Films and the Stage.

Dominion, Volume 19, Issue 57, 29 November 1924, Page 17

Films and the Stage.

Fred Thomson and “Silver King” will appear at the Empress this week in their second picture. “North of Nevada,” another thrilling Western. Here is a star combination which for thrilling stunts and remarkable feats has no equal. Fred Thomson is a stalwart, handsome fellow in his twenties, with an athletic record to take one’s breath awav. As for “Silver King,” that horse can do everything a human actor does except speak. Also screening is Larry Semon’s latest comedy, “The Midnight Cabaret,” with the star as the Jazz waiter, a colour cartoon entitled, “Cleopatra and Her Easy Mark,” and the latest Topical Budget.

Frank Lloyd, who built four ships for his First National picture, “The Sea Hawk.” has at last found one thing to do with the huge boats now that the picture is finished. The Moorish galleon, which served as Milton Sill’s ship in “The Sea Hawk,” was loaned to the Balboa annual water fete and won first prize. The Spanish galleon was used for a Cabrillo celebration. at Santa Babara.

Does her Parisian education account for the fact that Betty Blythe is today the most popular of all screen actresses specialising in vampire roles ? 'The famous star, uoru in California, studied music and dancing in Paris before entering upon a screen career.

June Roberts, the delightful American dancer in “The O’Brien Girl,” Hugh J- Ward’s musical comedy to be staged at the Grand Opera House, has something to say about dancing, and as an expert in its grace combined with all its acrobatic possibilities, she ought to know. “What I find lacking in ballroom dancing at here in Australia is pep. Although find lacking in ballroom dancing out here, some of the mon hold their partners too close. Men should never hug their partners, nor should the girl hang to her partner- She should be perfectly relaxed, and allow him to guide her. Never try fancy steps that will make you conspicuous. I come from the land of “Shimmy,” but I don’t think it should be done anywhere but on the stage, as it is vulgar on the ballroom floor. I think for a while the art of ballroom dancing was lost on in-» to the jrzz craze, but it is coming into its own again.

Madame d’Alvarez, the Spanish contralto (who was in New Zealand some two years ago), denounces managers for inserting clauses in _ contracts forbidding artists, to participate in radio concerts. She says that broadcasting is such a boon to the sick, the crippled and the vast army of the afflicted, unable to attend concerts and operas, that the melody wlrch broadcasting hi.., brought into their lives shall not be snatched away.

Chaliapin, the famous baritone, and the highest paid performer possibly appearing before the public to da;, will visit Australia early next year, and will give concerts throughout Australia and New Zealand. Chaliapin, who is a Russian by birth, has long been acknowledged to be the greatest living baritone. What a wonderful rear for Australian music-lovers 1925 is going to be 1 Fritz Kreisler, world’s undoubted best violinist; GalhCurci, the reigning queen of songjravlova, greatest dancer wth her Russian ballets; Paul xilthov.se and Arthur Middleton, in a laturn visit; and Bov Chaliapial

Simultaneomlv at Auckland and Dunedin during Christmastide the Fuller-Ward theatrical combine (known as Hugh J. Ward Theatres), will invade New Zealand with two of the attractionfl that have delighted Australian theatres. To Dunedin is awarded the honour of welcoming the celebrated English stars, Mr. Seymour Hicks and Miss Ellalino Terriss, who will open at is Majesty’s Theatre on December 20, probably with ‘ lhe Man in Dress Clothes,” or Old Bill. M.P.” There is no need to dilate upon the position of Mr. Seymour Hicks a London actor-manager whoso name'and fame are known wherever the English language is spoken. His advent will be the theatrical event of the year.. Auckland is to have , the Hugh J. Ward company of comedians, presenting the most-talked-of musical comedr of the decade, “The O’Brien Girl,” and the hardlvjess well known musical shows, “Little Nelly Kelly and “Tangerine.”

Dobs money bring happiness? An attempt to answer that question is made in “Bom Rich,” a forthcomnig First National picture.

The romanticist will sigh and the cynic will chuckle over “Babbitt,” the Master Picture version of Sinclair Lewis’s very modern novel full of intimate- appeal. Willard Louis (the Prince in “Beau Brammell”) gives an excellent portrayal of one Babbitt, a portly, middle-aged average married man, with a romantic kink, who evolved grave doubts whether the women men marry in their youth are suited to their later years of discretion.

