PICTURE THEATRES

Evening Star, Issue 19788, 11 February 1928, Page 11

PICTURE THEATRES

EMPIRE AND OCTAGON The makers of modern motion pictures are no Grangers to the undertaking of mighty tasks that seem beyond the accomplishment of ordinary individuals, but the making of ‘Ben Hur’ was long considered to be’the biggest thing any producer could possibly attempt—perhaps too big. Mot big from only the point of view of the number of people that would have to be engaged, the sets that would have to be built,° and the costumes that would have to be designed and made, but big from (he point of story, theme, and message. How could such a story—one made lamiliar to millions by the age-enduring success of General Lew Wallace’s immortal story, and by the successful years enjoyed by the stage play—be successfully translated into familiar screen terms? When the Metro-Goldwyn-Jlayer organisation entrusted Fred M'iblo, the friend of all New Zealanders, with the epoch-making duty of making ‘ Ben Hur,’ he saw that all accepted traditions of movie-making would have to go by the board—so be scrapped them all, and with the loyal assistance of his co-workers and the unfailing encouragement of Mr Marcus Loew, head of Metro-Goldwyn-Mayer, he made for himself a new working formula. Ho decided that majestic_ mightiness must be the keynote of everything connected with ‘Ben Hur,’ and discarded every known precedent of picture production in order to attain his object. He saw to, it that his players were a judicious blending of youth and experience—Ramon Novarro, the youth, and Francis X. Bushman, the talented veteran, as foils ono for tho other. May M'Avoy, girlish beauty in all its splendor, Claire M'Dowell, mature woman, wonderfully wise and understanding. Simplicity, .might, majestic austerity—an immortal story told straightforwardly without a confusing whirl of non-essential scenes anct character. In this manner was ‘Ben Hur’ made. A tins prologue introduces the story proper, Mr Les. Datley at tho Empire and Sir Beg. Bichards at tho Octagon singing the ‘Star of Bethlehem.’ and during the march to Cavalry, when the Man of Sorrows performs bis last miracles, a hidden choir sines ‘Abide With Mo.’ ‘Ben Hur’ is now in its second week at the Empire and Octagon Theatres, and it will be screened at all sessions at both theatres until further notice. QUEEN’S There seems little doubt after witnessing ‘ The Valley of Hell,’ the picture now showing at the Queen’s Theatre, that the name of Francis M'Donald will shortly take its place with the favorite stars of romantic drama. M'Donald, has everything possessed by Him favorites—and a little more. For ono thing, he is handsome in a distinctly masculine way, and at the same time possesses the happy and unusual combination of looks, grace, ability to act, and skill in horsemanship. This is an ensemble hard to beat in any embryo star. Whether in his scenes of combat, subtle mannerisms, or love sequences, M'Donald contributes a finesse seldom seen in motion pictures Rare judgment was also displayed in his selection of a leading lady for this fast-moving romance. Edna Murphy, beautiful, charming, offers just the proper contrast to M'Donald’s dark handsomeness. The supporting case of wellknown players also contributes in no small manner to tho success of this picture. ‘ Silence,’ the second feature, is a thrilling underworld picture, in which Vera Reynolds, It. B. Warnoar, Raymond Hatton, Bockcliffc Fellowes, Jack Mulhall, and Virginia Pearson are featured. All acquit themselves creditably in their parts, the result being artistic and satisfying. The story is a good one, and the various dramatic episodes follow each other with thrilling effect. PLAZA AND GRAND A beautiful mosaic of the north, ‘ Bark to God’* Country,’ starring Renee Adoree, is the attraction at the Plaza and Grand Theatres. Every scene of this spectacular outdoor picture is a cameo-like unit in this splendid example of the motion picture art. And hero is a cue where motion pictures do rise to a fine pictorial and dramatic art. Renee Adoree again prove? that she is one of filmdom’s leading stars. She is a remarkable actress and possesses a pert and fascinating French personality which fits in well with her French-Canadian role m this Universal production. Supporting ler in ‘Back to God's Country ’ arc Robert Frazer, Walter Bong, Mitchell Lewis, Adolph Millar, and James Mason. Sparkling youth, I he bright lights of Broadway, love among the beauty shops, and the steadfast determination of a woman to find love, are tho chief ingredients of ‘ Slaves of Beauty,’ the supporting feature. Holmes Herbert and Olive Toll have the leading roles. EVERYBODY’S Corinnc Griffith's new First National produclion, ‘lnto Her Kingdom,’ is Hie attraction at Everybody's Theatre. The production, which was directed by Svend Gadc, is one of the most popular as well as dramatic i nd colorful vehicles she has yet been given. ■ She plays the role of a Russian Grand Duchess, and opposite her, as leading man, h Einar Hanson, the Swedish actor, who, becoming a Bolshevik, marries her with the intention of inflicting a punishment worse than death. How he learns lo levs Ills wife when they are established in an American home provides ono of the most, powerlul dramatic situations in this remarkable film. The second picture is ‘Bobbed Hair,’ a story of romance and adventure on the high seas. KING EDWARD Something new in the way of Western stories is shown at the King Edward- Theatre, where ‘ Tho Valley of Hell ‘ is being screened. Tho story deals with life in the West during the 1860-70 period, and is full of thrilling episodes Also showing is ‘Bobbed Hair,’ featuring Marie Prevost and Kenneth Harlan. ROSLYH The feature picture at flic Roslyn Theatre to-night will be Lady Windermere’s Pan.’ Ronald Cokuan has the leading role, and is

supported by Irene Rich, May APAvoy, and Bert Lyttell. The picture was adapted from (he play written by Oscar Wilde, and has lost nothing of its dramatic nature in the transposition.