AMUSEMENTS.

Auckland Star, Volume LVII, Issue 142, 17 June 1926, Page 18

AMUSEMENTS.

NATIONAL AND LYRIC THEATRES. Johnny Hines, popular and inimitable comedian of several excellent features, is now appearing at the National and Lyric Theatres in his latest production for First National. This is "Rainbow Riley," in which an unusual number of thrilling incidents are blended with a wealth of humour. One of the best incidents is that in which v Johnny is compelled to drive a 1901 model motor car down a steep mountain road. It careers down hill madly, and gains such momentum that its unfortunate driver is powerless to stop it. He retains just enough nerve to jump out, and does so in the nick of time, for immediately after'he comes to earth the front wheels collapse and the car hurtles down the hill, crashing to pieces at the bottom. There are a number of other similar incidents. The fun is well sustained throughout, and many of the star's enthusiasts will probably vote this film his best to date. The second offeringis "True As Steel," another First National offering, starring Eleanor Boardman. Aileen Pringle. Norman Kerry, Huntly Gordon, Louise Fazenda and Raymond Hatton. It is the remance of a business man and a business woman.

"LILAC TIME." "Lilac Time," the delightful musical play, is to be 6taged here on .Saturday next at His Majesty's Theatre by J. C. Williamson's Royal Comic Opera Company. Recently revived in Sydney, a critic of the "Herald" says: "Once more, after two years, the curtain rises upon Vienna in 1820, with the low green wooden balcony and red roof of Schubert's lodgings in the background, and the spacious courtyard into which the little garden opens at the side, spilling over the fence its fragrant, colourful treasures of purple, lilac find yellow laburnum. The opening scene shows one of the little meetings of Schubert and his intimates to discuss sketches, poems and the new songs carelessly scribbled on the back of a bill or the fly leaf of a book by the bashful composer, so often held under the foliage outside his humble quarters. Seated round an extemporised table, these gaily harmonious students recall similar scenes from Bohemia in Puccini's opera on Murger'a 'La Vie de Boheme.' Encores were easily won by these merry comrades:—John Ralston, as Schubert; Claude Flemming, as Baron yon Schober, the poet; Herbert Browne, as yon Schwind, the painter; Harry Ratcliffe, as Kappel, a draughtsman; and Frank Leighton, as Vogl, an opera singer. The scene moved merrily in which these scamps mixed brandy with old Yeit's wine (much in the same way as Puccini's opera), and thus bullied and bluffed him into giving his consent to the marriage of his daughters Tilli and Willi (Mascotte Ralston and Adele Crane) with the postman and the saddler (Edmund Sherras and William Perryman). The trio of girls joined in the delightful flow of harmony, and the act closed in playful fashion to choral strains from the march "in 'Musical Moments,' one of the most .purely popular . piano pieces ever written." The company have had a most successful run throughout Australia. The box plans for six nights opened (this) Thursday morning at Lewis R. Eady and Son, Ltd. MAJESTIC THEATRE.

.Described in typical American fashion as, "peppy, piquant and powerful," a Robert G. Vignola production, "Married Flirts,", will be shown at the Majestic Theatre to-morrow. Pauline Frederick, who appeared before Auckland audiences in person not long ago, is starred, and is supported by Mac Busch, Conral Nagel and Huntly Gordon. "Married Flirts" is an adaptation of Louis Joseph Vance's well-known novel, "Mrs. Paramor." There are certain phases of this new picture reminiscent of scenes in "Spring Cleaning," which the star popularised on our stages during her tour. The story is of a wife who neglects her husband for a career, loses him to another woman, and then gets the opportunity to turn the tables on -the siren. The picture ha 9 been built up cleverly with many new film situations that entertain greatly. "Married Flirts" has been unusually well mounted, depicting scenes in and about millionaire homes in the United States, and views of a fashionable resort in the South of France. There are, in addition, some remarkably fine scenes aboard the s.s. Mauretania. A feature of special interest is the inclusion in one scene as extra players of Mac Murray, May McAvoy, Norma Shearer, Aileen Pringle, John Gilbert, William Haines, and the directors Hobart Henley and Robert Z. Leonard. In addition to the usual good supports, the all-soloists orchestra, under the baton of Mr. Arthur Frost, will appear on the stage and give an interpretation of jazz music at its best. PRINCESS THEATRE. "Behind the Front" has entered on its second season at the Princess Theatre. In the words of Hollywood's most brillinat comedy critics, the film starts from the first flicker with a chuckle, works into a big, continuous laugh, and ends with a grand uproar. "Behind the Front" is a Paramount comedy of the A.E.F. featuring Wallace Beery and Raymond Hatton as a pair of "buddies" who go to France to "kan the K.ai3er," but end up behind the front, and Mary Brian, a Red Cross worker, about whom \ the romance centres. Probably no , funnier scenes have ever been filmed than the war sequences of this picture. The story is a true-to-life comedy, rather than a burlesque on the war, and was made technically correct under the constant eye of military officials who saw service overseas, at the front. The picture was suggested by Hugh Wiley's "Saturday Evening Post" story, "The Spoils of War," and was directed by Edward Sutherland under the editorial supervision of Garnett Weston. The supporting cast includes Chester Conklin, Richard Arlen, Louise Lorraine and Gertrude Astor. In addition to this attraction, a good programme of supporting items is shown. A special musical programme is also given. HIPPODROME THEATRE. Jane Novak has the leading role in "The Lullaby," a seven-reel Exhibitors' Alliance film which is now having its first screening in Auckland at the Hippodrome Theatre. The story concerns a young Italian couple who, after their marriage, make their home in New York. When they land in that great city they are met by the husband's best friend, and little they think as they exchange happy greetings that he is to be a sinister figure in their future. For the first few months the young couple are supremely happy, and then there develops the eternal triangle. It is the old story of the best friend and the other man's wife. A dramatic climax comes when the husband is tried for the murder of his friend. He is sentenced to death, but, in a sensational finadfc, everything turns out satisfactorily IDfr all concerned. In Addition to this star attraction'there are shown a gaiette, travelogue and comedy.

