ENTERTAINMENTS.

Taranaki Daily News, 23 September 1922, Page 2

ENTERTAINMENTS.

EVERYBODY’S. “HER SOCIAL VALUE.” From shop girl to wife of a wealthy man is the transition of Marion Hoyte, who sold gloves in a large department store, but riches did not bring happiness until the two newly weds had discovered that money isn’t everything. This is the theme of “Her Social Value,” a First National attraction, starring Katherine MacDonald which will be the feature at Everybody’s this afternoon and to-night. The production abounds with highly dramatic situations and the settings are spectacular and luxurious. The story is one of the best in which the “American Beauty” has ever appeared, holding the interest of the spectator with a vice-like grip. Included amongst the supports ie the second episode of “Winners of the West.” On Monday the big problem picture, “Why Girls Leave Home,” will commence a two-night season. THE PEOPLE’S. MATINEE TO-DAY AT 2 P.M. For the change of programme to-day and to-night at the People’s the management has secured a special Selznick film, “Evidence,” featuring the dainty actress, Elaine Hammerstein. This is a story of a cabaret singer who loathed her butterfly existence and longed for home life. Fate gave her what she had wished for, but happiness seemed to be just a mirage in the distance. The picture is described as a sparkling comedy-drama, bubbling with humor, and with a vein of pathos—tense, absorbing,, and delightful. “Evidence” is, without doubt, one of the finest pictures we have had the pleasure of presenting to our patrons. The supporting films include the 15th episode of “Thunderbolt Jack” and Topicals. The prices for both sessions are: D.C. Is sd, stalls Is. Children 6d to matinee. “BROKEN BLOSSOMS” MONDAY. Under the title of “Broken Blossoms?’ the subtle beauty and romance of what is perhaps Thomas Burke’s most tragic story of Limehouse series has been brought out to the full in D. W. Griffith’s latest masterpiece. In it Lillian Gish and Richard Barthelmess*have possibly excelled all their previous performances, and the character of Battling Burrows was realistically portrayed by Donald Crisp. Down in the notorious Limehouse quarter lived the child, a broken, whip-scarred little creature,, the object of a degenerate father’s abnormal furies. Faint and bleeding after his latest bout, she hobbled out into the unsavory street and eventually collapsed in the doorway of the young Chinese merchant, whose only relief from existence amongst the striving, brutal white men lay in the opium pipe and dreams of poetry and Eastern romanticism. The dramatic visitation was in strange accord with his mood, and he stealthily bore “the broken white blossom” upstairs to a quaint back room. There he tended her and let her rest upon a couch all decked with silks and Oriental fineries. He clothed her in wonderful Eastern robes, turned the old room into a temple of flowers and Celestial splendor, and worshipped her with all dignity and fervor of the East. Then, in his absence one day, was his Goddess discovered by the father, the bestial Battling Burrows —to whom such altruistic love and care was incomprehensible. Irked by the restraint of several days’ training for a ring contest, he was now free to settle scores with friends and enemies. He wrecked the wonderful haven of her dreams, dragged the child home, and this time beat her to death. There she was discovered in his disordered hovel by the pallid, grim-faced young .Chinaman, who, having exacted a deadly deliberate vengeance, carried the body of his Goddess back to her couch in the ruined temple, and ended his life at her feet. “Broken Blossoms” shows at the People’s Monday and Tuesday.