MAJESTIC THEATRE

Gisborne Times, Volume LXX, Issue 11126, 8 February 1930, Page 6

MAJESTIC THEATRE

‘ THE BRIDGE OF SAN LUIS RES'”; ALSO “THE CRAFTY COUNTESS.” Metro-Goldwyn-Muyer were quick to seize tin's notable dramatic material in “Tlie Bridge of San Lins Rev” for tue screen, ana patrons at the Majestic will he able to see its excellence at to-day’s matinee, also to-nighl. Based on rlie breaking oi the Peruvian bridge of San Luis Rev m the ISth century, tins catastrophe plunging five human beings to death below, the story is unfolded as the result of the fear and clamor set up by a superstitious populace, r ather Juniper addresses himself_ to the faith or Ids Hock by inquiring diligently into the lives of the deceased and then preaching a sermon on the catastrophe. From a wonderful “atmospheric interior” of the great classical cathedral. Father Jumper’s dramatic story dissolves into the real life led by the five deceased. July Damita, as Camile, is ravishing, wayward and sinister. Other principal i,arts are taken by Ernest Terrence, Raquel Torres. Henry B. Walt/ial and Don Alvarado. “The Crazy Countess,” the second feature to he shown, deals with a matrimonial agent, eager to unite a Count, who dislikes children, and a widow who boasts a tomboy daughter. The agent makes the tiaugater pretend to be a child of twci\e, but Walter, the nephew of the marri a co-seeking Count, falls in lore, witii her. “Fighting with Buffalo }V11” (serial), the final episode, will also be shown at the matinee as an additional attraction. Early reservation of seats at Tattersall and IJaylv’s is advisable.