AMUSEMENTS.

Press, Volume LIX, Issue 17937, 4 December 1923, Page 8

AMUSEMENTS.

PICTURE HOUSES. GREATER CRYSTAL PALACE. "MEERY-GO-EOUXD." MARY PEILBLN t IN A GEEAT ROLE. After seeing ihe programme presented at Greater Crystal Palace last night for the first time, ono realised with renewed conviction what a great factor the moving picture is in broadening the minds of the people. By "the people 1 ' it is not necessarily meant the uneducated masses, for the movies give to all and sundry a wider outlook, a more cosmopolitan taste, and a readier understanding than they could get by any other means save by travelling. Those who are enabled to go abroad and study the lives of foreign people are comparatively few, even in tiiis land of plenty. If it were not for tho film, the average New Zealander, far away as he is from the great m tilling- pots of nationalities, would nave a vague idea oi tiie conditions existing in other lands, and he would tend to become insular in his outlook. Inexpensive reading and good films have saved the New Zealander lrom that charge. Ille films assist him to lead with a better understanding, and in that alone they do untold good. All this might seem to have little to do ft'ith the new piogramme at Greater Crystal Palace, but the thought was aroused by the big picture, "Merry-Go-Hound," which was screened at that theatre last night -at the head of tho new programme. At first glance the title may seem inconsequential, but after seeing the play one has to admit it is aptly named, and that there is a bigger thought behind it than would at first appear. Though there are innumerable scenes of splendour in the play, the central interest of the plot revolves around a little Viennese waif—a girl who ekes out an existence by playing an organ for the pleasureseekers on the Prater —the Coney Island of Vienna as she was before the war —the playground of the real cosmopolitan—is pictured with wonderful accuracy. The director, Rupert Julian, has spared nothing in gaining his effects. A close study of the manners and customs of the people, the architecture of the city, and of everything pertaining, to the Vienna that wa3 before a world-war made a tragio difference in the rate of exchange, has enabled the diiector to place before, tho - public a truly remarkable representation of the place and the famous waterways. The picture comes liera with the hallmark of approval bestowed by the Press and "trade" critics of tho picture-producing world, and when the screening of the play haa been witnessed ono realises why it has evoked such laudatory comment. Mary Philbin, in the principal feminize gives an exhibition of dramatic acting or a standard seen only a very few times in a year of big films. Her part calls for appealing emotional work, which, .in the hands of one less. gifted, would appear crude and unconvincing. .Not that tiiere is anything in her story hard to receive in a sympathetic! manner,, but few other actresses could ha*e presented the many sides of the girls' character to an audience in such a convincing manner. Her personality comes light across fiom the screen to the audience just as the personality of a, good stage actor comes across the footlights. The supporting characters are splendidly portrayed by eoich good artists as Cesare Gravina, George Seigmann, George JHackthorne, Anton Vaverka, -and Dorothy Wallace." With such a cast it is little wonder that the picture reaches such a high mark of powerful realism. Apart from the line scenic effects in the picture, and the wonderful attention to detail, there is a story which overshadows everything else, as a good plot should do. Every moment of the romance of Agnes, the little working girl who falls in love with a real prince, is of dramatic interest. Life deals very cruelly with her, and" love does not bring its reward aa quickly as it does in the usual love story of the day, but the trials to which she is subjected, and the hard blows which fate deals her are of life as it is lived not as the usual story writer and pictiire director would make it. When Agnes finds the "prince charming," who has come into her life, is not a salesman, but a true "prince of the blood," her hopo3 of earthly happiness are shattered. While the audience sympathises with the girl, it also has sympathy with the prince, who -is a manly but so tied by the conventions of tho social sphere to which he has been bom that lie finds it impossible to avoid a State-made marriage. Then comes the war—the defeat of. .the Austrians—the broken army in retreat, and finally the prince returned, but no longer a prince. The good and ill fortunes of Agnes are eo bound uip in the lives of those' she loves best that the story becomes one of deep interest apart from the strong appeal made by the romance of the prince and the girl.' There are many characters who nightly play their puny yoles in the nightly make-believe gaiety of the Prater, and the history of each one is carried out to a logical conclusion and holds the interest of the audience to the last. The concluding scene is a, charming one and made all the more convincing because it is acted and produced with a restraint, which lends it power. It can be truthfully said of "The Merry-Go-Round" that it is a real drama of a depth and poignancy seldom experienced m xhese days of spectacular fim productions. The fifth chapter of "The Eagle's Talons' (serial), a bright 'Century comedy, and the latest International News fiJm completes fl. programme which dees credit to Greater Crystal Palace and incidentally to the taste and good selection of Mr V. M. Beebe, general manager of the popular house of entertainment.

