Films and the Stage.

Dominion, Volume 21, Issue 261, 4 August 1928, Page 21

Films and the Stage.

“Beau Sabreur,” by P. O. Wren, the sequel of “Beau Geste,” is at the Regent .Theatre this week. It tells the story of a young French officer who has disgraced his family by being imprisoned for taking extra leave because of a girl. He swears never to look at another woman, and keeps his vow until he. meets a pretty young novelist in the desert, and while protecting her from the Tuaregs finds he loves her, Gary Cooper and Evelyn -Brent have the leading roles.

S'. W. Human, -before starting on his first production, “Sunrise,” searched for three weeks for a girl to play the leading role, and then his attention was called to Janik Gaynor, who has been scoring repeated successes in ’Fox -pictures ever since she first appeared in “The Johnstown Flood.”

Reginald 'Denny, ■ Universal’s popular comedy actor, is said to top all his former successful performances in “Good Morning, Judge,” in which he has a role-that fits him perfectly. He is Freddie Grey, young f and wealthy, who falls • in love with 1 the owner of a mission for-reformed criminals. The star’s, ability at comedy was, it is claimed, never better ■ shown than in. this film.

A floating theatre with seating accommodation for 2000 persons and a stage large enough for the production of the most elaborate grand operas, is being designed by two Genoese engineers. ■ They plan to take a large Italian opera company on a tour of the principal ports of the world.

All the drama, adventure, and romantic love of the Latin Quarter in Paris as recorded in the celebrated story “La Boheme” have been infused into the screen version, which has been produced by Metro-Goldwyn-Mayer. Kv.iee Adoree, Roy D’Arcy, Karl Dane, Edward Everett Horton, and other well-known players support Lillian Gish and John Gilbert in this super production, which is to be shown at the de Luxe Theatre - next week.

I For the first time since the order has been founded, a Trappist monastery, the retreat of the- strictest religious order of modern times, has heard the whirr and click of a motion picture camera. Rex Ingram, while directing “The Garden of Allah” for Metro-Goldwyn-Mayer, secured permission to film certain scenes in the old monastery at Staoueli, in Algiers. In fact, all the exterior, scenes were made in Algeria, on the exact locations as described by Robert Hichens in his famous story of romance and adventure in the desert. Alice Terry and Ivan Petrovitch play the principal roles in “The Garden of Allah.”

Official announcement is made by Universal that Mary Philbin will play the title role in “The Girl on the Barge,” by Rupert Hughes.

American papers announce the engagement of George Duryea, now winning success in pictures, to Grace Stafford, stage actress. Miss Stafford was Rose and Mr. Duryea Abie in the stage play “Abie’s Irish Rose,” in New Zealand last year.

Dolores Del Rio plays the title role in “Ramona” at the Strand Theatre. She is shown as a half-caste Indian girl who lives with Senora Moreno, whose dearest wish is that Ramona and her son should marry. Ramona falls in love with an Indian'man and marries him. They are happy for a short while, until they arc driven from their home and the man is killed. ThenRamona loses her memory and wanders round the country side until she is found by Felipe Moreno, who takes her home and brings the joys of life back to her.

An author and director, who once edited and published a daily newspaper, and a star who began his career as a newsboy, worked together when Monta Bell and John Gilbert came together at the Metro-Goldywn-Mayer studios in the production of a motion picture that gives picturegoers a peep into journalistic life, and unveils a few of the mysteries of the Press. “Man, Woman, and Son” concerns the adventures of a newsboy who rose to being a cub reporter, and who becomes involved in a murder. John Gilbert is supported by Jeanne Eagles in the leading role.

Lionel Barrymore, who is famous alike on the stage and screen as a character actor of no mean ability, has signed, a new long-term contract with Metro-Goldwyn-Mayer.

Harold Bell Wright’s most popular novel, “The Shepherd of the Hills,” has been plcturised by First National, and is to be shown at the Paramount Theatre next week. The cast includes Alec. B. Francis as the shepherd, Molly O’Day as “Sammy,” and John Boles as the hero. The picture was. made in the Ozark backwoods, and there are some beautiful scenic views in the production.

