MAORILAND THEATRE.

Shannon News, 23 November 1926, Page 2

MAORILAND THEATRE.

FLAPPERS EE THANKFUL. j GIRLS OF 1876 HAMPERED BY j CLOTHES. BUT KNEW HOW TO GET TIIEIR MAN. Vamping in 1876 was just as successful and just as*, easy as in these days of 1926, for the prey was the’ same. If anything, the ’76 model was a bit more artful than of '26. Such is the belief of Kathleen Key, motion picture actress, based not upon actual experience in either of the two periods mentioned, but rather upon history and a'dose study of the methods employed half a century ago, and from observation of those in use today. Miss Key is the black-haired, 1 , flashing, black-eyed vamp in “The Flaming Frontier, ” the Edward Sedgwictyllniversal Production that is coming to the Maoriland Theatre for Thursday and Friday. The picture story is set in 1876, which gave rise to the actress’ thoughts on the subject of vamping. “Skirts might have been a little longer in 1876, but I think that the mere suggestion they gave of a neatly turned ankle was perhaps a trille more effective than all that the short skirt reveals to-day,” saj's Miss Key. “The skirt- of 1876 kept one guessing; those of to-day leave nothing to the imagination. In tS:is respect, I think that the 1876 model vamp was a bit wiser than her present day sister. IPs harder to vamp successfully when one has placed all her cards on the table, aiid that is what the modern vamp does. And Miss Key proves all this in her handling of the character of Lucrelia Bolden in “The Flaming frontier.” I’his picture, which has been given an all-star cast, is a thrilling story of the early days of. the West'tilled with all the romance, tragedy and comedy of those early and trying days., Red man and white man confront each other and no more stirring scene has been put on tJie screen than that showing the massacre of Custer by Chief Sitting Bull and his Sioux in the battle of the Little Big Horn, The cast is a great one. Hoot Gibson, Universal’s Western “ace,” enacts tlie role of an army scout. Anne Cornwall, dainty and demure, is the heroine. Dustin Fanmui, well-known stage and screen star, lays the part of Gen. Custer, and Ward Crane does the “heavy.” Miss Key plays the vamp -■ and Noble Johnson has been cast in the rcle of Sitting Bull. Others in this great' cast are George Fawcett, Eddie Gribbon, Harry Todd, Charles K. French, Walter Rodgers, ’Ed. Wilson, William Steele and Joe Bonomo.

i BIG REX BEACH EPIC. FRANK LLOYD’S FINE CON- , CEPTION. “Winds of Chance,” to be screened at the Maoriland Theatre on Friday, is one of the few pictures with the power to sweep one virtually off lm feet. Moving along at a startling pace, this latest First National epic combines the elements of scenic beauty and spirited action without slackening its pace, and there are so many celebrities in the cast that the reviewer feels that he has been entertained by a club composed of stars only. More than any picture it has been our pleasure to see in several years, “Winds of Chance” deserves tl-< j distinction of being an all-star production. It is. And all of the stars share about as equally as it is possible for so real a drama to divide the honours. Anna Q. Nilsson/ Viola Dana. Ben Lyon and Victor McLaglon are the principal quartet in the picture, but there is very little to choose between their parts and those of Hobart Bosworth, Dorothy Sebastian, Claude Gillingwatcr, Charles Crockett, Philo McColiougli, Fred Kohler and John T. Murray, all of whom support to a degree the four principal eharaet-rs, but also share individual moments of histrionic triumph which are vitally essential to the plot’s success. Dyea, Chilkoot, Summit, Sheep Camp. Linderman, Dawson City, all of the famous points of interest along the old gold trail to the Klondykc are graphically introduced, and Alaska is’ for the first time truthfully pictured on the screen. “Winds of Chance” is justifiably one of the screen hits of the year and worth going a good way to see.