MAORILAND THEATRE.

Shannon News, 7 April 1925, Page 2

MAORILAND THEATRE.

“THE GIRL WHO. CAME BACK.

.An unsophisticated country gh'l, unfortunate in, her city associates—such is Sheila Weston. * When the two blase shop girls with whom she works and rooms take her to a dance hall one night, she is dazzled by the Rghls, the jazz—and the attentions ol Ray Underhill. Ray works fast and soon lie wins her consent to a justice of tile peace wedding. Before they leave the justice’s house after the ceremony, officers arrive and arrest them both as auto thieves. Ray pleads Shefia’s innocence, but she has been seen driving tuie car and the officers refuse to believe him. Each is sentenced to

prison.—Such is the gripping opening of Wednesday night’s feature film at the focal theatre. Ho\V Sheila “Gomes back” after 'such am introduction, forms one of the finest picture stones that has been screened for some vears. “RIDERS OF THE DAWN.”—ZANE GREY STORY. Perhaps there is no other romance writer of the present day more capable of writing novels crammed tight with lightning action and thrilling incidents than Zane Grey, whose many famous Western romances are read and treasured by millions. And “Riders of the Dawn,” Sefznick’s sevenact picturisation of this author’s novel, “Desert of Wheat,” simply boils over with breathless moments. The shooting of a farmer and his wife, and the burning of his crops and homestead by a gang'of I.W.W'.’s—the midnight rides of vigilantes on lynching expeditions—the kidnapping of the lovely heroine by the leader of the gang—the fight between the hero and the gang-leader for possession of the girl in a burning shack—the last terrific battle between vigilantes anti the I.W.W. gang—these are but a

few of the thousand and one exciting incidents tq be found in “Riders of the Dawn,” which corner to the Maoriland Theatre next Friday,