PICTURE THEATRES

Evening Star, Issue 19658, 10 September 1927, Page 4

PICTURE THEATRES

OCTAGON The manner in which tho blind rage of jealousy can stamp out reason and truth is shown in , one of the most emotional climaxes of the ‘ Fourth Commandment,' the Universal production now showing at tho Octagon Theatre. The story covers a period of many years, with the characters traversing the span between youth and old age. The subsequent' transforma- | tions on the part of the cast are triumplis of make-up. Belle Bennett I enters the story a young girl, and successfully grows older as the story unfolds. In the final fade-out she is magnificent in the disillusionment of fifty. When the story opens Mary Carr is seen as a mother in hem twenties. Her son is four. The real Mary Carr is tho mother of six, the eldest is over twenty, yet she appears very youthful in the liicturo- Again in a later sequence she is seen as an old grandmother, weary and feeble. June Marlowe likewise proves her ability to portray difficult character roles. Her story in tho picture parallels that of Miss Bennett, and demands the same ago change, Make-np is thus tho face costume_ of : the screen, and is one of tho most important details of brilliant character delineation. The real_ message of the big Universal production is contained in the commandment, “ Honor Thy Father and Mother”; it is Subtly and deftly presented by Emory Johnson who directed.. Supporting Miss Ben nett in tho surging story of mother love is Mary Carr. With her fine sympathy and understanding she is a splendid example of tho old-fashioned woman whose life interest is her family. Henry Victor, prominent English actor, makes the most of his part as tho serious'husband. Among the other screen notables in support are Robert Agncw, June Marlowe, Frank Elliott, Kathleen Myers, Brady Kilne, and four-year-old Wendell Phillips Franklin. ‘The Fourth Commandment ’ is from an original photoplay by’"Emilio Johnson, mother of the director. The Octagon Orchestra, under Mr L. 1). Austin, will render as an overture a selection from ‘ Faust ’ (Gounod), EMPIRE The famous stage comedian, Eddie Cantor, makes his screen debut in ‘Kid Boots,’ which opened at tho Empire Theatre last night, and according to Frank Tuttle, the director, ho will undoubtedly be as great a. success on the screen as he was on the stage. Tho locale of the greater part of tho story is laid in a fashionable holiday resort, whore Clara Bow is swimming instructress, and who falls in love with Eddie, Larry Gray is a golf pro, and Billie Dove, the proprietor’s daughter, falls in love with him ami vice versa. The lovo entanglement between these two I couples, and Cantor’s famous scene in j a doctor’s office, which sent many a person'homo with tears in their eyes from laughter when played in tho stage play, together with many comedy “gags” supplied by Cantor and Hank Mann, promises to make this photoplay one of the laughing hits of tho screen season, '(’he story deals with tho attempts of Lawrence Gray’s wife, whom, he is trying to divorce, to have the divorce broken off when her erstwhile husband inherits a fortune. Through the intervention of Eddie Cantor, however, this attempt is frustrated. Later, when they meet and fall in love with two .girls, complications set in that cause hilarious laughter. The scheming wife is finally outwitted, however, and the romances with the two girls continue successfully. Nightly an atmospheric prologue is staged by the Otago School of Dancing, and a fine musical programme is rendered hy the orchestra, under Mr Chas. Parnell. QUEEN'S AND KING EDWARD The rollicking comedy picture ‘ A ■Kiss in a Taxi,’ now showing at the Queen’s and King Edward Theatres, features the vivacious comedienne Behe Daniels in the leading role with Chester Conklin,. Every boulevardier who frequents the Cafe- Pierre yearns to kiss Ginette, fiery-tempered I waitress, but each advance id mot hy a shower of glassware. Leon Lambert, president of tho Artists’ Society, and Honri Le Sarto make a bet, Lo Sage, having tested Ginetto’s wrath, dares Lambert to try his technique. He leans ’over tho bar, kisses the girl’s shoulder, and glasses start flying. While the riot is its height Ginette’s fiance. Laden Cambollc. enters, and receives a blow, hut tiio pain is soon soothed hy her caresses. Lncien is disconsolate, us father forbids his imitTyiiig Ginette, and because her portrait, remains unsold.

