AMUSEMENTS.

Hokitika Guardian, 11 August 1925, Page 1

AMUSEMENTS.

EVERYBODYS PICTURES.

R KGIXA I.I) DENNY-M'KDNESDaY. Reginald Denny, battling through a set ol bile l ions complications to alternate thrills with fun, is tbe piece do resistance in “The Reckless Age” Jiis latest Universal .starring vehicle, which conics on AVcdnesdny to the Print ess llieatre. Adapted Irom Karl Derr Diggers’ Saturday Evening Post story. "I.ove lii'iirance. ’ .it combines ]i - is

fi-tie prowess and daring as a racing driver with a. story that moves through crowded laughs, a few thrills, and a romance. Denny plays a. young insurants' agent, tietailed to watch over the rorname of a nobleman who has taken out a policy against failure to marry the heiresi to whom he is engaged. First a threatened breach of promise -nit looms on the horizon; then a

togas claimant to the title appears, and a scandal weekly gets the story of his trouble. To cap the climax—the insurance man and the heiress fall in love with each other. Denny stages a light in t.hc newspaper office, kidnaps the bogus nobleman, scares off the actress with the breach of promise ease—and then considers his own dilemma. He’ in love if lie marries the girl the company pays the policy■-and lie’s fired! Ifow it’s finally solved makes a surprising climax, romantic and still comical—-and very plausible into the bargain. The east of the now picture is a strong one. Ruth Dwyer, remembered in ‘‘His Mvstcrv (Jirl” and

“Jack o' Clubs,” plays the heiress. Hayden Stevenson, the manager of the “Leather Pushers.” Tom .McGuire well-known character artist; Fred Malatcsta. of stage fame; .John .Stoppling, May Wallace and other clever players appear. Harry Pollard, who directed ‘The Feather Pushers” and “Sporting Youth”, is responsible for the new

offering. Oil Thursday Harold Floyd scores his I iggest laugh hit with farce. Every Harold Llovd feature comcdv stands en-

tirely on its own merits. Starting with “A Sailor-Made Alan,’’ which was his first- picture to he as long as four reels, there has not been a single Floyd film that could he compared with any other, for each has been distinctive and varied in type and idea. You may have liked ‘‘Grandma’s Hoy” better than “Safety Fast,” yet you cannot compare them and say that, because you liked “Grandma’s P> >y” best, it is the better comedy of the two. Each comedy is in its own class, and critics and public approval have placed it at the top of its class. Now comes “Why Worry” anil creates its own exclusive place among the Ifaruld Flo.vd Pa the comedies. It is not like

any of its predecessors, except insofar as it is one hundred per cent, funny, having South America as a. background and a revolution as the motif. For chief partners-in-fun in “Why Worry” Harold Floyd has a giant nearly nine feat tall and a leading lady only five feet tall. These are, respectively, John Anson and Jnhyiia Kalston. I lie giant A a sen is making his screen dehut. and pretty little Johyua is making her first appearance as Harold's leading lady, supplanting Mildred Ihi vis, who took one ol those ‘‘for-hetter-ar-l'oi-worse” life jobs with liarold . “Why Worry” is the feature attraction on Thursday.