The dog Rin-Tin-Tin’s second Master picture, “Find 5 our Man, will be screened here shortly. Even more thrilling stunts than in “Wnero the North Begins” appear in “Find tour Man.” The human cast includes •lune Marlowe, Eric St. Clair, and Charles Conalin.

Lamy Semon, who appears at the Empress this week in his funniest conir edy, “The Midnight Cabaret,” is to be' married shortly to Dorothy Dwan, Hollywood’s youngest leading lady.

“Our Daredevil Chief,” a first-rate comedy featuring Ford Sterling, an interesting industrial film dealing with the slate quarries of Cornwall, and the latest Rathe Gazette of topical news.

Maurice Moscowitsch, who is to make his first appearance in Australia at Christmas with his complete London company under the J. C. Williamson, Ltd., management, is a master of make-up. Of him it has been said that “ho ignores no detail, however unimportant, and everything he does, is . done well.” Associated with him will be the well-known Londop artists Sylvia Willoughby, Nat Madison'. George R. Montford, Naomi , Rutherford, Clifford Mare, Cyri Nash, ' Beatrice Rowe, and Basil Owen. Mt. Moscowitsch has the unique record of having some of his most noted roles in six different languages.

Thrilling fights, heart-breaking drama, n fury-lashed ocean, and a won-'

derful fire at sea, are among the promised thrills in “Tile Fire Patrol,” a forthcoming Master Picture.

Mamie Watson, the bright, dainty, hazel-eyed “O’Brien Girl,” of Hugh J. Ward’s company of comedians,, is the exception that proves the rule, that it takes many years of hard work and study before a girl can hope to see her name among those listed in the theatre programme. She quickly won recognition from . London managers and finally became leading lady with Seymour Hicks at the Gaiety, just before leaving England. She is -a girl of rare charm and personality. Miss Watson will be seen hero at the Grand Opera House in “The O’Brien Girl, and subsequently in “Little Nellie Kelly” and “Tangerine.”

A double star programme, “Iteniembrance” and “The Three Must-Get-Theres,” is provided for at the Public Hall on Saturday, screening at 1.30 and 8 p.m. Picture-goers are in for a rare treat, and should not miss these two fine features. The star attraction at the Tivoli Theatre just now is the William Fox film spectacle, “The Queen of Sheba,” the presentation of' which is featured by dazzling scenes of ancient splen- j dour, a thrilling chariot , jg race, and the most famous love- story of history. x

Can a girl beset with temptations resist a life of folly? Corinne Griffith s First National star answers the question in “Lilies of the Field,” now screening at the Do Luxe Theatre.

Those who have flown in an aeroplane, those who have yet to make their first flight, and those who have vowed that they will never risk their necks in - one, will find an overflowing measure of mirth in “Going Up,” Douglas Maclean’s screen adaptation of the musical comedy success.

Mystery in a setting of'the rough inds along the border between the United States and Mexico is the "leme of “Fighting Fury,” the Uni/ersal feature play starring Jack Hoxie I Shortt’s Theatre. Although the icale is Western and there is plenty oi riding and Western action in the story the essentials of the plot are not those of the conventional Western picture. The story is said to .be that of a young man half American and half Spanish, who starts out to avenge the murder of his parents twenty-five years before, trained for ‘ho purpose by an old Mexican ser--ant, who has taught him to “put a bullet through the eagle’s eye and -.tirbw a knife through the heart of •tie mountain liou.”

A picture out of the ordinary is “The Danger Point,” at the Strand Theatre this week starring Carmel Myers and W.. P. Carleton. Also screening is the great British masterpiece “Theßohemian Girl,” featuring Gladys Cooper, Ivor Novello, and Ellen Terry.

Tom Moore appears shortly in “Harbour Lights,” a forthcoming Master picture made by a famous British company, who sent 10,000 miles to get him to play' the dashing lieutenant.

Dfovie champagne, brilliantly bedecked Indies, colourful California, flowers, the resplendent Claire Windsor, the nonchalant and debonair Adolphe Menjou, these are some of the things that make up the atmosphere of a glittering banquet scene in the First National production of “For Sale,” shortly to bo screened in Wellington.

Norma Shearer, Canadian, hardly known in Hollywood a year and a half a< r o, has played leading roles recently" in several outstanding successes. “Flaming Passion” established her popularity with New Zealand audiences. She will follow up shortly with “Broadway After Dark, a Master picture

Gertrude Olmstead is a budding screen star who always plays the part of “the really nice girl,” which comes .natnrallv to her. In “Babbitt,” the forthcoming Master picture, she has an unusual wedding.

