ENTERTAINMENTS

Dominion, Volume 22, Issue 267, 7 August 1929, Page 6

ENTERTAINMENTS

DE LUXE THEATRE. “Show Boat,” Universal’s screen version of Edna Ferber’s novel, is now in its second week at the De Luxe Theatre. It is magnificent in its sweep, in its settings, in its characterisations, and in the tuneful interpolations that make it great entertainment for the ear as well as for the eye. The audience gets the full benefit of a big screen show, plus a big stage musical show. By special arrangement with 1 lorenz Ziegfeld, who produced “Show Boat as a musical extravaganza, Universal includes, in the talking picture-version or the story, many of the high-lights and popular music of the Ziegfeld version, with songs and choruses sung charmingly by the Ziegfeld stars themselves. One ot the revelations of the production, which was directed with great artistry by Barry Pollard, is the work of Laura La Plante as Magnolia, the heroine. This pretty Universal comedienne proves she is a firstrate emotional actress, who can act, sing, and read her lines with all the verve of a seasoned trouper. Also, Joseph Schildkraut, as Gaylord Ravenal, the romantic hero, shows that he is an ideal star tor the audible films. The spoken scenes of “Show Boat” are as gripping as those of any stage play. Some excellent music is also supplied by the orchestra and by Mr. Aarons at the Wurlitzer organ. “WILLIAM FOX MOVIETONE’ FOLLIES OF 19211.” A trio ot’ song writers, all of whom gained prominence by strenuous up-hill climbs from obscurity, get credit for the writing, and even staging, of the major part of the “William Fox Movietone Follies of 1929,” the elaborate speaking screen production coming to the De Luxe Theatre next week.| The men are Con Conrad, Sidney Mitchell, and Archie Gottler. Among them they wrote the music and lyrics for half-a-dozen songs which are certain to become hits as soon as the Fox Movietone Follies is generally shown. In addition, Gottler personally staged a majority of the numbers, and appeared as an actor in the story of back-stage folk. Gottler, at seventeen, won a distinction never duplicated by any other writer when his song, “America, I Love You,” was printed in the Congressional Record. The song is incorporated in music books used in most of the public schools of America. Gottler’s first bid for fame was as a piano player at the Star Theatre on Lexington Avenue, New York, the second theatre ever owned by William Fox. Curiously, his first partner, Con Conrad, was the piano player in William Fox’s first moving picture theatre. Conrad was graduated to the vaudeville stage, singing and playing songs of his own composition. Later he went to London, where he scored success. Sidney •Mitchell, third member of the trio, after attending Cornell University, became a sports writer for a big paper. He also wrote a daily column, made up largely of verse. He was asked to write the lyrics for a tune a friend had composed, and from then on the newspaper business was a thing of the past. Meanwhile, Gottler and Conrad had “teamed up.” Several years ago they invited Mitchell to become a member of the firm. Now Mitchell writes the lyrics, Conrad the music, and Gottler serves as “ironer out;” Individually and collectively, the trio has written numbers for the Broadway Brevities, “Greenwich Village Follies,” “Moonlight,” "Mercenary Mary,” “Kitty’s Kisses,” “Betty Lee,” “Americana,” “Ladies First,” and “Whirl of New York.” They have also written songs for John McCormack, Galli Cure!, Maurice Chevalier, Al Jolson, Eddie Cantor, Sophie Tucker, Harry Richman, and Fannie Brice. A partial list of their popular songs includes; “Margie,” “Barney Google,” “Memory Lane,” “Ma,” “Good Night,” “Weep No More, My Mammy,” “Remember the Rose,” “Song of Love,” “I Hate to Lose You,” “Lonesome and Sorry,” “Don’t be Like That,” and "That’s How I Feel About You.” Quite a novel innovation, to commemorate the premier screening of the “Fox Movietone Follies of 1929” in New Zealand, Grace VleDonald and David Devltt, two professional dancers, late of J. C. Williamson Limited, have been engaged to dance “The Breakaway,” the latest American bail-room craze, at “The Ritz,” Manners Street, every evening at 10.30, commencing to-night. “UNDER THE SOUTHERN CROSS.” ■ “Under the Southern Cross,’’ which will commence screening at the De Luxe Theatre on Friday, should show once and for an that New Zealand is capable of making a film attraction-of such outstanding merits as.to warrant its being shown to audiences the world over. It ic Universal made in this country and used for actors no less than the Native race of Maoris. “Under the Southern Cross” (or “Taranga”) portrays a graphic idea in legendary form, of the Maori in peace and war as he was before the coming of the -white man.