DON COSSACK CHOIR. Another splendid concert was given by the Don Cossack Choir last night in the Town Hall, which was a remarkable display of choralism. An exceptionally well-chosen programme was submitted, and the music served well to exhibit the unusual features of the company's singing. There was much enthusiasm displayed throughout by the audience, and the rendering of the concerted numbers was followed with marked attention and interests. -Tsehaikowsky's "We Praise Thee, O Lord," showed the dynamic range of the singers, extending from a whispering pianissimo to a crashing fortissimo. T?ich and appealing was Rachimaninoff's "We Sing to Thee" and Bortnjansky's "Gloria in Excelsis" was a fine display of choralism. Very impressively sung was Lowowsky's "Funeral Song"; the basses were specially pleasing in the deep notes, which were sustained as easily as an organist obtains it on his instrument. Splendidly climaxed was the concluding part, whilst the final cadence was given with the sweetest of dolce notes. The whole delivery was brimful of musical feeling and devotion. After its termination the singers were enthusiastically encored. The "Russian Folk Songs" were delivered in a colourful manner. Vigorously declaimed was "On tlie Road to St. Petersburg" and Nikolsky's "Play and Comic Song" was a fine example of the executants' action in the parts and largeness of tone in the foitiesimos. The "Song of the Volga Boatmen" was given with rhythmic sensibility and variety of shading, and was warmly acclaimed at its conclusion. Delicately expressed was Dobrowen's- "Tschnabariki"; the tenor solo was ethereally rendered, and the transitions were delightfully achieved. The bass solo in the "Old Monastery Legend" was given with fine elTect, whilst the choral part was suitably sustained. Other attractively delivered items were Kolotstin's "Signal March" and "Cossack Song," and the "Platov Chorus," with its wild whistling and war-whoops. Thi.s remarkably successful performance will be followed by another this evening, when there will be a complete change of programme. Yesterday afternoon a matinee was given, and on Saturday afternoon the choir will perform again.

TIVOLI AND EVERYBODY'S THEATRES. San Francisco and vicinity in ISoC, the days when the discovery of gold in the hills attracted all manner of men from the four corners of the earth, is the baekg.vund for "Flower of the Night," Pola Negri's latest Paramount picture now being shown at the Tivoli and Everybody's Theatres. The story was specially written for the star by Joseph Hergesheimer. Miss Negri, as Carlota Villalon, descendant of a Royal Spanish family, falls in love with a young mine superintendent. The Flor d e Noche mine had been wrested from Carlota's father by dishonest Americans and now one of them, thinking that by so doing he will win the girl offers to help her regain possession of it. The young superintendent, however, refuses to be ousted. There is a fight, during which the girl realises the danger the man she loves is in, forgets all about getting the mine back for herself and goes to his aid. The scenes that follow are among the most thrilling the screen has ever seen. Vigilantes arrive on the scene and straighten things out for all concerned. The supporting cast is headed by Joseph Downing.

."YPRES." "Ypres," the new war film, of which much has been written since its first appearance in England, where it was produced, is to be shown at the Strand Theatre to-morrow. The film is a pictorial history of the various actions which took place to the north and east of the city of Ypres. It commences with the first battle of Ypres, in which the "Old Contemptibles" succeeded in holding back Yon Kluck's army. It proceeds through the second battle of Ypres, and, omitting St. Eloi and the June, 1910, fighting, goes on through trench warfare to the summer and autumn fighting of 1917, in the siege of Passehendacle,°the recapture of this terrain by the Huns, and the last final assault Which swept the enemy away from the city's gates for the remainder of the war. Real conditions are so closely portrayed that the picture might be recommended as the real thing to any person who was not at the front. The critical eye of those who went through the scenes represented can pick out faults here and there, but upon the whole it is surprising that the faults are so few. Some 2000 ft of the film was actually taken in wartime, such as the King's visit to the front. In many instances the cast includes leading characters who are acting the roles they once filled in reality. The thousands of soldiers taking part must have been there, for their general conduct could not be more like it was in the old days. One scene of a crown and anchor game during an ah raid i s exactly true to life, as are many similar incidental '-sketches Even the men who play the part of German, prisoners do so to perfection Several instances of the winning of the !\ictona Cross on land and in the air are pictured. " 'Ypres.' " said a critic. "i s a picture that will be a magnet to the men who served in the war; they will not be disappointed in it. and every man. woman and ch,ld who did not see the war up front ought to see 'Ypres,' with its vast lesson in patriotism."