Films and the Stage.

Dominion, Volume 22, Issue 186, 4 May 1929, Page 25

Films and the Stage.

Playgoers have never ceased to marvel at the versatility of Nellie Stewart, who is once again back in Melbourne with “Sweet Nell of Old Drury.” They can recall her in a long series of musical plays, in light opera, pantomime, costume drama, and comedy. One can remember such varied performances as Marguerite in “Faust,” Rosalind in “As You Like It,” principal boy in pa- tomime. ami her appearances in “Mice and Men,” “A Country Mouse,” “Masks and Faces,” “Peg Woffington,” “The Scarlet Feather,” and others. Yet of them all the public love her most, perhaps, in “Sweet Nell of Old Drury,” her favourite role. .Not only in England, but also in America Nellie Stewart scored a success. She played “Sweet Nell” in San Francisco for twelve weeks and got away two days before the earthquake. They played in South California, in Denver, in Kansas City, and elsewhere over to Chicago. In New York they could not get a theatre, due to so many’ companies flocking there after the earthquake. Further, illness prevented Miss Stewart from going on with a contract as leading lady which she signed with Klaw and Erlanger.

“Piccadilly,” Arnold Bennett’s story of night life in the West End of London and Limehouse, which is now enjoying tremendous success in the kinemas of England and of the Continent, has been treated by E. A. Dupong, the noted producer of British International Pictures, with subtlety and originality. The clever handling of the Oriental players, its lavish staging and mounting, its fascinating dances, startling climax, and grim finale, are some of the outstanding features of the biggest film yet turned out from the wellknown Elstree Studios, and according to all critics it is the most internationally attractive production yet made in England. Gilda Gray, Anna May Wong, Jameson Thomas, and New Zealand’s favourite dancer Cyril Richards have the principal parts. Kinema Art Films have “Piccadilly” scheduled for early release.

Far from the well-worn path of conventions is “Pals in Paradise,” a Metropolitan picture directed by Geo. B. Seitz, which is now showing at the Strand Theatre. Peter B. Kyne, who knows his west, deserted the wellbeaten paths in writing “Pals in Paradise,” and has brought to his readers a new West—the West of to-day. “Pals in Paradise” boasts no cowboys riding down the main street of a new found town in chaps, shooting in the air—’rarin’ to go. But it does bring to light the modern mining town—the settlement brought to notice through a new gold discovery. With the news comes the rush of soldiers of fortune, real estate agents, gasoline filling station, and the mad rush on rubber of those seeking a fortune in yellow metal. Modern methods of extracting and refining gold; modern household appliances such as vacuum cleaners and electric washing machines, modern palaces of pleasure—the soda grill and penny dance hall—all are here. And though it is a most modern version of frontier life in a new mining town, there are thrills, humour and sentiment aplenty.

The ten nights’ season of Sir Harry Lauder in Auckland served to Show in a very marked manner the deep grip the Scots comedian and singer has on a large section of theatre-goers in this country. Though he has “farewelled” himself before, the genial Harry came back as fresh and funny as ever, and the season was as successful as any ever given in Auckland. On Monday last Sir Harry was given a whirl of ,a welcome on his arrival at Hamilton by the Scottish Society. The house was booked out. Sir Harry is said to be better than ever by the Auckland critics. Evidently the public thought so, too, as on Saturday night last he was played from the Grand Hotel to the theatre, and at the final curtain they filled the stage and skirled Sir Harry and the packed audience away to the lilt of “A Wee Deoch an Doris” and "Auld Lang Syne.”

The British motion picture “Dawn,” which is unquestionably the most-dis-cussed film in the world to-day, has captured the Press and public of Melbourne to an extent rarely achieved by a screen production, and the leading newspapers are unanimous in proclaiming the picture to be something off the beaten track —something worth while. The “Argus” said that: “The genius of Sybil Thorndike has a great deal to do with the success of “Dawn.” If Nurse Cavell had been represented in anything approaching the ordinary way of the picture screened, the results would have been unworthy of her, but, in this case a great actress has lived the character rather than acted it. The result as shown at the Regent on Saturday is most impressive. Very wisely there has been no attempt to coturn the incident into an orthodox screen drama—in that case even the events as they were, or could have been, are simply and straightforwardly represented—the beautiful simplicity of the representation adds to its charm—and in all parts of the picture Miss Thorndike’s work was most remarkable. In its naturalness there has been nothing like it on the Melbourne screen before.” The “Sun” classed the film as “one of the best pictures that has ever reached Melbourne —it is most accurate and interesting.” The “Herald” declared that “ ‘Dawn’ Is the greatest indictment of war ever screened; it is a plain, unvarnished story with no bitterness whatsoever.” Miss Thorndike’s acting has made a great impression on the Australian public, and the success of the picture throughout the Commonwealth is assured.