Karl Dane and George EL Arthur, the two stars of “Rockies” and “Baby Mine,” -will be seen shortly at the King’s Theatre in their latest picture “Circus Rookie s.”

One of the funniest and most entertaining comedies of this year is said to be MetroGoldwyn - Mayer’s “The Patsy,” with Marion Davies in the lead.

Metro-Goldwyn-Mayer have purchased the screen rights to the book “The Bridge of San Luis Rey.” a best seller, which is estimated to have been read by a million persons since it was first published in the early part of thia year.

The actors' who made “Merry-go-round” such a success have the leading roles in -“Love Me and the World is Mine,” which is the programme this week at the Queen’s Theatre. Mary Philbin and Norman Kerry are Haverl and Lieutenant von Vigilati, whose love s .ory is told in the picture. Haverl meets Vigilati in Vienna, where she is living after running away from her home. They love each other, but are separated for a time, and it is not until Vigilati is leaving for the front that they come together and decide to marry before he goes.

Beautiful and tragic “Norma” is the production to-night by the FullerGonsalez Italian Grand Opera Company. It was first performed In Vienna in IS3I, and from then on has always been a prime favourite with opera lovers, although a long interval elapsed prior to its revival recently in America. The play goes back to 50 8.C., in the days of the Gauls and the -Romans, when virtue enjoyed the highest pedestal for women. The main figure, Norma, is a powerful part where all the great emotions of woman, the love for a man, his children, and a friend are all closely interwoven. Reviewing this production in Christchurch by the Fuller-Gonsalez Company, a critic remarked that “Rosita Silvestri, as Norma, the chaste Druidic priestess, was simply superb. The second act, where she plans to stab her children because of their faithless father, but is finally overcome and prevented by maternal love, was a gem of clear, true acting.”

Mr. Victor Fitzherbert, a member of the J. C. Williamson company which will appear in “Rookery Nook,” is a New Zealander. He is a member of a prominent legal family in Auckland, and himself followed law before he went on the stage. ■'

During the taking of the Venice “shoots” of the Universal extravaganza “The Prince of Adventurers, the director worked from an erection construction in the centre of the Grand Canal and communications with his various heads, situated in the midst of the crowds, was effected by telephone and wireless. “The Prince of Adventurers” is the stofj of “Casanova,” the immortal amorist of Venetian history come to life on the screen.

The rewards of successful play writir can be very handsome indeed. Clyde Fitch, who died when lie was.only 44. left £43,000.' Sydney Grundy left £37,057. Paul - Rubens, who wrote for George Edwardes and died when he was 40,’had £24,128 to bequeath; and Haddon Chambers and Captain Robert Marshall were both comparatively rich men. Then, of course. Sir James Barrie, Bernard Shaw, Sir Arthur Pinero, and to come' 1 to more recent writers. Frederick Lonsdale, W. Somerset Maugh u n. Noel Coward, and even Arnold Ridley, with only "The Ghost Train” and “The Wrecker” to his credit so far, have earned large sums as dramatists. It is said that one young English author has made so much from various sources out of one play that be is already assured of at least £lOOO a-year for the-rest of his Ufa.

It is reported from Los Angeles that Olsen and Johnson, who were in Australia in vaudeville and in “Tip Toes,” have signed a contract with the Keith and Orpheum circuits for a vaudeville tour of 45 weeks at £6OO per week, equalling £27,000 for the full period.

The sidewalks of New York were built at Universal City, California, for use in Universal’s production ,of “Thanks for the Buggy Ride,” starring Laura La Plante. Everything from a sub-way kiosk to New York automobile license plates was manufactured in the studio property shop, and by various technical departments, equipped to reproduce perfect replicas of the details of every community in the world.

The London theatrical magnate, C. B. Cochran, was secretary to Richard Mansfield during one of Henry Irving’s visits to America. He relates that in New York he heard Mansfield and Irving discussing the critics. “The critics.” declared Irving, with a smile, “will be all right. I’ve bought a play from each of them.” “But,” responded Mansfield. “what are you going to do when they want you to produce them?”

