LYRIC PICTURES

Otaki Mail, 20 June 1923, Page 3

LYRIC PICTURES

——v ; ■ TO-NIGHT. " | ‘ .. ‘• CROSSROADS OT NEW YORK" j] An all-star cast, including many of L the Alack Sen-nett favourites, is inter- [ . preting ‘‘The Crossroads oi N™' j ] York,” the special Ren twit comedy) melodrama at the Lyric pictmes to-I ( night. The list of players includes:— jj Eddie Gribbon. Charles Murray. Dot j . Farley, and Mildred June, all popular', artists in Smmelt comedies. 1” adu:-■ | tioil the cast includes eminent screen artists as Kathryn McGuire, George O'Hara. Noah Beery and Ethel Grey lurry.' Several years ago Air Rennett won widespread fame with his production of. “Mickey.” His present picture is a j blend of the comedy and drama that distinguished both its predecessors, do- | pictiug the adventures of a country boy who comes to live in the city to make good and becomes involved in the | financial game of Wall Street. Rome! splendid supporting items include the j second chapter of the sensational Vita-, graph serial “Hidden Dangers,” aUo . a Reelcra it comedy, tile latest news reel, and scenic. The raffles in com.ee- j tion with the Maori queen contest will J also be drawn during the interval. ( FRIDAY NIGHT. ! “THE FURNACE.” “The Furnace” is a -tery of society, j of two who married but lived in the continual whirlpool of suspicion. -Ag-. no* Ayres, playing the loading Iciiii iii | role, that of Folly Vallance the giddy j London show girl, is the same Agnes > Avres who gained fame .is Hie j Henry Girl.'.' She has played in many j features and enjoys a wide popularity. I Jerome Patrick, a Now Zealander hy j ] birth, is a legitimate actor of proniin- ; cnce, and has the leading male role, j The character of EJeeiie Mordauut is ! taken ),v the popular leading man. Mil- , ton Sills. In this feature he has one | of the strongest roles of his career, por- j fraying it in his usual masterly manner, To him falls the difficult task of trying to save Bond’s giddy, restless wife from the consequences of his own foliv. ’ | and M r Sills' handling of his powerful I dramatic opportunity is superb. Theo- | .lore Roberts, “the grand old man of i the screen,” needs no introduction to L , film exhibitors and patrons. He has 1 appeared in hundreds of striking screen 1 characterisations. He portrays with I his usual skill the role of an icasisible 1 | retired general in this play. The third * ' chapter c-f “I» the Dnys of 1 Bill,” and a Senne-tt comedy and p.ara- ~ ujdunt Gazette complete a tip-top pro- & gramme. " •- 'niec,»