In order to vividly portray one of the leading roles in Samuel Goodwyn’s production “Tarnish,” Marie Prevost had to clip her flowing locks. Miss Prevost plays the part of a typical manicurist with all her typical mannerisms.

Nellie Bly Baker, Chaplin’s stenographer, who played “the masseuse” in “A Woman of Paris,” comes into her own as the sphinx-like “slavey” in “How to Educate a Wife,” a forthcoming Master Picture of Elinor Glyn’s story.

Marie Prevost, expert swimmer and horsewoman, appeared for some time in Mack Sennett comedies, until .she essayed a dramatic role, and was found to possess the qualities which go to the making of a star. She takes the lead in the forthcoming Master pictures, “How to Educate a Wife” and “Being Respectable.”

“You’re married to me —not to your business.” How many complaints come hurtling at the beads of unsuspecting husbands, after their wives get tired of spending every evening e+ home alone 9 Trim to his belief thni Life is the place to go for drnmn. Owen Davis the winner of last year’s Pultzer prize for the best play of the season, has taken this theme as the core of “Her Marriage Vow,” the play wh’ch Hirns on a woman’s loneli. ness and desire for life (a Master picture).

When May Beatty, one of the mo> popular members of Hugh J. Wanl’i company of comedians, went to England just seventeen years ago, there were numberless friends, both in and out of the profession, who prophesied mat she would be back very soon, but this is her first visit since her departure. In those years of absence May Beatty has achieved much. By hard work and perseverance she has made a niche for herself in the English theatrical world as a player of many parts in musical comedy, drama, and pantomime. Miss Beatty will be seen here in “The O'Brien Girl,” Hugh J. Ward’s entrancing musical comedy success.

One of the fastest records ever made in the filming of a star eight-reel motion picture has just been established by Norma Talmadge in her Joseph M. Schenck production-for the First National, “The Lady.”

The First National Picture “Potash and Perlmutter” is said to be one of tho most hilariously funny pictures ever seen on the screen. The producer claims it is very much like Shakespeare’s “Hamlet” in one way, wmJe one is comedy and the other stark tragedy, both make use of the “play within a play” idea.

“Our Gang” comedies guarantee to transport the most Mase middle-aged men back to boyhood days. Try “No Noise” at the Empress shortly.

Clare McDowell, who has an important role in “Secrets,” Norma Talmadge’s First National photo play shortly to be screened at the King’s Theatre, has introduced a new and excruciatingly funny dance into Hollywood, “The Crinoline Shimmy.”

“Taking one consideration with another,” as Gilbert says, the artists of thirty years ago were more finished and varied in their art than their fellows of to-day (says a writer in the Sydney “Theatre”). There are no artists on the boards at present to equal, say, Nellie Stewart, the Broughs, G. | W. Anson, Maggie I Moore, William Elton, Charles Ryley, Wallace ' Brownlow, Walter Baker, and Howard Vernon. The talents of the present-day artists run strangely in grooves, and the spectacle of one artist impersonating the same type of character in various pieces is quite familiar. The engagement is announced of Benjamin B. Hamilton, the well-known producer, to Claire Adams, the ycung screen star.

Connie Ediss, remembered here in “Canary Cottage” and other J. C. Williamson musical comedies, was at latest appearing in London in the revue ‘Hie Looking Glass.”

Nazimova has returned to the screen after two years of touring throughout the United States in vaudeville. There ar® few on either stag© or screen wlio can surpass her in the peculiarly fascinating type of emotional acting to which she has adapted herself. Nazimova will be appearing in ‘Madonna of the Streets,” a First National picture, in the near future.

Dorothy Devore, the former Christie Comedy star, has signed a five-year contract with Warner Brothers to appear in their screen classics. . Her first appearance will be in “The Narrow Street,” a fortcoming ‘Master pictilye. Miss Devore was first on the stage in musical comedy, but later played with Eddie Lyons and Lee Moran in comedies

With the opening of tho William Fox special, “Six Cylinder Love,” at the Britannia Theatre, the glooms were dispensed with to give way to a merry evening. It pokes satiric and good natured fun at families k . that live beyond their means.

Visitors from abroad all bring the news that Irving Berlin’s waltz song, “What’ll I do?” is the greatest success for many a long day in America and England. The head of a Sydney publishing firm was asked if it was likely to' prove the same in Australia. “Just wait for a few months,” he replied, “and you will hear it everywhere.”

