AMUSEMENTS.

Press, Volume LX, Issue 18095, 10 June 1924, Page 10

AMUSEMENTS.

PICTURE HOUSES. EVERYBODY'S THEATRE. "A WOMAN OP PARIS." PARIS LIFE IN CHAPLIN" DRAMA. Before an enthusiastic audience which occupied all the available seating accommodation, Mr W. J. Bannehr, the enterprising manager of Everybody's Theatre, had the gratification of submitting a programme of a very high standard last night. "A Woman of Paris," the most sensational film of the montih, written and directed by Charles Chaplin, and featuring Edna Purvianee, is the headlinor on the current programme. As a document of the less, happy emotions, "A Woman o£ Paris" has justified itself completely. All tho sense of waste and; impotence of misunderstanding-and distortion all the tawdry and petty things, tho ironical and cruel things that aro the underside of pleasure,, seem to have found'a place in the story. It is not pretty. Chaplin never meant it to be. But it ia horribly true. He tells the story, .as always, drily and subtly. His characters seem to improvise, to make their parts spontaneously, with a complete absence, of screen consciousness. Yet tho least movement of the finger haa been minutely studied, considered and rehearsed. To Chaplin tho producer, tho angle of a truffledish, tho fullness of a wino glass, is a matter of intense importance. Even t:ho detectives of fiction have not excelled his precision. Chaplin—like the wise man of old—believes in brevity in the ono telling shot in place of the ineffectual six. He believes that each- scene should be a perfect rounded whole. He believes in economy. Take, for instance, the Paris train in his masterpiece. It is the turning point of . the heroine's career. But we do not see the train. We watch the reflection of its lights moving across the station wall and illuminating the girl's face. Later, in Paris, we find her in luxury. No word is spoken,- bait when an immaculate. gentleman, calling to take her out ft) dine, strolls into her boudoir and takes a large handkerchief out of a drawer, the relationship settles itself. And tho dominant note of the film is struck in the three opening shots, which show, in approaching sequence, a dreary house with the girl's face pressed against an upper window. No, Chaplin wastes no words and no fctfUudoid. The really important things happen "off." His genius lies in the power to draw a character so vividly by showing its relation to everyday affairs that ever member of the audience will supply for himself its right reaction to. matters of moment. Cihaplin makes the spectator's imagination a creative force in all his drama. It must have been a very serious Mr Chaplin who conceived tho film and a serious Mr Chap'in who evolved its technique—serious in spite of the frequent sallies of typical Chaplin humour. He selected the oldest and most hackneyed theme in the cinema and determined to give it. for the first, last, and only time, life. Whether it is worth vivifying is beßide tho point. Chaplin "at least thought that it was. A stock formula has arisen for treating the story of the country lovers, parted'by misunderstanding, the lure of the city, the seductive villein, tho reappearance of the country lover, and his forgiveness of tho girl's indiscretion. But Chaplin, accepting the story, discards the formula. He sets out to show just what would happen under these circumstances in Teal life—how such characters would develop under, and govern, their conditionshow the trivialities of life would) intermingle with tho drama, pressing it closeand stifling. He presents the loneliness of it all. He has found a tragedy in the most unexpected place in the world, the base bone 3 of stock melodrama. His heroine is unvirtuous from the first, his hero impotent and indeterminate, his villain ft delightful fellow who finds lifo a huge joke and lets it touch'him very lightly. When his mistress upbraids him, he plays ft eaxaphone, when she tells him she is leaving him forever he says: "Well, 'phone me sometimes, and saunters out, with every sympathy, m the audience at his back, Given such characters, the foolish story of the misunderstanding, the gay lifo in town, the hesitation between the two lovers becomes possible and'' human. The weai hero shoots himself. The villain lives happily ever after, and the film oloses with a view of him in his jjiotor rolling along a country road. A farmer's cart jogs towards him. In the cart is Marie—his mistress. But neither sees the other, the cart and the motor pass and part. "By the way," asks his. sec retarv, "What became of Marie St. Clair?" The "other shrugs his shoulders and smiles. "A Woman of Paris" is a remarkable film, an historic film, a film to see a-ild consider. But it is wintry , and not everyone will find it to his liking. In selecting Edna Purvianee for the featured role, Chaplin' was not only rewarding that sterling actress for her work with him through eight years of making oomedy pictures, but ho capitalised an innate dramatic ability MSss Purvianee had more than once demonstrated in the years of the association. Supporting films inducted an interesting Path 6 News, a Paths colour scenic, &n& an hilarious comedy, t Incidental to and in conjunction with tho dramatic and comedy elements of the motion picture programme, Everybody's "Select" Orchestra admirably played a delightful programme of music. Included among the oelections were Overture, 'Tlorning, Noon and Night" (Suppt); "Stealing Thfrough Virginia," "Rose of the Rio Grande," "Weeping Willow Lane," and "Through the Night." The was "When Lights are Low" (Koehler). During the screening of the big picture, the following numbers were played:—"Unfinished Symphony," "Waltz Ballet (Grainier), the Asc-anio "ballet music (Saint-Saens), a selection from the Grirndi Opera, "The Jewels of M'adonna" (Wolf-Ferrari), a "selection from "Pagliacci" (Leoncavallo), and tho final number was "Serenade.'.'