Film-magnate Jesse Lasky (writes a correspondent in the Sydney “Bulletin”) has risked the wrath of his country by declaring in England that the exaggerated American accent is not all it could be i’’ drama, and that in speech English actors and actresses are a long way ahead of Americans. Anticipating phenomenal development of talking pictures in the States, he is in England to lure talking stars to America, pure speech being a most Important. Qualification.

Metro-Goldwyn-Mayer are now conducting an exhaustive research into the possibilities of “sound pictures.” It is the policy of this company to probe this subject from every angle and not to show a single subject until every device has been rendered as perfect as it is humanly possible to make it. One of the largest stages in the Culver City studios is now being dismantled in order to make room for a structure that will house the first units of the sound picture equipment.

Ramon Navarro’s new Metro-Gold-wyn-Mayer picture “Across to Singapore,” is a vivid drama of the sea, and it combines a delicate romance with an epic story jf an oldtime windjammer. Joan Crawford plays the leading feminine role in this picture, which will be screened at the Kin g’s Theatre shortly.

“The Single Man,” the stage play by Hubert Henry Davies, has been purchased by Metro - Goldwyn - Mayer as the next picture for Lew Cody and Aileen Pringle.

“Un Balio in Maschera” (“The Masked Ball”), which is to be presented at His Majesty’s Theatre by the Fuller-Gonsalez Italian Grand Opera Company next Tuesday night, created great enthusiasm at each production in Australia and Dunedin and again at Christchurch just prior to th.e conclusion of the season in that city. The critic of the “Otago Daily Times” prefaced his review with the following remarks: “Music lovers who were not present at last evening’s performance deserve deepest sympathy. They have lost an opportunity which will not occur again—they have missed one of the great artistic memories of a lifetime. ‘Un Balio in Maschera’ was immense. There is no other term for it. The conversation in the audience during the interval had but one theme: 'I would rather have missed any opera of the season than this one.’ It is doubtful if Christchurch has ever before witnessed such a galaxy of star performers who fill the cast of this magnificent production.” The history of “Un Balio” is a stormy one, at least in its beginnings. It was written for the San Carlo Opera House, Naples, during a period of great political stress. It was first called “Gustave III” (after an assasinated Italian monarch), but after the announcement had almost created a riot in Naples, Verdi was forced to change the scene from Stockholm to Boston and the name to “Un Balio in Maschera.” Finally it was thought best to abandon the Naples premiere altogether, and the opera was taken to Rome. “Un Balio” has beautiful melodies and a strong dramatic plot that make an immediate and lasting appeal.

With the selection of Jean Arthur for the leading feminine role, “Brotherly Love,” the new co-starring comedy for Karl Dane and George K. Arthur, has gone into production at the Metro-Goldwyn-Mayer studios. The story is concerned with the adventures of a pair of convicts in a “reform prison” run on the principlesof a college fraternity.

A first Wednesday’s matinee performance will be given by the FullerGonsalez Grand Opera Company next Wednesday, when “Lucia di Lammermoor” will be staged. The popularity of "Lucia di Lammermoor” is due to its melodies, which have become famouse. An audience of to-day sits back and revels in the melodious cadences of Donizetti, with never a-thought of whether the mlusic has any relation to the story. “Lucia” grips the sensibilities of an audience in a remarkable manner, and its beauty never fades in spite of its great popularity with choral societies and musical organisations of all kinds.

Madge Bellamy, assisted by Johnny Mack Brown and Walter McGrail, gains new laurels in Fox Films “The Play Girl.” The cen:ral figure in the story, Madge Bellamy, enacts a shop girl obsessed by a desire to wear beautiful clothes. She is flattered by the attentions of a bon vivante, who showers clothes and jewels on her with a lavish hand. However. her guardian Angel, in the form of Johnny Mack Brown, proves the utter worthlessness of luxury obtained iu such a way.

Four snappy titles have been chosen for Reginald Denny’s use next season. They are “The Night Bird,” “Red Hot Speed,” “His Lucky Day” and “Partners for the Night.”