Paramount’s “The Doctor’s Secret,” the first motion picture to present alldialogue throughout, was released at the Capitol Theatre, Sydney, and the State Theatre, Melbourne, on April 6. “The Doctor’s Secret” has introduced a new art to Australia and the “Sydney Morning Herald,” reviewing the picture, states: “ ‘The Doctor’s Secret’ is intensely interesting from many points of view. In the first place it shows how real and emotional the addition of sound makes the moving shadows. . . . The actors used perfect English, with every syllable and every inflection beautifully distinct and natural. The voices of Robert Edeson and Miss Chatterton proved particularly attractive.”

Taken from a novel that has thrilled many thousands of readers. "Trent’s Last Case,” the film is a faithful rendition of the original story, plus the increased intensity due to.the dramatic possfbili- , ties of the screen itself. In brief, the plot revolves about the figure of a saturnine cripple, who plans to shoot himself in such a way as to bring a charge of attempted murder on his wife's lover. The manner in which the web of circumstantial evidence is tightened and the breath-taking climax makes the picture one of the most unusual film dramas of the year. Donald Crisp, Marceline Day, Raymond Hatton, and

Raymond Griffith have the important roles in this production produced by Fox Films. The long-awaited filni, based on some of the most thrilling adventures of the men who manned the .British mystery ships, will be shown at the De Luxe Theatre on May 10. Entitled “Q Ships,” this production shows what wonderful “actresses” were the little ships and big ships which formed this famous fleet—h o w they vamped the U-boat commanders, and what .splendid work they did in breaking the back of the German submarine menace. “Q Ships” played for an extended season of six months in New York’s finest theatre. All critics hailed it as a masterpiece and contended that it would succeed as first-class entertainment, despite the fact that there were no women in the cast. Other stage plays 1 and musical shows i being filmed with s dialogue and song include “The J include “The 1 Somerset Maugh- 1 am’s play “The r Letter.” t

Hands across the sea, and footprints as well, have become an actuality. Four squares of cement concrete, each weighing more than fifty pounds and each with the handprints, footprints, and signatures of Clara Bow, “Buddy” Rogers, Adolphe Menjou, and Esther Ralston, have been cast at their home studio. The blocks will be shipped to a new theatre in Melbourne, Australia, to be placed in the entrance court.

For a long time now Bebe Daniels has been claimed as the most athletic young woman on the screen. “The Feminine Doug. Fair(banks,” Bebe has been rightly termed, because in her pictures she has shown her skill in all branches of athletics. Now she has another feather in her athletic cap by being enrolled as a member of the Amateur Fencing League of America.

Those who remember Vera Voronina, the bright little Russian actress, []- who played opposite Sir Harry Lauder in “Huntingtower,” will be pleased to note that the management of the -* King’s Theatre have secured the C.A.F. e release, “Sparkling Youth,” in which ’ she again is seen in the leading role. 1 Vera Voronina is a Russian actress, this film being her second starring ! vehicle. In her latest role she is seen * as a charming member of the flapper ' age, who won the love of a man, who ' was staunch in his opinion that all ' girls were alike. One of the high- ’ lights on the film takes place, when ’ an aeroplane lands on a crowded , beach, the wind from the propeller : blowing down a tent, exposing to view i a girl clad only in a towel. Gustav ' Molander, the clever European director, was responsible for the production, having selected a superb supporting cast, including Alphonse Fryland. Margit Manstead, Gunnar Unger, and Ivan Hedquist.

The celebration of the twenty-third anniversary of ‘Carl Laemmle’s entry into the film industry emphasises the contributions which the Universal president has made to the motion picture business. A fearless pioneer since his momentous opening of the White Front Theatre on Milwaukee Avenue, Chicago Laemmle is responsible for the innovation of the star system. Contemporary producers at that time hesitated to give any publicity or advertising credit to their stars. These producers were better known and more influential than Carl Laemmle of the newly organised Imp. Laemmle had to offer special inducements to lure stars from the then powerful Kalem, Vitagraph, Edison, Essanay, Selig, Lubin combination. In addition to the immediate necessity, he had a convic- : tion that stars would have a box office ■ pull far stronger and more personal I ■ than that of their producers. i

Where are those gentlemen of the New York Press who are so wideawake? Clara Bow was in New York for more than a week before she was found at her hotel, where she had registered under the name of Stella Ames, which is the name given her in her new picture, “The Wild Party.”