GRAND THEATRE, There is not one dull moment in the entertainment provided at the Grand Theatre this week. "St. Elmo," a ecreen version of the popular novol by Augusta Evans, is the star attraction. Tho story is one of love turned to hate. Upon one day St. Elmo Thornton was a happy and prosperous young owner of a southern plantation, living with his mother. He was kindly and well-loved. Within a week this young man was a sour, j embittered and intolerant man, with a heart I hardened against all humans. John Gilbert, Barbara la Marr, and Bessie Love are the stars. Wesley (Freckles) Barry, tho talented , juvenile, is starred in a first-rate comedydrama, "The Country Kid." "The Country Kid" differs from the usual kind of Barry vehicle in that it was specially written around tho freckle-faced kid. A farcical comedy, "The Guni Riot," and, an Up-to-date gazette, complete the programme. STRAND THEATRE. I I A lively romance heads the curront bill at the Strand Theatre. "In Single-Handed," Hoot Gibson accomplishes more single handed than many people would do with both hands and two feet. In this picture there is a thrill a minute, they oome thick and fast enough to satisfy the most thrill-hungry person. The great outdoor star is featured in, his most thrilling romance. Hair raising stunts that will lilt you from your seat, and Hoot'a winning smile and great style going through it all. "What Wives Want," starring Ethel Gray Terry and "ilea Welch, is the other big; picturo. LIBERTY THEATRE. ' A delightful film, with a charming star, is "Tho Dangerous Maid," now being screened at the Liberty Theatre. Constanco Talmadgo has the title role, and aha is supported by Conway Tearle. The plot is based) oil the period when the terrible Judge Jeffries presided over his infamous "Bloody Assizes"— an aftermath of the Monmouth rising. Essentially picturesque, the pro3uction tolls a colourful story of oho particular episode in the quelling of the rebellion, and introduces to the spectator a very troublous period in the lives of Monmouth's supporters. Of exceptional interest to tho great majority of Christchurch people is a film depicting episodes in tho Norfii v. South Island Kugby battle, played in Wellington. Thero are also a number of other good supporting pictures on the programme, included among which i are "The Foolish Age," featuring Doris May and Bull Montana, and a comedy, "Country Chickens.'

GREATER'CRYSTAL PALACE. QUALITY OP PROGRAMME MAINTAINED. TWO FINE PICTURES. There was another large attendance at Greater Crystal Palace last night, when tho new programme was submitted for approval. It met with immediate approbation, and regular habitues m they left tha theatre could bo heard expressing their intention of recommending the programme to thoir friends. Anyone who follows the movies—and that includes people in all walks of life, young and old—knows, that Hoot Gibson .is first and foremost a man of action, and that when hiß name is starred great things may be expected. He has established a. reputation that takes some maintaining, but not only does ho do this, but with each successive appearance he goes just ono better. Consequently, hia admirers are numbered by millions, and it is safo to eay that his name is as well known in Now Zealand as in America. The roasons of his success are that he is an actor of manly parts, and is ft splendid horseman and athlete, addod to which qualities he has a ge'nial personality, which makes him everybody's favourito. In the Universal picture, "Ride For Your Life," the title of which itself prepares one for the good things to follow, he is seen in a characteristic role. . He takes the part of a cowboy whoso father was a most adventurous spirit. The son must have proved a grievous disappointment to his parent, as ho gave no sign of following in his footsteps, being quite content to sit bads and take life easy. This was until pretty Betsy Burko caught his attention, however. From that moment he was transformed, and he showed that the truo spirit was in him all the time, only awaiting the call to be stirred into life. Ho became a bancjit of tho deepest dye, and in order to make the role appear realistic, he brought into use all the latent qualities he possessed thut were necessary to it, greatly to tho surprise of all who knew him. Although she was appreciative of his feats of horsemanship and markmanship, the lady was anything but easy to win, which made tho young man the keener to impress her. iiWore success attended his efforts, he had to go through \aomo of tho most astounding etunts and comical situations ever recorded on the films. In addition to Hoot Gibson and Laura La Plsnte, the cast includes Harry Todd, Robert McKim, Howard Truesdell, Clark Cornstock, William Robert Daly, and iJ'recl Humes. Such well-known artists ns Brandon Tynan, Naomi Childers, Mary Astor, JJoro Davidson, Lionel Adams, Stanley Ridges, Robert Keiling, Billy Quirk, Helen Macks, Gay Pendleton, and John Woodford ore featured in "Success," the second big attraction of the programme. The picture tolls an interesting story of theatrical life behind the curtain, presented in a masterly manner, drama and comedy alternately claiming attention. "Success" was originally presented on the stage in London and New York, and justified its title. Seldom has finer acting been seen than that of'Brantton Tynan, as the celebrated actor of the character of King Lear, who, allowing his head to bo turned by tho goodfellowship and adulation of hia male friends, becomes a drunkard, and as a result goes stoadily downhill, but is able to pull himself together for just one performance, on which depends the happiness of hie daughter and her fion<:4. Tho part of the daughter is taken by Mary Astor, who must be one of tho most beautiful Cordelias ever seen. Among the supporting films aro an episode of "Beasts of Paradise," a Century comedy, and an International News picture. Under Mr Alfred Biinz, the SymphonyOrchestra plays an altogether delightful pi*> gramme of selections appropriate to the piotorial. The overture was "The Merry Wives of Windsor/' which was played by request, and received the delicacy of treatment required of it. The allegro from Schubert s overture in B flat was played by the orchestra for tho first time. This piece is typical of Schubert, being simple and full of refined harmonies. The incidental music to "Faust" (Coleridge-Taylor) was one Of the gems of the evening. The first movement, "Broken Soenc," was played with brilliancy. In the Beccnd movement, "Cleopatra, there ia a pretty andante for tho strings, with charming connecting passages for the wood; wind The third movement, 'Mescaline, contains a melodious air for strings Mrs R. Twvneham's violin eolo, Lea Ennnyeß (Massenet) was a treat to hear. Other w,llnlaved pieces were "Hvmno to Cecils (Gounod) Doles' March frorn The Merchant of Venice'' (Roese), and Raff» The entr'acte was a eel o f -, ? Mr F Bate by the local composer, Mr K. A Home. It is a melodious number prettily orchestrated, and having an effective wood-wind- accompaniment. tte programme pill bo repeated through out the weelc.