How soon will this end of the world see a theatre built in the manner of Piscator’s playhouse in Berlin, where “Rasputin” has been such a success? What you see when you go in is something which looks like a huge orange in place of a stage. When the piece begins, a section of the orange opens, disclosing scenery and characters. The whole thing revolves; a number of scenes can be got ready at once and played in quick succession. It is an ingenious novelty; Berlin is greatly

Majorie Beebe; who has risen from minor roles in two reel comedies to featured parts in less than two years, is said to score a new triumph as the superstitious maid in “A Thief in the Dark,” a Fox Films mystery thriller. The picture deals with a gang of circus side-show crooks, who “raise” the spirits of the departed and reap a harvest from their credulous victims. Miss Beebe furnishes most of the laughs in this production with her encounter with the “ghosts” of an old mansion. George Meeker and Doris Hill have the featured roles.

The Vanbrugh-Boucicault Company, at the conclusion of its present Melbourne season,is to make a three months’ tour of New Zealand. Dates have yet to be arranged.

Carl Laemmle, Jr., has been assigned by his father,' president of Universal Pictures Corporation, to supervise “The Last Warning.” This mystery play, in which Laura La Plante is to be starred and which Paul Leni will direct, will be a very interesting effort to reproduce in all essential features the success which .hese two scored with “The Cat and the Canary” last year.

Mr. Maurice Ralph has been appointed by J. C. Williamson, Ltd., to act as their representative in the South Island, with headquarters at Christchurch. This means that Mr. Ralph will be in charge of the handsome theatre that is being erected on the site of the old Theatre Royal, which will be opened on August 4 with the “Madame Pompadour” Company.

Mike Connors and Queenie Paul’s League of Notions Revue Company are out on a short provincial tour of the North Island prior to opening at Fullers’ new St. James Theatre in Auckland. To-night sees the League playing the last of a three-night se a son at New Plymouth, Monday they go to Stratford, and Tuesday to Hawera. In each of the latter towns one night only is being played. A few holidays follow for the popular company, and on Monday, August 13, they make their debut at the luxurious St. James.

Marie Tempest has arranged with Alban Limpus and Barry O’Brien to appear in London in “Passing Brompton Road,” a new play from the pen of .levan Brandon-Thomas.

In his early twenties, Mr. Gus Bluett [ is said to be as popular as ■ any other comedian in Australia. Perhaps his gift for comedy is inevitable, for he has always been associated with the atmosphere of the theatre. He was born in Melbourne, but remained only two years in his native land before departing for England with his clever father, Mr. Fred Bluett, whom he later assisted in many vaudeville sketches. Mr. Fred Kitchen, the theatrical manager, wanted to train the talented boy, but the father thought it inadvisable to leave his son alone in England, so they returned to Australia together. Mr. Bluett’s first big comedy “hit” was in “Aladdin,” with Miss Ada Reeve. Then came a straight comedy part in “Kempy.” This was followed by “The Cousin from Nowhere,” “Wildflower,’’ “Tip Toes,” and other successes.

Showing at the De Luxe Theatre this week is a Universal Film de France, “The Prince of Adventurers,” with a cast including Ivan Mosjoukine, Diana Korenne, Suzanne Biarchetti, and many French and Russian actors. This story traces the adventures of Roberto Ferrara, an Italian, whose doings cause consternation in three countries. He has many narrow escapes from death and imprisonment, evading punishment < by all sorts of tricks and with the aid of some of the women he has had affairs with, and who still retain some love for him.

“A Dog of the Regiment,” a WarnerMaster Picture, is now showing at Shortt’s Theatre. In this picture Rin-Tin-Tin has the most thrilling picture of his spectacular career. ‘‘A Dog of the Regiment” reproduces much of Rinty’s own life in the devastated region of France, where he was born. He is shown as the devoted pal of an American ace, known by Rinty before the World War. Rinty is a Red Cross aid in the German Army, but, being a dog he sees no reason for hatred, and rescues his friend from a burning ’plane and performs other heroic deeds, which are almost beyond belief. Rinty Hies in “A Dog of the Regiment” in the most approved Lindy fashion, and sets the crowd shouting, whistling and stamping. The human members of the cast, Tom Gallery as the American aviator, Dorothy Gulliver as the Red Cross Nurse and John Peters as the villain are excellent.