- "With such a great picture to support with music, Mr A. J. Biinz, oonductor of the Symphony Orchestra, has scope for an outstanding musical programme, and he certainly took full advantage of the opportunity. It was noticed that Madame Lipkovska, the famous Russian operatic soprano, who opens a season here to-night, was an interested member of the audience. The overture "Light Cavalry" (Suppe) and "Blue Danube" (Strauss) and "The Count of Luxembourg" were each chosen because their Austrian associations made them" in keeping with the theme of the big picture and they were very effective. The overture "The Wasps," played for the first time in I-Tew Zealand, was one of the musical delights of the evening. This is by Vaughan Williams, one of England's greatest orchestral composers of the day. The Symphony in D Minor, one of Mr Btinz's favourite selections, was another outstanding piece. This opens with viola, 'cello and bass, and the least musical in an audience must be .charmed by this fine work, tho interpretation of which was broad nni dignified. • Elgar's march, "Crown of India," made a good martial number. "Carnival," from the ballet suite, waa played at a very appropriate moment during the screening of the big film. "Liberty Overture," which opened with a quiet march and afterwards introduced the National Anthem, "The Marseillaise," "Oh, My Dear Austria)" and "Servia." was another remarkable battle piece. Other pieces which lent variety to the musical programme were: —"Serenade Es=r>agnole" (Glazounow); "Popular Songs" (Landon Ronald); "The Land of .Toy" (Valverde); "The Merry "Widow" (Lehar), and the light numbers, "Cut Yourse'f ft Piece of Cake" (James): "Toot. Toot, Tootsie" (Russo); "Have You Paid the Rent?'.' (Hall). A feature of the musical programme was the pianoforte by Miss Agnes Lawlor, Beethoven's "Appassionata.

GRAND THEATRE. Good pictures, combined with a novelty, in music by radio, should attract bumper houses to the Grand Theatre this week. Tho radio music is used in conjunction with the principal picture, "Thorns and Orange Blossoms," with much effect. For sheer pictorial beauty few motion pictures have ever approached the perfection reached in "Thorns and Orange Blossoms." Kenneth Harlan, Kdiih Roberts, and Estcile Taylor are all starred The story transpires in Madrid and Ktw Orleans, where luxuriant gardens, shadowy patio 3, and tropical sunsets delight the eyes. Estelle Taylor who nlays Koaita, the fascinating prima donna, contributes a Spanish dance of beau y, which offsets her gorg-ecus costumes ot richly-embroidered shawls, high combs, love y fans, and mantillas of rare lace itenneth Harlan the part of the sounpr American whose affections are divided between a dashing Spanish prima donna and a little American girl. The setting? of Spain and Louisiana are beautiful and picturesque, enhanced by photography that is in itself a rare achievement. The big supporting p.cturc is "Two Weeks." featuring Constance Talmadge, who as the chorus girl who has amusing adventures with three crusty old bachelors, does some of her best worx. A short comedy a.nd a travelogue complete a. fin© programme.

EVERYBODY'S THEATRE.

"THE TIGER'S CLAW." "ENTEK MADAME." Brilliance and vivacity, quite apart from its charming entertainment value, are embodied in this week's offering at Everybody's Theatre. Tho new programme-, which was screened there for the first time yesterday, is of very high merit, and certainly the management ha 3 surpassed itself as far as the choice cl pictures is concerned. It would be a big task to place a mare attractively balanced programme, quite apart from the musical side, which possesses a distinction all of its own. As is usual in the choice of bills for this theatre, there •aro two biff features, one effsettins the other and providing the programme with that particular merit for which the theatre has become renowned. In the past Everybody's has gained its reputation through the choice of its headline attractions. In tha very lengthy list of pictures which have bevn shown there, many stand amongst tho forefront of film productions, and added to these are "The Tiger's Cluw," starring Jack Holt and_ Eva JS'ovak, and "Enter Madamefeaturing Clara Kimball Young and Elliott Dexter, both of whom figure prominently- in this week's programme. But the picture aide is by no means the only meritorious one. There is the musio of the orchestra. This alone provides a complete entertainment in itself; not a., whit the less enjoyable than tho pictures which it accompanies. The selections which comprise a variety wide enough to appeal to every shade of taste, were splendidly played last evening and provided »' real musical treat.

