ef my legs while they ImM." Thus, in the bitterest trial, a guy-loving child could know, Pollyannae'. •pbit of joy triumphs. How she weaves tosMhtr the threads of an old romance by &• snashiaa of ber smile forms a fitting con«ltisibnto,a film which iaeminently satisfyiijfin o*ary reapoct. Those who had waite<F patiantly in' the queuo for a very long ttnm felt woil repaid for thsir discomfort, lac&antally tho big crowd' that assembled on Saturday OTening seemed to'surprise even iji» i manaymrait, who were hard pressed to «M» wfthtbomsh of patrons. The triumph oftho Mary Piokford productions is a pleas-1 ijkmdf of tho fact that tho public's taste ~<% waolespme, clean jactnrsa has not been * iMtartd by tin#. passage of yean. People wfte seldom visit tho pictures at ordinary llipai |in ni xniaa a Hary Pickford production, tar .they knowthat it bears the hallmark of tfcauwbdd'o best quality. <3?Wlo "Pollyanna" is the big attraction of Him programme, thp management has pro▼jdad a faMCOM supply of supporting films. the.T^lling 1 Be|l" is a mys-. tSqT atory of a more than usually gripping oharaoter. Hay McAvoy and Bruce Gordon «t»y tbe leading sarts. There is an «xcelJmi comody, acd a scenic, in which "A Qwnpso of Kcw Zealand" contains some gtojalU) viewa of the Wsnganui riTtfr. The Suuw Orchestra, under tha conductorship «K5Er A..L. plays a programme of jmplo dalightfnlly adapted to the mood of fUQyatma," «nd this adds, greatly to tbe ■aQoiHa>><4'i tho entertainment. programme will be screened three ttaat &tfy till Friday. Tho obvious lesson had tho packed hoops of Saturday is to iffy early and avoid disappointment.

STEAND THEATBE. A thrilling cattle stampede, in which Tom Vft "bulldogs" » steer, is the most, exciting 6*63*Bt ia "'Treat 'Em Bough," the leading Wm ia the fine new programme at the Sttfoad Theatre. Over two thousand cattle, with terror, are following their leader a|nigfat to the death 'that 'awaits tEem in (holorest fire.' Only by stopping their leader the torrible rush be arrested. Mix pertho operation successfully for the first t&M v in £he history of motion pictures,' and j desire a real thrill should cerftfiilfOM hiin do it. In "Treat'Em Bough" o dMigbtful romance is woven, into the scenes oC/sfetfod oa the open plains. The second Ug. attraction on the programme, "Smiles] •pl Zrampa,'' has Maurice Flynn in the leadJMf jpqit. The story is described as a mileOeHKUte railway yam, and it certainly j djßHw'witlt the swiftness of an express. tin assistant-paymaster, discovers jjjflßgm superior officer has been tampering of r a foreman. . Exciting HHMg'nrW th* discovery, and several jtjjlwMS fight* occur. In a, sensa.bajtyeen two locomotives on paralwakes a daring jump I^MWBtppy-ptlWMr.. - Ora -Carew gives Tflynn ia: her role. The JeS C4l '

