LIBERTY THEATRE.

Press, Volume LXII, Issue 18670, 20 April 1926, Page 10

LIBERTY THEATRE.

A LON CHANEY TRIUMPH,

"HE, WHO GETS SLAPPED." The name of Lon Chaney, in conjunction with that of Metro-Goldwyn, should be sufficient guarantee of tho excellence of any picture drama in which the great screen actor and the great producing firm are associated. In the caso of "He, Who Gets Slapped," presented for the first time at Liberty Theatre last evening, it is all this— and more. The title of the picture suggests slap-stick comedy but the title is misleading, for the story is a highly dramatic one, gripping the heartstrings throughout every episode of its development. The scenario is a most unusual one, cynical to a degree, and reminiscent in parts of the great music drama "Pagliacci " It revolves about a highly-educated student who is robbed of everything which makes iife worth while to him—including his wife by one Baron Regnurd. his patron. Heartbroken, and crazed with grief, he joins a circus and becomes famous as a clown under the sobriquet, "He, Who Gets Slapped." Here, with a grotesque face and clad in motley, he evokes roars of laughter by his cynicisms, from audiences who fail to see that in his actions and quips he is unfolding the heart-breaking tragedy of his former life. Eventually the Baron enters the picture again, this time in pursuit of the affections of one of the circus artists. He fails to recognise in the clown the man he has so deeply wronged, and from this point on the story develops into most thrilling tragedy. When "He" learns that the Baron has gained his evil ends he becomes insane with rage, and traps the Baron and his Mephistophelian friend' in the circus office and turns loose on them a vicious lion. In the dramatic sceno which follows, "He" is stabbed, but by a superhuman effort drags himself into tho circus ring as the signal is given for his entrance. He staggers and falls many times, while the crowd roars with laughter, taking it for more buffoonerv, until with a final gesture he tears aside his'motlev, reveals his wound, and dies in the midst of his fellow-clowns. Lon Chaney has never done better work than in this great picture, and those who appreciate grim tragedy should not fail to see him in this his greatest screen effort. The photography and settings are wonderfully effective, and a strong cast provides a splendid support to the great screen actor.

Tho supporting pictures are also of a high standard. Of more than usual interest is the "Patlie Gazette" this week, which includes s fine series of views of the funernl of Queen Alexandra, scenes at the signing of tho Pact of Locarno, and an extended series of illustrations of the latest Paris fashions. A Canadian Government film gives a splondid exposition of the lumber industry of Canada, nnd a Century comedy provides a merry half-hour's entertainment. For the big picture no more suitable music could be used for accompaniment purposes than the score of Leoncavallo's "Pagliacci," and the Liberty Orchestra, under Mr Ernest Jamieson, plays selections from the opera in excellent style. The overture this week is "Captain in Command," and other lighter numbers include "Tea for Two," "I Want to Be Happy" (from "No, No, Nanette"), a selection of airs from Ivan Caryll's "Pink Lady," "Lazy," and, as an entr'acte, the ever-popular "Moonlight and Rases." Among the more pretentious numbers are selections from Berlioz's "Damnation of Faust," "Telanquc" (O'Vargue), and "Cortege du Sudan."

The same programme will be presented all this week, and seats may be reserved at The Bristol, or by telephoning the Liberty Theatre.