A day or two laler Lambert and a “gay lady” arc riding around town when ho alights in front of a florist’s shop to buy some orchids, and she leaves via tho opposite door. While tins action takes place another riot, is in progress at the Cafe Pierre. Gillette, pursued by her irate employer, runs down the boulevard and into'■the waiting taxi. Lambert returns, offers bis bouquet to the unknown woman, and forces a kiss. The chauffeur, watching tho ensuing battle, loses control of his car, and drives it through the cafe window. Lambert buys the place for Dinette, hoping to advance himself with hor,_ but in completing the financial, transaction ho uses the card of Maraval, treasurer of the Artists’ Society. Under its new manager the cash register tinkles enthusiastically. Lucien demands an. explanation, and Pierre insinuatingly calls Lambert Ginettc’s “papa.” 'Ho accepts thestory' at its face value, and tells Mrs Lambert of her husband’s child. Valentine installs Ginette as daughter of the house. Leon finds the arrangement impossible, but Gilmore learns of his having used Maraval’s name. Thinking to help her sweetheart’s career, she forces “ papa ” to remain silent. Lucian is elated. Now that Gincttc has t-jen socially established father will accept their relationship. In the meantime, Maraval becomes , aware that some person is wrongfully using his name. Lambert, fearing an exposure, forces the poor man to assert himself ns the girl’s lover. Lncien’s father approving, a marriage agreement is drawn up just as Maraval, realising ,that he has become the goat, runs riot. Lambert declares Maraval mad, and gendarmes carry him off. The film ends with the two lovers united. Lucien’s picture has been accepted for showing nt the Academy, and Valentine seems satisfied that her husband is more than generous with his “daughter.”

EVERYBODY’S Having attained stardom in pictures through her outstanding ability in the portrayal of highly emotional roles, and ■proving recently her unusual_ versatility by interspersing her dramatic offerings with comedy of the tempo of ‘ Classified ’ and ‘ Syncopating Sue,’ Corinnc Griffith is again seen in tense drama in ‘Three Hours’ this week’s attraction at Everybody’s Theatre. In a part which enacts from the famous star her utmost talent 'in character portrayal, Miss Griffith’s role is without doubt her most outstanding dramatic success. Enacting the foie ot a wife'who, is the victim .of the insane jealousy of' an illusioned hubaud, Miss Griffith will bo seen in a part which in some respects combines tin tragic phases of two of her greatest films, ‘Declasse’ and ‘Black Oxen.’ A notable cast supports Miss Griffith in the new picture, including John Bowers, Hobart Bosworth, Paul Ellis, Ann Schaefer, and Mary Louise Miller. That the English stage can produce actors of the highest ability is illustrated by George K. Arthur, who _ is cast in a comedy role in ‘ The Exquisite the second picture with Conrad

Nagel and Renee Acloree in the leading jyirts. Arthur was educated at Rugby, the famous English public' school, and after the war was a prominent figure on the English stage and screen. Charlie Chaplin induced him to enter film work in America, and ho has been importantly figured in many recent MetroGold wyn-Maycr pictures, including ‘ Sun Up,’ ‘ Lights of Old Broadway,’ ‘Pretty Ladies,’ and ‘Lady of the Night/ 1 : PLAZA AND GRAND The ' Royal Gorge, grandest of all Colorado’s incomparable scenery, was the location for ‘ The Great K and A Train Robbery,’ Fox Films version of Paul Leicester Ford’s thrilling story, in which Tom Mix stars as Tom Gordon, a detective who tracks do\vn a gang of outlaws who have robbed trains and worried officials of the road to the edge of nervous collapse. This production, which opened at the Plaza and (Irand Theatres yesterday, is a real Western story of hard-riding outlaws, a courageous, fast-thinking detective who overcomes difficulties that drop out of the sky, apparently, and almost wreck bis plans for the capture of'the desperadoes. The supporting cast includes Dorothy Dwan, in_ tho role of Madge Cullen, Harry Gripn, playing De Luxe Harry, a tramp; William Walling as Eugene Cullen, president of the K and A Railway; Carl Miller, in fho role of Burton Holt, division superintendent; Edward Peil, sen., as Bill Tolfree. leader of the bandits;-and Curtis 1 M'Henry as the Cullen butler. ‘Hands Across the Border,’ the senend feature, Is a vigorous story of the adventures of a youth raised _in the East amid luxurious surroundings of smart country clubs and drawing rooms Ho goes West on a mission for his father, and fights Ids way to triumph against overwhelming odds, thereby proving conclusively that a youth reared in luxury need not bo weak and snobbish. There is a world of fastaction melodrama, with Fred Thomson and Silver King always in the forefront. IsOSLYN Those lovers of canine pictures will welcome Riu-Tiu-Tin in his latest collection of thrills, ‘ A Hero of the Big Snows,’ the Master picture showing at tho Roslyn Theatre to-night. The story by Ewart Adamson is full of dramatic action, and one of the hardest of directorial achievements was accomplished by Herman Haymaker when ho staged the fight betweeen Hin-Tin-Tin and his mate, Nanette, and a pack of fifteen bloodthirsty wolves. Alice Calhoun ami Don Alvarado appear as tho boy and the girl in the cast, whoso romance Riuty helps along, and Leo Willis as the villain. The splendor and romance uf the Old World and the days _of chivalry live again il\ a scone depicting the Gucrriero riding at anchor in tho Bay of Naples, on© of the most beautiful scones in ‘As No Man Has Loved,’ the new William Fox production, which will also ho shown to-night.