Records arc made to be broken, but it requires a wonderfully' fine theatrical combination nowadays to improve upon the record runs of the past. When George Wallace and his All Star Musical Comedy Revue Company opened at St. James’ Theatre no one anticipated that the Auckland record run of close on eighteen weeks would be eclipsed, and that Jim Gerald’s longest season for any revue was in danger of going by the boards. But that is what has come to pass, and a souvenir night was held at the St. James’ Theatre on Thursday to celebrate the breaking of all past revue records. The Wallace Company finishes up in Auckland du May 16 after a season of twenty-one continuous weeks.

Characterised as the companion picture to “Wings,” Paramounts great epic of the air, “The Legion of the Condemned,” another story of the war from the standpoint of the aviator, is ' now to be seen at the De Luxe Theatre. Here is a story that differs entirely in story content from the famous roadshow, but in colour, romance, characterisation and downright thrills, “The Legion of the Condemned” has taken its place right up alongside the production which is still standing them up in the larger cities. The photoI play deals with an unattached flying I unit at the French front, composed of men who, because of their dark pasts, wanted to die. Their daring exploits were the talk of the war. Nothing was too hazardous as an undertaking. Into this group of men who welcomed death comes Gary Cooper as the young American newspaperman, betrayed by his sweetheart. The high spot shows Cooper forced to carry his ex-sweet-heart across the German lines as a spy. Fay Wray, as the spy-sweet-heart, and Cooper head the cast, which includes Barry Norton, “Mother’s Boy” of “What Price Glory,” Lane Chandler, Francis McDonald, Voya George, Freeman Wood. E H. Calvert, Chariot Bird.

Frocking plays an important part in revue presentation, and this has been fully realised by Miss Janice Hart, coproducer with Mr. Frank O’Brian of the “Revellers” Company. Miss Hart wears some beautiful clothes in the various scenes incidental to the performances, most of which she has brought from England herself. Just before leaving for this part of the globe, Miss Hart insured her wardrobe for £2OOO, and this does not represent anything like its true value.

It is a long time since there, were so many requests for the revival of a musical play as the J. C. Williamson, Ltd., management in Melbourne has received for “The Student Prince.” It has been arranged that this wonderf> '!y popular musical play will follow “The Vagabond King” at His Majesty’s, with James Liddy in his old role of Prince Karl. This production will bring the season of the comic opera company to a close, as Pavlova and her company were long since engaged tn come into His Majesty’s.

Although her screen roles have been as varied as they have been numerous, Norma Shearer has never played the part of a crook on the screen, prior to “A Lady of Chance,” the Metro-Gohlv. ,-uMayer picture which is to be screened at the Regent Theatre next week. In this play the beautiful and talented Norma essays the role of a professional “gold digger,” whose innocent stare is the weapon which causes wealthy admirers to hand over ‘heir bankrolls. Johnny Mack Brown, Gwen Lee, and Buddie Massinger appear in the cast.

I. “White Shadows „ in the South Seas” belongs to the small company of screen t classics —the few j pictures i n 15 , years’ production " since D. W. Grif- ’ fith set the stan- , dard which are re- ; membered for some ’ greatness in con- ’ ceptlon and execu- , tion (states the ; Sydney “Sunday ' News"). The , strength of “White Shadows” is enhanced by superb . acting. It has life in a naturally beautiful setting, photographed by a camera master. There are wonderful underwater scenes, too, of pearl divers and the monstrous life under the sea. It will be remembered long for its daring truth and lovely beauty.” This Metro - Gold-wyn-Mayer picture will be shown in Wellington shortly. Edmund Goulding, formerly a ; well-known Metro- < Goldywn - Mayer 1 director, is now de- ‘ voting his talents i exclusively to writ- t ing. He has just 1 completed the a dap- j tation of a new 1 story for Norma s Shearer. c

Maude Royden, famous woman preacher of London, England, studied American movie-making methods in a three-hour visit recently to the De Mille studio in Culver City. Miss Royden saw a bit of the big bank holdup in Donald Crisp’s De Mille Studio production, “The Cop.” meeting the director and leading players in the film. “I was amazed,” said Miss Royden afterwards, “at the cosmopolitanism of the pictures I saw in the making. A German baron was pointed out to me as the . technical director of ‘The Cop.’ Donald Crisp, the director, I know to be a Britisher. I was struck by the fact that so many nationalities contribute to the richness of American picture-making, together with the perfection of the appliances and the extraordinary realism of all details of the presentations.” William Boyd, popular star, is seen as a policeman of the underworld in “The Cop,” which is the feature attraction at the Regent Theatre this week. Jacqueline Logan is featured as leading woman in a crook role. Alan Hale is a police captain. Robert Armstrong a crook, and Tom Kennedy a sergeant of police who is killed in a hold-up. The story, written by Elliott Clawson, is packed with thrilling sequences.