EVERYBODY'S THEATRE. "THREE LIVE GHOSTS," STARRING ANNA Q. MLSSON. "NEVER WEAKEN," STARRING • HAROLD LLOYD. A unique and pleasing Paramount picture is to be presented at Everybody's Theatre all this week. "Three Live Ghctsta" was produced in England by. George Fitzmaurioe, who has achieved wonders by skilful handling and with artistic settings. Many famous and historic spot 3 about London have been wonderfully woven into the pictuM, giving it a realism which charms. Anna Q. Nilseon, Norman Kerry, and Cyril Chadwick accompanied Mr i'llzrouurice to London head the cast. The story opens on Armistice Night—the whole world has gone ma<l and the thr.se pais who wearily reached London after three years in a German P ris ° camp found the war over at last. There w Billy Foster, an American, who was wantea at Scotland Yard for a crime he had not committed; "Spoofy," who was an cnl f™ to his friends and himself —his mind a pkte blank, the result of shell-shock • and thirdly, Jimmy Gubbins, a Cockney, repo dead, whose mother was at that moraent in a Whitichapel "pub" drinkin 3 aWay '^ e instalment of his life insurance. lUeir wturp from the dead was unexpected, as it was undeaired. and wse a signal for ,(i of events, both humorous and thrilling, is a delightful picture throughout, with a strong human appeal. _ v;t». In "Three Live Ghosts, George Fit* maurice has pro-luced a masterpiece of 8 production which took America .LJL. to Newspapers in all States demoted c praising the wonderful effects obtained in all departments, and especially c . oml f director for the artistic and h man " c _ in which ho has handled the Pic ture. The story is an adaption of the piny of the same name, which ran for an entire season on Broadway two >eais ago. The author, Frederick Steward Isham, is a well-known American playwright, wi was educated in Europe. He spent some years in London, becoming thoroughly familiar with that city in all its aspects ana with the life of its millions. George *» z -' mauiice, appreciating his fact, recognised the value of faithfully reproducing the locality, and spared no effort to get every detail. He took a strong cast, including Anna Q. Nilsson Norman Kerry, and Cyril Cnadwick, across the Atlantic and fi'med the entire picture in London. Many exce.lent ' shots of famous London landmarks were secured and used as a background for actual scenes in the story. This feature in itself gives the picture a wonderful realism. lien one remembers the vagaries of the London atmosphere, the photography of "Three Live Ghosts" will be deemed little short of miraculous. Every scene stands out from the screen strongly and in complete detail. It ia a picture, full of human appeal, delicately blending pathos and humour, without sounding one false note to mar the harmony of the whole.

The supporting picture is Paramount's ' fourth special comedy starring Harold Lloyd. It is entitled "Never Weaken." Jt is claimed , to even surpass his previous efforts, which\ were considered by critics to be almost unbeatable. I

A delightful musical programme will bo given by Everybody's "Select" Orchestra, under the conductorship of Mr W. J. Bellingham, F.S.M. Chief among the items are the following:—Overture, "Bather of Seville" (Rossini); 'cello polo, "Berceuse" (Jarnefeldt), Harold Beck; xylophone solo, "Peggy" (Western), Clarence Crawford; entr'acte, "Serennde" (Widori: orchestral suites, "Ktienne Maroel" (Saint-Saena), "Andante" Greig); ballet music, "Parysatis" (Saint-Saens); light selections. "Oh! Ohl Pelphine" (Ruben), "Pinafore" (Sullivan); fox trots, "Ain't We Got Fun" (Conrad), "Swanee" (Gershwin), "Margie" (Klickmnnn). As usual, reserved seats may be obtained either at The Bristol or by telephoning 4925.

