LIBERTY THEATRE.

Press, Volume LXVI, Issue 19889, 28 March 1930, Page 11

LIBERTY THEATRE.

A acre-en ' detective ' «tory of. particular prerit, "The Girl from Havana," allowing. at tli©' ■ Liberty Theatre this week, eclipses all other-pictures of this type that have appeared so far. The plot is novel, and good, the diction almost perfect, and the acting superb. Perhaps the greatest innovation is the introduction of a charming girl (Lola Lane) as the detective. She is certainly a relief from the cigar-chewing bullnecked man who Is all top frequently screened as the sleuth. . . . _ . The story has as a background the Carribbean sea, Balboa, Havana, and other places of interest from an historical point of view. The photography of these places Is obviously genuine, proving that at any rate the greater part of the picture was made on. the spot. Paul Page plays opposite Lola Lane, and they form a team that must before long become famous in the talking picture world.

"WHY LEAVE HOME?*'

TALKIE * VERSION OF "CRADLE SNATOHERS'."

Here In bhrlstchurch there hare been the stage play and the silent film -play "Cradle Snatchers," and the new sound screen was quick to the. potential virtues of "Cradle Snatchera" made into a really fast-moving and modernised musicalcomedy version. Hence the -picture,', "Why Leave Borne <" which will l>e presented at Liberty Theatre next week, in which the twelve 'principal people, ranged into four groups of threes-three husbands, three wives, three girls," three youths—in which, then, these twelve people are .quite merrily- acted by the pick of the present-day screen.' Sue Carol, as the leader of the chorus girls, Jed Prouty, as the leader of: the duck-shooterA, Ethel Wales, as the leader of the angry wives, and Richard Keene;.as Jose, the Spanish youth employed by one 'of the wives as a sort of gigolo, are perhaps "the-most amusing of the whole company: The story, of course, i»- well known, one-all about alibis, explanations, excuses, reprimands; nearflghts, and general indignation, when, towards the end of this light-hearted and frivolous comedy of modern manners and morals, the twelve people are all present in the mountain cabaret, but are not accounted for. "Why Leave Hornet" Is easily far and away the funniest, talking comedy yet made. Also,, .Sue Carol- introduces into it a new dance, "Doing the Bo'om-Bodm," -and sings a catchy BMig 1 , "LookWhatYou've Done To Me." It will be necessary to book at The Bristol Piano : Company,' where the box plans are now open: -