Anna Pavlova, soon to present her wonderful dance entertainments at His Majesty’s, Melbourne, under the Williamson banner, says that the secret of life is not to worry. “An artist’s life,” she said, “is full of frettings, disappointments, and unrealised ambitions. But is it not worth it?” she asks. “Look what we accomplish. If on Monday I am sad, weary, and broken-hearted, on Tuesday I am as happy as a duck in a pond I” Pavlova, by the way, declares that she is oldfashioned. Since she was last in Melbourne she has still resisted the temptation to cut her hair.

One of the most widely read, likewise commented upon, stories that has appeared in many years is now to be seen and heard at the Paramount Theatre iu picturised form. It is “Mother Knows Best,” and it has been given a picturisatiou by Fox Films that is said greatly to enhance its drama, its genuineness, and all else. Mother themes have been widely used in screen stories, but “Mother Knows Best,” the story of a child of the stage and her mother, treats the underlying theme from an entirely different angle. It emphasise the longing of a girl for the natural in contrast to the artificiality of a theatrical career, a longing which gradually brings about a transition of character and plants the seeds of a combat between the artificial and the real. Incidentally, “Mother Knows Best” brings to the screen a new Madge Bellamy, hitherto identified with ultra and unsophisticated roles and shows her to have emotional talent plus. Likewise “Mother Knows Best” will bo long remembered for the marvellous portrayal of the mother role by the beloved Louise Dresser and the sterling performance of Barry Norton and a large supporting company. John Blvstone, veteran director of Fox suecesses, directed the picture.

After “The Patsy” season at the Grand Opera House, Wellington, the dust will have scarcely bad time to settle before the firm of J. C. Williamson will have another company on its boards. This will be “The Wrecker. ’ that play of thrills and realism that has been delighting Australian audiences. The# Wellington season is to open on May 24. Never before has the ingenuity of the wizards of stage-craft been taxed to such an extent as in“ The Wrecker.” The ghastly realism of the “Ghost Train” will be overtaken and passed by that of the sensational drama of the rails, which will afford Opera House audiences the thrill of a lifetime. There is a delightful romance interwoven with the grimness of the tale of mystery and murder. The interpretation of the story will be in the hands of Misses Josephine Wilson. Noelle Sonning, Helen Saintsbury, Ivy Sparrow and Mildren Nicholl, among the ladies, and Messrs. Clayton Greene, Arthur Young, Victor Fitzberbert, Frank Morrisou, Guy Routh. George Willoughby, Norman Lee. Reginald Collins is stage manager, and there is a cast off the stage that plays almost as important a part in the presentation as the actors and actresses. "The Wrecker’ ’will be a play for all to see and enjoy for its mystery, thrills, comedy, and sensation on sensation.

Thrill-seeking theatregoers will be amply satisfied at the Queen’s Theatre where the Fox Film. "New Year’s Eve,” is screening. The exciting climax of the picture is shown in an atmosphere of crackling automatics and vengeful gangs terk, ami the final reel of this picture dealing with a girl’s reach for happiness is said to keep the spectators perched on the edge of their seats. Many of the scenes were made just as they appear on the screen, with the actors, especially the leading man, Charles Morton, in considerable real danger from flying bullets. In one episode Morton dodged a steel-jacketed missile by a scant three inches, the bullet shattering the window, where his head had been a fraction of a second before. Mary Astor is eo-featured with Morton in the picture, Earle Foxe and Florence Lake heading the supporting cast. In addition to the dramatics, there is said to be an abundance of comedy and romance in the film, which was directed by Henry Lehrman. The second feature is “Come to My House,” featuring Olive Borden and Antonio Moreno.

One cannot but be stirred, by the dramatic appeal of “Napoleon.” the spectacular French film presented in this country by Metro-Goldwyn-Mayer, but filmed abroad by a French director and cast, with the co-operation of the French Government, in authentic locations, which is now showing at the Regent Theatre, Wellington. Albert Dieudonne, who enacts the role of Napoleon, gives a splendid characterisation. His interpretation is an intelligent and sympathetic one, and holds the interest at high pitch. Gina Manes makes a beautiful and fascinating Josephine. The historic Fontainbleau Palace, never before used as a setting tor a motion picture, is seen in some of the most lavish and beautiful scenes in this great story of the life‘and loves of the “Man of Destiny.”

In view of the fact that every novel that Warner Fabian has written has been successfully produced on the screen, the announcement that Universal has purchased an option on his next novel before it has ever been written is one of the greatest tributes ever paid to an author by the moving-picture industry. The tentative title agreed upon is “Flaming Daughters.”

William J. Locke, the famous English author, is now in Hollywood writing an original story for Norma Talmadge. “Stella Maris,” one of his earlier novels, has been twice filmed, once with Mary Pi kford in the name-role, and later with Mary Philbin; “The Beloved Vagabond” has been screened with Carlyle Blackwell in the title role.