AMUSEMENTS.

Press, Volume LVIII, Issue 17408, 20 March 1922, Page 9

AMUSEMENTS.

PICTURE HOUSES.

GREATER CRYSTAL PALACE. THIS WEEK'S PROGRAMME OF MUSIC axd pictures. No better programme of music ar,d pictures has ever been presented at the biij theatre than the ono announced by the manager of Greater Crystal Palace, Mr V. M. Beebe, for this week, oominencing to-day, and the musical programme should prove a strong attraction to all who enjoy the best in orchestral musio. The conductor of tho celebrated Symphony Orchestra of twentytwo 6010 players, Mr Alfred J. Biinz, has selected the long list of musical numbers with great care and so that they will synchronise perfectly with tho various pictures. The following numbers are included in tho orchestral offerings: —Overture, "Pique Dame" (Suppe); fourth movement Mendelssohn's "Italian Symphony"; orchestral selections of popular songs, by Landon Ronald; "PierTetto" (Chaminade); "Twilight Dreams" (Horne); "Mecca" (Percy Fletcher); "Garotta o Tambuiino" (Billi); "Caprice de Roi" (Michiela): "The Butterfly," soloist Mr Debenham; "Silver Star" (Horatio Nicholls) (this piece won the London "Daily Sketch" competition for tho befit English composition, held last year); quartet, "Andante" (Feeca), artists, Miss Hemus, Messrs Moody, Ellwood, and Lawrence; "Hungarian Dance" (Drdla), violin soloist, Mr Barker. Mr Moody, solo pianist, wilt play Chopin's "Raindrop" Prelude. Two brg pictures, "Erstwhile Susan," a* Realart super-production starring Constance Binney, and "Dr. Jim," a Universal masterpiece featuring Frank Mayo, are the two leading pictures on tho long three lioura* programme for this week, and both are exceptionally fine photo-plays. "Erstwhile Susan" is a picture notable for strong dramatic suspense and heart interest. Interwoven. through tho main theme aJTe touches of quaint comedy in abundance. "Erstwhile Susan" was derived from the etas© drama of the same name which was played 1 by Mrs Fiske, one of America's greatest actresses, two years ago, and which was taken from the widely-read fcovel "Barnabetta," by Helen R. Martin. In the xole oi "Banxa*bette;" the slavey heroine of the story, Constance Binney has created a screen characterisation of outstanding merit. The story is that of "Barnabetta," only daughter of a stern old farmer. Left motherless at a very early age, Barnabetta hae knoton neither love nor laughter; her time is too occupied in serving her father and her two loutish brothers. Later, however, her father marries again, and it is the stepmother who help® the girl blossom into glorious, beautiful young womanhood, and eventually she becomes tho wife of the Governor of the State, "Dr. Jim" i 9 the story of an eminent sur- . goon with a penchant for heeding the pleas of tiny sick children belpre thinking of hi® wife's claims upon him. "When he neglects her, she becomes dissatisfied, and, in imagination, is forlorn and neglected. A breakdown' sends the doctor to the South Sea-s, and his wife accompanies him Oh the ship' which they have chartered is a mixed crew captained by a man without soul or mprcy, and it is, on this cruise that much of tho action of the story takes place. Frank Mayo has done much good work before both, on the stage and sween, but as "Dr. Jim" his performance is much above anything he has fiver offered. Opposite Mr Mayo Clairei Windsor is winsome and quite natural a© the* wife, while Herbrt HeyeS has a part in his scenes as the handsomo but despicable skipper. The picture is one of rare beauty andi instructive interest, as well as on© of, thrills and excitement.

Tho supporting filnls are the sixteenfh, and last chapter but two, of the Eddie Polo adventure tale "Do or Die 1 '; a very funny* Century comedy, and the l*te®t International News film. -

The box plan ia at The Bristol, or seats may bo reserved tiy telephoning Greater Crystal Palace, number 3758.

LIBERTY THEATRE, From noon on Saturday till tho final session at night, the Liberty Theatre was filled to capacity by enthusiastic admirers _of Charles Chaplin, the famous film comedian. There bas 'been a dearth of new Chaplin filmd in New Zealand during tho last year, and ft rumour was current in some quarters .that Ohaplin'g; popularity was waning, answer to that exertion, which probably emanated from rival Btudios in America, is eeen in '"The Kid," the latest production of 4he gTeat comedian, which is screening at tR> Liberty Theatre this week.' The many thousands who might have felt a paug of regret at the suggested pissing of the little man with the eccentrio Walk, who haa given pleasure to million* tho world over, will be delighted to find, that in his latest film he retains all Ma old vigour and charm of personality, but, more than that, he shows he is not orly a clever buffoon, but a. true artist who oan play upon the heart-string 3 of i liis audience or appeal to their visible faculties at will Nothing just like "The Kid" has been seen'on the screen before, Wld without actually witnessing it, the most ardent Chaplin admirer might find difficulty in believing that Charlie could, iii spite of bit absurd .make-top and his great reputation as a comedian purely and airafily, iiitro(Ju<jd ft true vein of tender sentiment and convincing pathos into his work. Those who remember some ,of his earlier films will perhaps rocoileet that even in his mpst riotous: momenta ha could suddenly Hush, the almost hysterical laughter of his audience with asolemn interlude, only to break tho Bpell of the moment later with o. display of his quaint mannerisms. In this latest picture he has given, that hidden dramatic talent, which so few realised was there, a chance to show its quality. To Appreciate Charles Chaplin, the man, one should remember that the story of "The Kid" wm written by the comedian himself, «iid also produced by him. He is. not only the actor, interpreting the story under clever direction, he is the iieart and 'brain of the piece. He had the artistry which gfcva him an insight into tho real "humanneaa" of human nature, and which gavo hira a sympathetic understanding of the things which appeal to ell classes of people underneath their outward signs of class, or position. The photo-play is produced oh linps which at times' remind one of the 1); \v. Griffith touch—the manner in which the big tbeme running through the plot is emphasised by incidents which, though really outside the thread of the story itself, blend artistically with the whole, and serve to produce that elusive something whicli is termed atmosphere. Chaplin is responsible for all the little touches which easiat in stamping the picture e. masterpiece of its kind,- for he was the producer, the man who merges the work of tho author and the actor in one harmonious whole. There are pathetic moments, and also some brief but tensely dramatic momenta in tho play, but Chaplin has never once forgotten that he is, above all things, the world's favourito comedian, and if at times the audience becomes conscious of a lump in the throat, its appreciation of the sparkling comedy which quickly follows is made all tho keoiier on that account. Patrons who have followed Chaplin, picturea with keen enjoyment since the old days when Charlie emerged from the Keystone slapstick gang to become e, star, know that he is not only a funny littleman in odd clothes who is clever at dodging policemen, but an artist who has a fine appreciation of ail the little tricks of by-play in his business. It is in his close-up work that he is, to many, so delightful, even more so than in big scenes where he dodges through hotels and over back-yard fences, and in "Tho Kid" he shows that he still paya great attention to th»3e touches of subtle humour which are passed unnoticed by a certain' -proportion of an audienco. Charlie, as the unwilling fosterfather of a bouncing baby boy, is a scream,, and later, when his ward reaches the robust age of five yeara, the pair are a continuous de ' I '?he" Kid," which is supported by a good programme, wiU be screened daily at the Liberty Theatre this week.