LIBERTY THEATRE. By her acting in "The Sign on the Door," Miss Norma Talmndge reaches the climax of a career which liaa been notable for many splendid triumph®. All her woiit haa bean well received, but it is no exaggeration to say that there was not one in the packed audience at the Liberty Theatre on Saturday evening who did not feel that Miss Talmadge had reached the summit of ambition. 'i'o interpret a part that ia crammed full of emotional and dramatio situations is a stern test for any octrees. To interpret such a part perfectly as Miss T'almatifce does in "Tue sign on the Door" is to reach tnat point beyond which human ability cannot pass. (Jhanning Pollock might well be sutislied with tne treatment wliich his play has received at the hands oi th</ Associated iirat .National Producers. If he were not, it would be exceedingly hardi, indeed impossible, to satisfy him. Tne director, Herbert Brenan, is to be congratulated on the success oi his efforts, iivery situation, and, as has been said, "The Sign on the Door'' abounds in dramatic situations—every situation is worked out with a subtle artibtry which compels admiration, even while the imagination is gripped by the wonderful possibilities being unlo.ded in the Btory. When the film commences we see Ann Huniwell, played by Norma Talmadge, as secretary to Bank Manager Devereaux. I Devereaux's son, i'r'ink, is a young man whose Christian name, to put it milaly, is s.ightly misleading. He persuades Ann to go to tbe opera with Lim, and later takes her unwillingly to the Cale Muzarin, _ a notorious resort long suspected by the police. A waiter warns Ann uuring Doveroaux'a temporary absence of the character of the place, but ahe has not time to get away betore Devereaux arrives back. Ann is only saved from hin evil intentions by a timely police raid. An enterprising newspaperman takes a 'flashlight ->f the scane, which Devereaux manages to buy off him. Three years elapse and Ann is now secretary to "Lafe" Megan, who asks her to marry him. He refuses to lcc her explain the incident of the cafe, and she finally consents to marry him. They live happily till Devereaux appears cu the scene again. He secretly, makes love to Helen, Began's daugli-, ter of a. formor marriage, and finally persuades !her to promise to go away with him. In the middte of their meeting Mrs Regan arrives'. Deve/eatix threatens to tell her husbandi of the Cafe Tlazarin affair if she makes any disturbance. She calls for her husband but, in Devereaux's promise that h* will go away and not come back, she passes the mr.'.ter by a casual reference. Later she linda out that Helen is to_ meet Devereaux at his apartments, and she rushes there to protect her. Devereaux had just received news that Colonel Gaunt, with whose wife Devereaux had been involved in a nasty scandal, was back in America, He had made preparations for flight and, knowing that Gaunt or his friend Began, would be on the scene shortly, he tries to persuSSe Mrs Began to feo away before it is too late. She fears deception, and refuses. Then Began's knock is heard on the door, and he demands entrance. His wife, inside with the man whom her husband has already reason to suspect, ia almost frantic with fear. She consents to be pusheu into another rcom, and Devereaux opens the door. Began stalks in, and after some preliminary argument, a Btmggle ensues. They wrestle for Devereaux's evolver, and Began shoots Devereaux. His wife partinliy opens the door and sees the whole terrible F.cene—her husband standing over Devereaux's body with tbe smoking gun in his hand. She sinks back in horror. Began proceeds to arrange the body and revolver so as to give an appearance of suicide to the action. He hangs the sigfl he finds on Devereaux's desk, "Do not Disturb Me," on the door, locks it, and departs. His wife comes out fiom her hiding place, finds herself locked ■in, and beoomes almost craiy with fear. Finally she rings the proprietor, leaves the receiver off, and proceeds to frame up a scene which will support the contention she afterwards made: '"He attacked me, and I killed him." When the police arrive . she tells her- story, and goes through in dramatic fashion the incidents of her alleged struggle with Devereaux. Naturally, one or two points in the story puzzle the police. Heg&n is summoned. He advised the police to take into consideration the possibility of suicide, but receives the shock of his life to hear that the murderer had been taken and had confessed! Confronted with his wife, he immediately Btates that he was the murderer. The dramatic intensity of the play reaches its climax at this point with a loving wife fighting to save her husband's life, and vindicate her own reputation. For what was she doing in Devereaux's room? The story that she came to protect another woman is confronted by a proof of the flashlight photograph Deveraux had bought three years ago. No explanation that will convince her husband of her innocence seems possible. The proof comes in an almost miraculous manner, but in a way which does not interfere in the least with the extremely logical plot of the play that is thus brought to its conclusion. Time passes quickly during the screening of "The Sign on - the Door"—one of, the sore signs of a film of absorbing interest. Norma Talmadge is assisted by Lew Cody, as the villain of the pie<e, Frank Devereaux. His consistently good interpretation of the role contributes much to the outstanding success of the production. The big British production, "The Kinsman," cannot be dismissed with merely a line, even when such a film'as "The Sign on the Door" appears on the bill. -Mrs Alfred Scdgewidk'a novel of the Australian heir to a large fortune, who arrives in England enly to be replaced by a distant kinsman, who thinks him dead, is a remarkably good story. Henry Edwaids, in the duel role of the Cockney cousin and the Australian heir, M 7 excellent, and his acting of the '

p«rt of the Cockney introduced into the moat aristocratic English society keeps the audience in roare of laughter. Mr Edwards drops his Cockney manner like an old coat when he assumes the role _of the Australian heir, and the distinction he makes between the two part 3 without any facial make-up netds to be seen to bo behoved. Minnie White plays the part of the girl, who must marry the Heir to keep the estates in the family. She refuses the Cockney point blank, and family complications ensue. Matters assume a different aspect when the real heir arrives. With two euch Bterlin? Bri'ish productions as "Carnival" and ''The Kinsman" within so brief a space, the reputation of British films lias increased enormously. The Liberty Grand Orchestra played a fine programme. The incidental music included :—"Miss Hook of Holland" (Rubens), "Danse de Sylphes" (Berlk't), "Minuet" (Schubert), "Three Sonss" (Brahms), "The Broken Melody" (Tan. Biene), PTelude to "Tristan and Isolde'' (Wagner), "Damnation of Faust" (B?rliot1, "Die Walkure" (Wagner), and th? Finale from "Symphonic Pathetique" (Tschaikoaslu).