Elinor Glyn’s “How to Educate a Wife,” shows how a wife can often advance her husband’s business interests by playing the tactful hostess and winning his business friends. But where one wife succeeds another fails, as is shown in this delightful Master picture, starring Monte Blue and Marie Prevost.

Besides being an actor-manager, Mr. Seymour Hicks (soon to be seen in New Zealand under the Hugh J. Ward Theatres regime) is an author of some standing. Of his literary efforts perhaps the most outstanding is “Difficulties,” a very frank talk to boys and youths, and a book which has been adopted by the Educational Department of England for ah rue schoolboys.

J. C. Williamson, Ltd., reports a net profit of £62,277 for the year ended June 30. An income of £121,883 was derived from seasons and tours (less expenses), and £50,209 from other sources. A dividend amouhiting to £18,750 was paid in May and preference share interest to Julie 30 took £1358, leaving £42,169 to be carried forward. Of £26,398 brought forward from the previous term, £18,750 was paid in dividends and £7648 transferred to reserve. The company holds £396,353 in war loans and -shares in other companies, and £605,448 is. taken into account for properties, rights, goodwill, etc.

Elinor Glyn usually treats the sex problem from a serums angle, but in ’“How to Educate a 'life, * a forthcoming Master Picture, she is decidedly frolicsome. Marie Prevost plays the role of the young wife with Her usual keen sense of comedy values, ana wears a Ivariety of handsome gowns with distinctive grace.

George Vollaire, the leading man of “Good Morning, Dearie,” which will bring Josie Melville back to Melbourne after seasons in Perth and Adelaide, enlisted for the war direct from college, and made the acquaintance of many Australian and New Zealand “Diggers.” He secured his commission in the Queen’s Westminster Regiment. He made his first stage appearance in Gilbert and Sullivan operas in 1919, and lost no time in establishing himself an as actor_ of outstanding ability. He has since appeared in a number of big musical comedy successes in London, and was engaged for the Australian tour of “Good Morning. Dearie,” while appearing in the London production of “The Lady of the Rose.” In “Good Morning Dearie,” Josie, Melville appears as an errand girl—a role different from that of Sally, but one equally attractive and appealing.

Records show that Anna Q. Nilsson was featured in more productions than any other woman last year. Look out for her in “Broadway After Dark,” a forthcoming Master picture.

“Where does Father Christmas do his shopping?” and “Where does a fire go whe;n it goes out?” are two of tho puzzlers that Baby Peggy asks in her first big Master picture drama, “Captain January.” Hobart Bosworth and Irene Rich are also in the cast.'

Hazel Harris, Mr. Hugh J. Ward’s tornadic dancer in “The O’Brien Girl,” to be presented in the Dominion, has spent practically the whole of her.young life in the theatre. As a little girl she was attached to a San Francisco stock dramatic company, and did Little Willie in “East Lynne,” Topsy '.in “Uncle; Tom’s Cabin,” and scores of other “kid” parts. At that time her one great purpose in life was to become a dramatic heroine .whose name would be blazoned forth on a thousand electric signs throughout the length and breadth of the United States. Then she unconsciously burned her bridges bv learning dancing. So quickly did she progress in the execution of rhythmic footwork that soon she wa» sn far more request as a juvenile solo danseuse than for sob melodrama. By hard work and application of a naturally creative ability, Hazel Harris rose rapidly in her profession, and eventually she did have her name in the electric signs of New York, and many other American cities.

No musical comedy ever produced in Australia has quite the same peculiar fascination for theatregoers as has “The O’Brien Girl,” to be produced ip the Dominion shortly. From its initial presentation, which marked the opening of the sumptuous new Princess Theatre, Melbourne, on Boxing Day, 1922, to tho end of a six months season, terminating in June, 1923, and subsequently during a long run at the Grand Opera House, Sydney. ‘The O’Brien Girl” set a standard for musical comedy, by which every subsequent production of this type has been appraised. Incidentally it introduced to Auriralia Mr. Hugh J. Ward's wonderful company of comedians. a group of charming and accomplished players and dancers representation of the light musical stages of London, New York and -Australia, whose delightful co-ordination of artistry has proved a revelation 88 musical comedy treatment. "Th® O'Brien Girl” has achieved, therefor®, a deep historical significance in. the development of the stage in Au£tr.»n» as a production which created a new, a brighter, a better era in what ie unquestionably the meat popular median. of theatre ent®rtaisfiwm.t jet reswod.

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