ENTERTAINMENTS.

Hauraki Plains Gazette, Volume XXXVI, Issue 4807, 6 February 1925, Page 2

ENTERTAINMENTS.

GAIETY THEATRE PICTURED TO-NIGHT • THE TREMBLING HOUR." This is the mystery crook story at its best, with an excellently developed continuity of an unusually original plot. There is a reason for everything, and everything ig within reason. Romance is relegated to second place, in so far as devoting much footage to love scenes is concerned, most of the six reels being given over to the story of what happens when a. gang of confidence workers attempts to put over a job that is complicated by the murder of the man selected for the “gyp.” The plot begins with the hero in prison for a major crime of which he is guilty, and movers steadily forward with absorbing interest due to the fact that the element of mystery is carried along to the climax, and because a logical reason is shown for each step in the story’s unfolding, inculding the hero’s reform. THURSDAY NIGHT. “ TWENTY-ONE.” As a 19-year-old youth who leaves home to hide his identity in New York until he becomes of age, so that he may defeat the plans of rich parents to prevent his marriage to a poor girl, Barthelmess: ie cast in a role admirably suited to his talents, and again distinguishes himself. The star gives a most sympathetic characterisation as young Julian McCullough, and the work of Dorothy Mackaill, appearing opposite him as Lynnie Willis, forlorn little factory girl, who becomes inpocently compromising with the young man, is a finished achievement. There are isoine high power dramatic moments in this film, notably the thrashing that Julian receives from his father when he announces his willingness to marry Lynnie, and again in the part that tne young man plays in defeating a gang of automobile thieves whp had singled out his parent-as a victim. Also, another touch of novelty is added when Barthelmess, as Julian, is seen earning his living by driving a taixcab in Manhattan.