THEATRE ROYAL.

Press, Volume LXV, Issue 19690, 6 August 1929, Page 14

THEATRE ROYAL.

The talkies are irresistible, and the name rarauiount a bj-word in first-class screen production. When the two are combined one may eJtpect something out of the ordinary in the way of picture entrrtainment, and tho.se who attend tho current programme at tho Theatre Royal will be sure of a complete evening's enjoyment. "The Man I Love," an all-talkie drama, has » prominent ca&t of plaverfl, headed by Kichard Arlen and Mary Brian. Arkn is a young actor, and seems to bo cut out for talking pictures, his performance in this romance of the boxing ring leaving little to he desired. The American accent, apparent iu a great number of films from across the Pacific, is hardly noticeable in "The Man I Love," and the dialogue is well-delivered, clear, and attractive. Baclanova, one of Hollywood's most artistic actresses, is given the part of s thoughtless and pleasnre-loving woman, _ and her acting and singing aro of the highest order. Humour is not neglected, and plays a big part in the story, and there are touching scenes for the sober-minded. William A. Wellman, the director of "Wings" and "The Legion of the Condemned." handled the megaphone in the making of this film, and hla prowess is undeniable. The boxing scenes in this picture are excellent, and the comedy produced by Curly Bloom (Harry Green), an Irish trainer, spontaneous Snd delightful. The Pathe Sound News never loses its novelty, and the rooster's crow heralds in a tdries of repent and notable events full of variety and interest. Eddie Cantor, the rvpgro Impersonator of the Ziegfeld Midnight Frolics, is a performer well worth seeing Mii hearing, and a talkie comedy, "Pusher in the Face," is really funny. ■ The synchronised music ndds greatly to the enjoyment of the programme.