QUEEN'S THEATRE. "THE SIN FLOOD." W. S. HART IN "WILD BILL 1IICKOK." Pictures find music are both right up to ■ standard at the Queen's Theatre this week, and that moans they are the best procurable by an enterprising management. Two euper-attractions head the "movie" bill, tha first being, "Wild BUI Hickok," fcaiurwg W S Hart, and the second "The Sin Flood," with dainty Heleho Chßdwick as tho star. A really brilliant musical piogrammo is played by tho QuoenV Superb Orchestra, under the conduciorship of Mi H. G. GLaysher. , Betuvning to the screen alter an abaenco of nearly two years, William S, Hart, the popular Paramount star in Western pictures, liaa scored a personal triumph in hsa new Western production. Wild .Uill Hicliok was tho quickest draw' in the West, and in tho discharge of iys duties ais a peace officer in tho reconstruction days following the Civil War, ho was forced to bring to a premature close tho uvea of some 60 persons who were foolish enough to want to bo bad men. Some of the famous, historical characters introduced in tho course of tho production aro Calamity Jano, Willinm B ("Bat") Mnstertoti, Wvatt Eaip, Uoo. Holliday, Chalk Heeson, Bill Tighlman, Shot-gun Collins, and Luke Short. They all figure prominently in tho story, which deals with a highly interesting phase of early days in tho middle West. The one good influence in "Wild Bill's" life .was Calamity Jane, who was rearod by tho soldiers of Fort Laramie. Sho could swear, shoot, and ride like a man. but had a woman's tender heart, and great, though futile, love for "WiJd Bill." There are thrills aplenty in this picture of a frontier which hiß passed into history. This picture ia the first made by Hart during the past two years) and in this picture tho notable screen star has made a picture that is worthy of him, and a grand reappearance to tho screen. Tho story was written uy Mr Hart from material gathered by him during his travels in the West', and' ia all true to life during the early day«. Hart is seen as tho two-fisted, two-gun man of the early days, when ft mans life often depended on his ability to draw his six-shooter quickly and wasjnot afraid to- take a risk. It waa this class of picture that made Hart famous, and in the above picture he has mnde the same class, and, abovo all, a rapid Are, full' of action photoplay. Ethel Grey Terry heads u, brilliant and talented supporting oast. Deserving a considerable portion of the honours is Hurt's Pinto pony. Big in every sensa of tho word ia "The Sin i'lood," the second attraction. Humour and irony are cleverly blotided with intense drama. Most of the action takes place in an old-fashioned bar-room of the better class, and the furnishings, the atmosphere, and the characters will bring miny a reminiscent thrill. L. H. King, who plays "Levee Louie," tho derelict, gives an uncannily realistic performance of a character which was familiar years ago. Shouts of laughter greet his appearance every time he comes within range of the camera. Heleno Chadwick, who is known to moat people because of her splendid work in many pictures, has a very important role in "The Sin Flood." She plays a caoriis girl whoso who'.o life centres about her love for a young broker's clerk. When the clerk, by an unexpected stroke of fortune, becomes wealthy and forgets tho little chorU3 girl, Poppy withers and droops. The circumstances which throw th«m together again make a most thrilling storyAmong tho excellent supporting pictures are "Laughing G.&s," a firat-rate comody, and the latest Paramount gazette. Tho numbers played by the Queen's Orchestra include : —Overture, "Quand MadeIon" (Robert); entr'acte, "Love's Garden of Roses" (Haydn Wood); cornet so!o (Mr Turner).