- It tells a story of the uniting of two Native tribes, the Arikis and the Watees, by the marriage of children of each tribe desired by a dead chief of the Arikis, and father of the heroine, Miro. But a proviso calls for a contest between Miro’s chosen and desired lover, Patiti, and Rang!, sullen son of the present Ariki Chief. Fate wills that the Ariki son should win the test, and Miro is betrothed to Rangi, whom she detests, and is placed under the marriage “tapu.” Nothing daunted,’and despite the knowledge of the dire results of breaking the sacred “tapu,” Patiti meets Miro secretly In underground caves, but they are eventually discovered by Rangi, who wrathfully attacks Patiti. But in hand-to-* hand combat Patiti proves the better, and Rangi tearfully breaks away and flees. Patiti, realising that the knowledge of the violation of the “tapu” will mean death to Miro at the hands of her tribe, pursues Rangi and catches him up at the brink of Rua-Taniwha, the volcano overlooking the villages. In the ,ensuing fight, Rangi is thrown into the inferno. As a result there is war between the tribes, in which the Arikis triumph; but it is of brief duration, for the volcano bursts into eruption and overwhelms the Ariki village. After the mountain quietens, Patiti returns to seek his lost love, and ultimately finds her at the old trystlng place beneath the gleaming stalactites. Their Excellencies Sir Charles and Lady Fergusson will be present to witness Friday night’s screening. Matinees will be held daily at 2.30. The box plans are at the Bristol Piano Co. and Aitken’s Book Arcade. KING’S THEATRE. Murder mysteries seem to have a strong appeal to the picture-loving public. ‘Trent’s Last Case” is the current feature at the King’s Theatre. A splendid cast, excellent direction and a thoroughly absorbing story have much to do with making the production a success. Such players as Donald Crisp, Raymond Hatton, Raymond Griffith, Marceline Day, Lawrence Gray, Nicholas Soussanin, and Anita Garvin are prominent in it. The novel by IS. C. Bentley of which the film is a faithful reproduction, is classed as one of the finest books of its kind, and in his direction Howard Hawks has adhered closely to the original. In support are a gazette, scenic, comedy, and “Lady of Victories,” which tells in technicolour the story of Napoleon and Josephine. Appropriate music is. also supplied by the orchestra. WILLIAM HEUGHAN. Scottish literature and songs have received, in a wide sense, th» stamp of greatness, but their singers nave not been recognised by'the world of music as great. Wagner on meeting a Scotsman said; “Oh. you come from that land of beautiful songs, but where the people neither know how to sing nor appreciate them.” William Heughan undertook a tremendous task when he not only dared to say he was Scottish, but actually showed it by proudly wearing the kilt, a dress never before associated with a great singer. He was warned by many friends after the war, what prejudice he would have to face, as it had been used in such a disgraceful way by “Scotch comics.” He has found that part all too true. Few eould guess what a tremendous tight he has had to put up, before convincing people that a Scot may not only sing Scottish songs, but songs of other nationalities as well, that he is at last recognised as a world artist of the front rank, in a truly international sense, and comparable with the best of any nationality. He appears at the Town Hall to-morrow night— Box plan at the Bristol. QUEEN’S THEATRE. Starring Buck Jones, supported by Jobyna Ralston, “The Big Hop” heads the double-feature programme now screening at the Queen’s Theatre. “The Big Hop” is the first picture to be made by Buck Jones since he became head of his own producing company. It is a drama of thrilling adventure in the air, but Buck Jones is still true to Ills famous horse Silver, who plays a prominent part in the picture. The story centres about a youth who finds it difficult to settle down on his father’s ranch and make himself useful. Gripped by the lure of the air, the rash young man decides to take a long chance —and loses. “The Cavalier,” starring Richard Talmadge and Barbara Bedford, is the second feature. Appropriate music is also supplied by the orchestra. KILBIRNIE KINEMA. “Blindfold,” from the pen of Charles Francis Coe and made into a motion picture by Fox Films, is the attraction for to-night at the Kilbirnie Kinema. Lois Moran, and George O’Brien play the leading roles. The story is of a lone policeman’q fight against a band of jewel thieves who have murdered the brother of the girl with whom he is in love. How he finally gets his man makes a thrilling story and a thrilling picture. “Eyes of the Underworld,” starring Bill Cody and Sally Blanc, is the most thrilling drama ever filmed. In addition the new Kilbirnie trio will he featured. Reserve now at theatre, phone 14—202. J

GRAND OPERA HOUSE —TALKIES ON U FRIDAY NIGHT. With the presentation on Friday of “The Innocents of Paris” at the Grand Opera House J. C. Williamson, Ltd., will make a certain hit In this city with the screening of all talking pictures. The installation at the Grand Opera House of the latest and biggest Western Electric equipment yet brought into New Zealand, marks a revolution in their progress. The first picture on Friday will be one that Maurice Chevalier, the Beau Brummel of French comedy and the idol of Paris, has made for Paramount. The latter company went to great expense in getting one of the biggest casts of popular players to support him Chevalier has been for years one of the greatest and most popular players on the French stage. After being signed by Paramount to appear