Andrew Meazza and Jean Adrienne, who are described as two of the most artistic dancers in the world to-day, are to come to the Regent Theatre at the end of August. A London correspondent says of these dancers:—“To have danced for eight weeks on end at the famous Night Club Clros in London is a record. And this record has been created by Andrea Meazza and Jeanne Adrienne. When one first sees them one thinks involuntarily of the giant and the fairy—for Andrea Meazza is an exceptionally tall Southern Italian and Jeanne Adrienne a

tiny English girl. But as they dance, one seems to see they are admirably suited to each other. The giant is a frame behind the fairy, and their dancing is like the effort of a single being. One can hardly surmise where the giant leaves off and the fairy begins. She looks like a piece of thistledown, ethereal and strange, as he throws her from one hand to the other. Imagine feathers being blown gently by a kind little mountain wind and you have the dancing of Adrienne, for the movement of feathers on the wind is smooth and almost liquid, and these are the main characteristics of the dancing of this gifted pair. Nothing is jerky. Nothing is done less beautifully, or less than smoothly. One never quite sees how it is done, as one never sees where one river ilows into another.”

Meazza and Adrienne are dancers who come to the Regent Theatre with a Continental reputation. Their stage setting is in rich curtains which gleam like a cascade of rainbow-tinted water at times and it makes a beautiful background for the talented pair. They first appear in what sets out to be a ballroom dance, and ends with the lady standing lightly on Meazza’s outstretched hand, after being whirled round at incredible speed with what appears to be a very precarious hold. As "The Coquette” she dances with an impudent Gallic perversity that fully demonstrates the reason for the title. The Devil Dance is an elaborate number with a moral that is plainly stressed. It seems quite unnecessary for Adrienne to sing at: all, though she has an excellent voice, for the art of pantomime is so developed in the dance that it tells its own tale. The eerie lighting effect brings out the weirdness of the scene with a handsome Mephlstopheles pursuing a startled girl who lias just, awakened to the surprising fact that jewels do not grow on gooseberry bushes.

A raupo whare, stuffed witli ti-tree, and the whole saturated with crude oil and benzine, proved a far greater inflammable "substance than was anticipated by the producers of the Universal Maori film "Taranga.” The story called for the burning of a Maori village, and for this purpose a large meeting house over fit) feet long, a chief’s whare, eight .similar whures, three watch towers, and two store houses were built oil the company’s location at Obiwa, and all of these erections were "treated” in preparation for the big lire. The stage was set, “dead” warriors were lying strewn about the village, cameras placed in position, and the order given for the opposing tribesmen to rush in with Ilaming torches and set fire to the village. Within a few moments the “set” was a blazing inferno, roaring Hames and thick black smoke shooting high into the air. 'i’he heat became intolerable, and, under cover of the heavy smoke, the well-night scorching “dead” sprang to life and made the record sprint of their lives. Throughout the conflagration. Director Lew Collins and his two cameramen, Wilfred Cline and Harold Smith, stuck to their posts, notwithstanding the flying burning embers and almost suffocating heat, and the outcome of their tenacity brought painful burns to each of them. Mr. Collins was burnt about the face and hands, while the cameramen also suffered burns on Ihe exposed parts of their bodies, not to mention burnt clothing. 'The Maori participants suffered from scorching, being clothed only in a loin cloth, hut they stuck bravely to Hie action required of them. Some of (lie natives gave a remarkable demonstration of their inherent recklessness by rushing into I lie midst of the inferno and performing a haka. Luckily none of the burns received proved serious enough to call for Hie services of a doctor, a well-equipped first aid outfit being able to cope with the injuries.

will bring a patriotic fervour into the plot that is somewhat unusual in a musical comedy.