For thrills, tor climaxes, and nnti-climaxeS, and for general perfection, one could not choose -a better motion picture production than "The Tiger's Claw," which heads the present bill. As a picture it has a gripping interest which holds throughout, but even beyond that, it lays claim —and justly bo —to an originality which is all its own. Somehow or other the story seems to impress one in a manner which is entirely lacking in the more usual type of production of the day. Both in cast and in detail eveivjhing that could be done to turn out a first-class picture has been accomplished, and the result is entirely satisfactory both from a dramatic and spectacular point of view. There are lacking none of those details which denoto care and careful thought, and besides this there is an apparent lack of strain amongst the cast, which is truly, refreshing. 'Jt'bo acting of Jack Holt, who appears in the stellar role, is vigorous and attractive. He has it part in which he is seen to the best advantage and ono which suits his particular style in a manner which has hitheito not been provided for Eim. As an actor he has scope in plenty, and of this he takes full advantage. There is something about his manner which undeniably appeals to the sympathy—perhaps it. is because ho really lives his part aa he plays it. -But, although his ability alone would make a picture, he is royally supported by those who 00-operate with him in the production. Playing opposite him in a manner perfectly convincing is the beautiful Eva Novak, ono of the beauties of the screen. Although comparatively little is Been of her, she nevertheless' adds indisputable charm to tho jyoduction. The scenery is a feature of the picture. Throughout its screening one can see the tiger-infested jungles of India, the Quaint, but impressive, scenes of Hindu rites and ceremonies, and the grandeur of the Hindu temple. Of thrills there are plenty. Mr Holt, in tha comparatively brief hour or so of the screening of the film, lives through adventures enough- to last an ordinary man for the remainder of hia lifetime, but ha manages to survive them all, his pleasing emile demonstrating that he has accepted them as in tho ordinary course of events. The story is unique as far as the theme of screen productions goes. It tells of an American engineer who is superintending the building of a huge irrigation dam in the hills country of India. While out on some survey work he saves a half-caste Hindu girl from a tiger', but in so doing is severely injured himself and the girl nurses him through one of. those terrible jungle fevers which are so dangerous to the white man. In gratitude he marries her, but his cup of happiness is rather upset by the appearance of a former sweetheart who has set out from England to find him. Meanwhile he has made a number of enemies and not a few friends among the natives. Several of the Hindus, whose power jamong theSr fellow-countrymen is supreme, resent- the intrusion of the white man and set out to frustrate his plans. This they do with the aid of the young' American engineer's wife upon whose jealoU3 feelings they play. How the story works out to a conclusion which is satisfactory to all, forms the basis of the plot of this most interesting picture.

Smartness, piquancy and genuine entertainment are personified. in "Enter Madame," the brilliant comedy which is shown in support. A better set of actors than those who occupy the various roles could not be found. Clara Kimball Young appears in the stellar role as Madame Delia Robbie, and opposite her plays the popular Elliott Dexter. The story tells of an Italian prima donna who has wedded, but in pursuit of her career has negjected her husband. The man, however, has discovered other pastimes to while away the dreary hours, and a letter from him proposing divorce brings his wife post haste to Ameirica from Milaii. She finds her rival in supreme command, but by her beauty and woman's wit, cloaked* under the all covering garb of eccentricity, she manages to displace the other woman in her husband's affections, but at the same time fie wijis from her a promise that she will give up the butterfly life of the-stage and will become a staid and proper American wife. Many are the amusing interludes which relieve the thread of dram* which runs throughout the theme, and instead of being heavy, "Enter Madame," is as diverting and entertaining as a film p-.ay could well b».

Last evening the orchestra, under the able conductorship of Mr W. 3. Belhngham, F.S.M., excelled itself. Mr A. H. Lindo, examiner for the Royal Academy of Musio, who was present at the evening entertainment, stated that he was ideiignted with the selection of the music, and the balance-and manner in whicn it was played. Had he not been able to see the orchestra, he stated, he would have believed from the v.o/ume of tone that it consisted of from 15 to 20 playera. It displayed an admirable control of light and shade throughout. The overture, last evening, was Supps'e "Light Cavalry," a selection admirably played and of true artistic merit. The "Three Dale Dances" (Wood), "La Faraudale" tM. Dubois) and a comprehensive selection from the "Beggars' Opera" were noticefcble features of the first portion of the programme, as was the selection from Offenbach's "Getievf.flve Sie Brabant." Berliaps the gem of the evening, however, waa the orchestration of Lemare's beautiful organ solo, "Andantino." Mr Bellingham has specially arranged this numbar for his orchestra, and its effect last night must certainty have recompensed him for his work. Lehmann'a "In a Persian Garden," two small pieces for the strings, "Waltz No. I" and "Intermezzo" (Cyril Scott), the famous "Jupiter Symphony" (Mozart), and selections from MacDow-ell's suite, "Woodland Sketched," •were also included. STRAND THEATRE. "Under Two Flags" makes sruch a decided appeal in book form that the success of the film version of the story is assured. Priscillo Dean has in Cigarette a part which gives her wonderful scope, and she is always convincing as the impetuous and warmhearted Vivandiere. Victor, the hero, is ipathctic whether he enlists in the French or Arabian forces, but Cigarette, dicing for him, wins him for her beloved France. Victor's former life and associations cannot be forgotten, and he does not mig readily with his new comrades. His bravery in the field, however, is unquestionable, and he proves himself a man Amongst men. Nettled by the ga.lant bearing and evident breeding of "Corporal Victor, ' the French commandant seeks to humiliate him before a visitor. Lady Corona d'Amague, who, through interest in a set of ijfory cEbssmen Victor has carved, discovers that she knew him in the old days when he was a British officer and nobleman. Cigarette is at all times suspicious, jealous, and alternately wildly happy and depressed. Suspecting the Sheik -en A.i, Cigarette agrees to go with him to his desert harem in order to learn his treacherous plans. She discovers that Victor has been condemned to be shot, and that the Sheik plans a night attack from the French barracks Then follows her wild, mad ride to save both her beloved army comrades and the condemned. Victor. In one of the (neatest scenes ever recorded on the silver screen comes the climax that has made the of Under Two Flags" immortal. BaU PefT!?y l ,'J- P fSgy Behave" (oomedy) "Oregon Trail (Chapter 3) and an International News, complete the W»]3