in their pictures, it was felt that it should only be right to have the French star surrounded by the best players for the parts to be filled in the story. For the role of Louise, the leading lady of 'the picture, the choice fell to Sylvia Beecher, practically unknown to pictures, but who was well known as one of the most accomplished of actresses on Broadway. For the role of Chevalier’s father and mother, Mr. and Mrs. George Fawcett were chosen. And then came Margaret Livingston. John Mlijan, David Durand, and Jack Luden. The story chosen was “Innocents of Paris,” a story of life of the French capital of the romance of a second-hand dealer who became famous. Chevalier, the dealer in question, rescues a little boy from drowning, and in delivering a letter left by the boy’s mother, meets Louise and falls in love. Despite her father’s protests Louise returns his love, and so the story follows their .romance to his success in the theatre. Here his choice between love for Louise and his career brings the picture to a surprising climax. A special matinee will be given on Saturday next. Box plans open to-morrow at the Bristol. REGENT THEATRE. “The Doctor’s Secret,” Paramount's second all-dialogue feature, is the current production at the Regent Theatre. The film is a screen version by William de Mille of Sir James Barrie's famous play. “Half an Hour.” The story is one of London high society, ot a wealthy selfmade man who regards his bought-and-paid-for aristocratic wife with no' little contempt. The story has to do with her plans to find happiness with “the other man;” and what takes place when carefully*, laid plans go wrong. In the production bf an all-talking picture it is of primary importance that the players themselves be adapted to their roles and speak their lines in a convincing, realistic manner. Paramount has given "The Doctor’s Secret” a cast which can do all those things, and furnishes the very acme of screen entertainment. Rutli Chatterton has one ot the leading roles. Opposite her is H. B. Warner, another “veteran” of the stage, who portrays his character perfectly. Robert Edeson, an old-time film favourite, handles his part admirably, and John Loder, the new British actor recently imported by Paramount, more than lives up to advance notices. The remainder of the cast are equally well chosen. The sound supports include a Patlie news, Barrat Miunevltch provides a clever sketch, “Boyhood Days.” “The False Alarm Fire Company" is a clever comedy, and “The Carnival Man” gives a peep at the workings of a travelling show. “THE BROADWAY MELODY.” “The Broadway Melody,” claimed to be the most “entertaining talkie” yet ed from the Metro-Goldwyn-Mayer studios, will be presented at. the Regent Theatre shortly. In the action of the film is included an enjoyable, selection of new song "numbers, “The Broadway’ Melody,” “Love Boat,” and “You,-Were Meant for Me.” The musical numbers are introduced in an ingenious manner; they add to the continuity of the stoiy. and make appropriate interludes in the dialogue. The speaking voices of the players are soft and pleasing, and the American nasal accent is entirely lacking from the dialogue. Modern methods of film production reach their height in the revue scene entitled “The Wedding of the Painted Doll.” It is photographed in colour. “Stunts” never seen in New Zealand have been included in “The Wedding of the Painted Doll,” the ballet girls, m their bizarre costumes, not entering Irom the wings in the approved manner, but being whisked up from below on lifts, with startling suddenness, all -ready in their correct positions to begin a series of novel dances. Comedy is-added to the scene by the eccentric dancing of the parson in his sombre black. The plot is clear and concise, and contains humour, drama, and even pathos. The story deals with stage life in New York, and is interpreted by a large cast of talented players. Miss Anita Page, as the rather irresponsible younger sister, gives the best performance of her career as Queenle Mahoney. The role of the elder sister is admirably filled by Miss Bessie Love, who gives an excellent character study of a girl willing to sacrifice her own happiness to provide for that or her sister. Mr. .Charles King is the hero, The film will be accompanied by a line selection of shorter talking pictures, and the whole programme should enjoy a record season. ,

.MAJESTIC THEATRE. . Reginald Denny’s latest farce is entitled “His Lucky Day, and is the current feature at the Majestic Theatre. Denny’s star of many excellent farces, is at his very best in this light, frothy comedy. He dashes through it with, an air that wrings laughs from the most serious of mortals. Otis Harlan, veteran stage a,nd picture comedian, gives Denny splendid support in provoking the laughter of the audience in his role ot gentleman crook. Loßayne DuVal, pretty and charming, plays the feminine lead in the picture. Eddie Phillips, known to fame as Don Trent” of Universal's “Collegians” series, has another “villainous” role to portray as Spider,” leader of a gang of crooks, who tries to steal not only valuable art curios, but the heroine of the picture as well. Cissy Fitzgerald, one of the best comedians of stage and screen, adds