AMUSEMENTS.

Otago Daily Times, Issue 19994, 11 January 1927, Page 7

AMUSEMENTS.

EMPIRE THEATRE. “The Man on the Box.” the moet recent Syd Chaplin picture, is being shown at the Empire Theatre. It is on a par with Chaplin’s best productions, and is just as rich in humour as its predecessors. Chaplin ha* the role of Bob Warburton who arrives in San Diego with 50,000 dollars in his pocket. He meets a man named Lamoton who has invented a new kind of flying machine, and. carried away with the description of its prospects, he invests all his money in the invention and becomes Lampton’s partner. He finds that he has stepped into a hornet’s ncs.t of intrigue, for two rival factions become engaged in an attempt to secure the plane. At the head of one of these is Count Karaloff, a Russian, and his spy Badkoff, and taking the most important part in the other is Colonel Annesly who is gaining as much information as possible about the machine with the idea of purchasing it for the United States Government. Bob falls deeply in love with the Colonel’s daughter Betty, but he finds that she has become engaged to the Count in order to save her father from disgrace. Then follow events which lead Bob to disguise himself as a maidservant and while thus clad he gofes through a series of very amusing adventures. There are also various supporting pictures, ahd an additional the music supplied by the Empire Orchestra. . OCTAGON THEATRE. “The Tower of Lies” is quite strong enough to stand alone, as it does at the Octagon Theatre at the present time. Not only is the story a "ood one, but the cast is very strongly filled. At the head of the list is Norma Shearer and Lon Chaney, who fill the two leading parts particularly well. Briefly outlined, the story tells of Goldy, an unwelcome addition to the family of Jan and Katrina, a pair of drudges. Their landlord dies suddenly, and his nephew, Lars, who comes into possession of the estate, promptly evicts the old couple from their cottage. Goldv, who is, by this time, grown _ up, makes up her mind to go into the city to earn the money necessary to buy back the home. This she does, and her parents are reinstated, but it eventually transpires that her methods of obtaining the money not altogether above suspicion. Everyone, excepting her father and her sweetheart, turns against her, and the former, notwithstanding his previous hatred of us daughter, stands by her till lus mind becomes unhinged. Lon Chaney assumes the part of Jan, an illiterate Swedish tenant, who at first only regards the birth of his daughter in the light _ of an additional burden upon him. With the advent ot the baby, however, lie becomes a changed man, and gives her his whole love. Lon Chaney, in his impersonation of Jan, gives a realistic rendering of the part, and displays some wonderful acting, particularly in the metamorphosis from a surly and sullen misanthrope to a loving and selfsacrificing father. Norma Shearer, who plays the leading female role opposite Chaney, is seen in a part which calls tor a wide range of acting on account of the great number of years through which the story runs. QUEEN’S THEATRE. Hoot Gibson has the leading role in “The Man in the Saddle,” the principal attraction at the Queen’s Theatre. The storv. which was written by Charles A. Logue, provides situations in winch Gibson revels, and he gives a fine interpretation of his part. In this picture he is a cowboy who makes blundering and extremely amusing attempts to become a hero. The film is full of exciting passages. The supporting_ cast includes Fay Wray, Sally Long, Emmett King. Charles Hill Mailes, Duke Lee, Lloyd Whitlock, and Yorke Sherwood. EVERYBODY’S THEATRE. A double-feature programme that is sure to be found entertaining is being screened at Everybody’s Theatre. The principal picture is “The Wilderness Woman, a First National production, in which Aileen Pringle, Lowell Sherman, and Chester Conklin have the most important roles. It combines adventure and humour to excellent effect. The story describes the experiences of an Alaskan miner and his New York daughter. The second attraction is “It’s the Old Army Game, a Paramount comedy, in which a new comedian, W. C. Fields, is brought to light. It is the story of Elmer Prettywille. a. drug store owner, and his assistant, Mildred. A real estate agent is allowed to carry on business in their shop, and when it is thought that he has disgraced them it is found that he has really brought them happiness of which they previously never dreamed. PLAZA AND GRAND THEATRES. Two pictures are being screened at the Plata and Grand Theatres, one of which is “All Around Frying Pan,” m which Bart Andrews, a down-at-heel cowboy has been arrested by the sheriff principally because there are more men needed on the road gang. Fred Thomson plays the leading part. The other picture is “Monte Carlo. Three lovely girls are promised a Prmqe Charming” apiece, and under the chaperonage of one Theodore Roosevelt Bancroft, visit Monte Carlo, and what happens there is worth seeing. “THE IRON HORSE.” Madge Bellamy and George O’Brien are the principal players in “The Iron Horse, which will bo screened at the Empire Theatre on Friday next. The story is based on the exploits of the pioneers, ana tells of two young people who love each other and eventually overcome every obstacle to realise their dreams. It appeals to the emotions as well as to that which i> sterner and thus it combines in its delightful entirety all that the modern audience demands. There is a great combative interest in the story. Throughout the clement of competition is of the keenest, as the first transcontinental railroad is laid across the States. Taking the rails through the jealously guarded lands of hostile savages, encountering untold dangers battling with all the loosened forces of Nature, the heroic of voluntary exiles work their way foot by foot to the west, and the fact that another railroad gang is working against them, and the knowledge of the reward that awaits the winners tnves a zest to a story that would be lacking were it merely the technical recording of an engineering feat. In those brave and not far distant days America was very romantic. Before the almighty dollar came to rule everything, the golden halo of romance seemed to rest over that noble land, and the picture brings out this romance clearly.

“EVERY MOTHER’S SON.” “Every Mother’s Son,” said to be a picture of singular merit, will be screened «t the Octagon on Friday. At the head of the oast are Captain Rex Davis and Miss Gladys Hamer, both of whom are seen at their best. The story, shot with an alternating pathos and humour, always subtle and delicate, is made of many types of humanity into a concise and artistic patchwork of life. It tells a story which speaks to the universal mind and heart, a story which, because of its very theme, holds an under current of tragedy, but which is never tragic. In its moments of deepest pathos there is an atmosphere of triumph and accomplishment about the picture which effectively destroys any tragic and sombre influence which may be lurking in the story proper and, coupled with_ the quaint and disarming humour of the piece, makes the picture a wonderfully realistic page of life, just an ordinary prosaic page from the lives of everyday people, yet which the war and the aftermath of war endowed with a dramatic significance which attains its climax upon the return of the Unknown Soldier, the symbol of suffering and effort and of something great achieved, a symbol which sneaks a personal message to those who waited—the mothers and fathers of the world.