MAORILAND PICTURES.

Shannon News, 12 October 1928, Page 3

MAORILAND PICTURES.

•' AFTER MIDNIGHT. ''

During the filming of Norma Sheare. 's latest Metro-Goldwyn-Mayer 'After Midnight," the streets of Hollywood were temporarily denuded of their fleets of cruising taxi cabs. Two hundred of these vehicles—all of them spick and span and shining—were used to illustrate a "day-dream sequence" wherein Norma Shearer and her boy friend," Lawrence Gray, see what can be done by using the profits_ derived from one taxi-cab to make a time-pay-ment deposit on another and another, and so forth. Then they come to earth, and remember that as yet they haven't the price of one. "The gathering of the taxis" scene in "After Midnight" is one of the most unique pieces of camera work ever done for the screen. Monta Bell directed this picture, which tells of youth, tragedy and romance in the strange little world that comes into being between the hours of. dusk and dawn. It is founded on fact, and carries intense dramatic interest that never flags for a moment. It will be shown at the Maoriland Theatre on Saturday. "WHITE WINGS." The Maoriland Theatre has been fortunate in booking one of the finest seapictures of all time. "White Wings," as it is named, is a picture of the age of clipper ships, it tells of the most famous sea-race on record—the contest for the China tea trade. The "Yankee Clipper," one of the rivals, runs into a tvphoon. Immense seas crash over her,' sweeping her decks and tossing her hither and thither like a cork. Overhead, thunder and lightning vie tor supremacy, while the shrieking wind blows her sails to rags.