much to the merriment of the picture in her characterisation of the woman crook who poses as a social leader. Others in the cast of note are Harvey Clark and Tom O’Brien. In support are a comedy, gazette, cartoon, and further Music Masters film dealing with the life of Brahms. Exu cellent music is also supplied by the orchestra under Mr. George Ellwood. -r “SUBMARINE.” One of the most dangerous sequences ever made for a motion picture forms a part of the action of Columbia’s “Submarine,” which will commence screening at the Majestic Theatre on Friday. It was made under the skilful direction of Frank Capra, and shows the flooded chambers of a submarine. Four cameras were trained on the set. The side was rammed and the ocean poured in. Ralph Graves arid fourteen extras as sailors fought the torrent. More than ten -thousand gallons of sea water surged into the chamber while the men fought impending death by escaping into another compartment. I-t was one of the scenes in a picture which had to bo perfect without rehearsals or retakes, for once the water had poured into the chamber it was wrecked beyond salvage. .The equipment used in this scene including motors, torpedo tubes, gauges, and the like, originally cost more than 20,000 dollars. Most of the apparatus was destroyed by the water. Columbia is to be commended for the manner in which the scene was handled. The chamber was constructed in such a manner that the actors could get out as soon as the water became dangerous and the air unhealthy. Although there was a wild scramble on the part of the men, the entire sequence was taken without a sia”le mishap. Not a single person sustained as much as a scratch or bruise. “SHE STOOPS TO CONQUER.” A large audience at Hts Majesty’s Theatre last evening enjoyed/the final presentation of the delightful comedy “A School for Scandal.” bj- tlje Allan Wilkie Company—an excellent performance. This afternoon and evening will be presented for the first time this season Goldsmith's famous “She Stoops to Conquer” or “The Mistakes of a Night.” It is the master work of that delightful writer Oliver Goldsmith, who decked the most comic situations of farce with his beautiful style of writing, wit without sting. No playgoer should miss the opportunity of seeing the immortal characters painted in this coined}-, Mr. and Mrs. Hardcastle, their inimitable madcap of a son, Tony Lumpkin, the gallant freebooter of ladles' hearts. Young Marlow, bucolic fiiggory, ami the rest. As in “The School for Scandal,” the effect is enhanced by the gorgeous satin squarocuts and brocades, point ruffles, powdered wigs, which were, the exquisite fashion of the period. The play is a riot of fun from commencement to end and a feast of pleasure. Mr. Wllkio purposely limits the performances of these comedies in order to include the splendid trilogy including “The Rivals” into his short season, which will conclude on Saturday week. He promises a few productions of favourite Shakespearean pieces with a new presentment of “Much Ado About Nothing.”

paramount theatre. “The Cohens and Kellys in Atlantic Citv” Universal’s latest picture revealing the adventures of the Cohen and Kelly families and the first to be made as a talk in"’picture, is the current feature at the Paramount Theatre. An unusually snlendid cast appears, beaded by George Sidney Vera Gordon. Mack Swain and Knto ■’price The romance is provided by Cornelius Keefe and Nora Lane, with Virginia Sale and Tom Kennedy in vivid roles. The picture is superbly acted, the nlavers having got every possible bit of humour out of their familiar characterisations. All register well on movietone, Sidnev especially, reminding one of Ins former vogue as a stage comedian. Atkintic Citv is the locale. Cohen and Kcllj, who are in the bathing suit, business, have a line that was modern when Queen Victoria was alive. Their children send them off on a trip while they bring the bathing suit styles down to date and even a few years ahead. A bathing beauty parade is one of the big features. The sound supports include a Fox news, “Nap, an hilarious English comedy, and some excellent musical items by the Squire Celeste Octet. ■ IMELDA FAMA. To-morrow night at the Concert Chamber of the Town Hall, Imelda Fama, the distinguished New Zealand pianist, will make her reappearance before a Wellington audience, after an absence of over live years in Europe. According to the advance reports from Vienna, the young New Zealander appears to have impressed the critics iu that musical city by her brilliant musical talents. Slie has been nominated as one of the best of the British artists heard in Vienna. The programme arranged will show the artist’s brilliant interpretative ability and her poetic conception for the charm and sentimental iniport of the works of the great masters. A delightful number is the Bach-Busoni Chorale Prelude.” Chopin is represented by the “Prelude B Flat Minor,” “Impromptu, Opus 36 F Sharp Major.” and the “Fantasie Onus 40, F Minor.” The Mendelssohn number is the “Prelude aud Fugue. Opus 35, E Minor” —a work of great charm. The Beethoven number is the “Sonata Opus 78. F Sharp Major.” In the third part of the programme are compositions by Frank Bridge. Scriabine, and Debussy.