Commenting on the opening performance in Auckland of the J. C. Williamson New English Comedy Company's Ben Travers season, a contemporary .says:—“lt is most intriguing farce —it is so good that it is quite easy to understand why its author is enjoying a “best seller” popularity; oiu would imagine him jolly company at supper, bubbling with good fun and absurd anecdotes, conjuring up the marvellously droll situations that make his novels and his plays the funniest of light eutertainincnt.” “Rookery Nook” has evidently caught the public fancy, and when the company comes to Wellington on August 25 —September 8 patrons arc assured of a riotous evening. The situations in “Rookery Nook” are such as to send the audience home limp with laughter. Into Rookery Nook, a “nice peaceful house,” one night breaks a frightened girl, clad in’ silk pyjamas (politely culled "those things”), followed by an irate step-father, breathing tire and hatred; people insist on drifting into tlie Mouse all night, so that the two Londoners, Clive and Gerald I’opkiss, find it is not the sanctuary they thought might lie when they decided to pay it a visit. The foolish but well-meaning deed of the two Samaritans brings down on their innocent heads a .’ury of suspicion, and some of the situations that arise when they endeavour to keep busybodies from entering tlr room in which they have hidden Hie charming fugitive are ludicrous in tlie extreme.

The first appearance of Hie Van-hrugh-Boucieault Company at tlie new Comedy Theatre, Melbourne, on Saturday night, July 21, was marked by the initial production in Melbourne of “The High Road,” by Frederick Lonsdale, author of “Aren't We All?” and other successful plays Irene Vanbrugh will appear as Lady Minster, Dion Boucicuuit as Lord Crayle, J. B. Rowe as tlie Duke of Warrington, Hugh Williams as Lord Teylesmere, Norman McKinnel as Lord Trench; Gerald K. Souper as Sir Reginald Whebley, Ronald Ward as Ernest, Reginald Wykeh.-un as Mr. Hilary. Desmond McMinn as Morton, Annie Suker us Lady Trench, Prudence Vanbrugh as Alex - , Gwynnc ’Whitby as Elsie Hilary.

On board the Orousay, which arrived at Melbourne on July .‘lO, were three prominent artists under engagement to J. C. Williamson, Limited. These comprise C. M. Mallard, Miss Virginia Perry, and Miss Maude Zimliln. 'The first, mentioned is well-remembered here by his tine performances witli Hie first Vaubrugh-Boucicault Company. Tlie other two are well-known London musical comedy arlists

Syd. Chaplin will shortly be seen in this country again, this time in an adaptation of Fred Niblo’s stage success, “The Fortune Hunter.” v

“The Jazz Singer.” shortly to be released in the Dominion, is really taken from the life story of Al Jolson, who plays the principal role in it, and who is said to be the highest salaried singing artist in the world to-day.

Playing a small part in her husband’s production of “The Trial >•!’ Mary, Dugan,” is Mrs Leon Gordon, whose romantic marriage to the talented actor was one of the sensations among Australian society circles a few months back. She is a charming little lady and figures on the programme as Nancy Atkins. Mrs. Gordon is an Adelaide girl of distinction and charm.

The second of the Australasian Films Australian-made masterpieces has arrived in New* Zealand, and those who have seen this ttraction are very enthusiastic about it. Almost entirely taken .in Fiji it provides a wonderful

wealth of tropical splendour for picture crowds. The cast, includes Edith Roberts, Edmund Burns and Walter Long all from American studios, while practically the whole, of the Australian cast in “For the Term of His Natural Life” was sent from Sydney to Fiji. The story is from Beatrice Grimshaw’s well-known South Seas tale, “Conn of the Coral Seas,” and deals with beachcombers, missionaries and all types of humanity.

The J. C. Williamson management promise that playgoers will get a surprise when “Hit the Deck” is staged There will be several features of unusual interest in this naval musical play, which has the tang of the sea. For example, one of the most striking scenes ever staged, which contains, also, an element of weirdness, is the rendering by the chorus of “Sing Hal-

lelujah,” the tune that swept England and America. “Hallelujah helps to shoo the clouds away” is the burden of this song, which > introduced by May Beatty as Magnolia, a coloured girl, with a tremendous chorus backing. The atmosphere of "Hit the Deck" will recall the dramatic force of “Harbour Lights,” the naval drama which was such a wonderful success when staged i’ Australia years ago. The chorus men as Jack Tars and Marines, with the big guns of H.M.S. Inscrutable,