ENTERTAINMENTS

Dominion, Volume 23, Issue 5, 1 October 1929, Page 6

ENTERTAINMENTS

REGENT THEATRE. “Madamo N,” perhaps the stage’s greatest drama of mother love, and incidentally credited with being the first "courtroom drama” in history, lias come to the talking screen, a rejuvenated and certainly much more interesting drama than in its older form. Metro-Goldwyn-Jlayer’s all-talking version of the famous old play, which is the current feature at the Regent Theatre, with Ruth Chatterton in the title role and Lionel Barrymore as the director, presents an older drama in a very glamourous new dress. It retains all the drama that made the original practically a classic of the stage, but it presents it in the new, swiftlymoving structure of the screen. It is, literally, a blend between the style of the silent drama and the stage—lts tempo that of the silent picture with its rapid action and kaleidoscopic changes of locale. The dialogue, too, is different—shortened and concentrated to match the action. It is iu effect a concentrated essence of drama, Ruth Chatterton, as the 111-fated heroine, is superb. Rising to the'heights of dramatic emotion and the depths of dispair by turn, she gives a performance that is literally a revelation as to what can be done by au artist with this new medium of the screen, and Lionel Barrymore’s deft direction of every scene is echoed in , the subtle little influences that fairly grip the audience. Lewis Stone, as the stern husband, and Raymond Hackett, as the son, have the two most important mule roles which they play to perfection. An enter, taining programme of sound supports is also screened. DE LUXE THEATRE. "My Man,” a Warner Brothers’ all-dia-logue production, is the feature now being screened at the De Luxe Theatre. Fannie Brice is starred, supported by Guinn Williams and Edna Murphy. It Is iu a factory that Fannie’s drolleries and fleetfoot antics amuse her fellow workers iu sequences iu the earlier part of the story. It is iu the factory that she earns money to support her idle younger sister and her small brother. It is on her way home front' it that site flrst sees and falls in love with the husky youth who is demonstrating a muscle developer iu a store window. It is in tho factory that the boss threatens to discharge her for disorganising the morale by her clowniugs, and here the theatrical manager who is to give her her chance to Win her way back to happiness, after her bitter disappointment, flrst meets her. The disappointment comes in the form of thwarted love. The youth she saw in the window is later out of work and threatened with arrest as a vagrant. She shelters him, gets him work, and has accepted his proposal of marriage, when she discovers, on her wedding eve, that her sister has alienated his doubtful affections. These are but a few of the stirring incidents in “Mv Man,” a play which Fannie makes unforgettable. A well-varied programme of sound supports is also screened. PARAMOUNT THEATRE. A remarkable demonstration of the emotional power of Al Jolsou Is furnished ju "The Sluging Fool,” the new special production iu which he is presented by Warner Bros., and which is now Iu its second week at the Paramount Theatre. Though Jolson’s stormily dramatic rendition of popular ballads has undoubtedly been an Important factor in causing the public to acclaim him ns the world’s favourite entertainer he has always beeu considered first and foremost as a comedian. And yet, “The Singing Fool” is not a comedy—having few comedy moments—and no element of comedy action whatever. It is a drama of the most intense pathos—a moving story of tho utmost emotional depth, in Which Al, though gay and lighthearted in the beginning, is brought at length to the depths of despair. Jolsou s supportlug cast Includes two leading ladies in the persons of Betty Bronson and Josephine Dunn, and other prom incut roles arc played by Reed Howes, Arthur Housman, David Lee, Edward Martlndc and Robert Emmett O’Connor. Tho sound supports are well varied and Include items by Mischa Elman, the famous violinist. MAJESTIC THEATRE. Two of screendom’s most pojoiilar y® ua »* er players, Mary Brian and Richard Arlen, have the leading r oles . la . I .?, ra ? ia a“„ s latest all-talking picture Of .thrUlß »“ d mance. “The Man I Love,’’ which will commence screening at the Majestic Thea- | tre to-day, .And Mary Brians voice is heard for the flrst time from the scree.u singing "Celia,” the song written especially for her. The picture deals with the ups and downs of a pair of young sweethearts. ■ The boy goes to New York, and, when the girl follows him there, she finds that ho has yielded to the charms of a wealtbv society woman. Through this woman's Influence, he has made a great cess. The girl’s efforts to reclaim him are fruitless until, in an exciting incident, another lover of the society woman wounds the boy. Thon the girl wins. Baclanova, the Moscow Art Theatre prlma donna, who has had a quick rise to fame on the American screen, has the role of the wealthy society woman. Inimitable bits of comedy are introduced by Harry Green, of vaudeville fame, and the irresistible Jack Oakie. The rest of the cast includes some of the best character people in Hollywood. Dialogue enhances the action of the drama and permits of many bits of clever humour getting.across to the audience. Wellvaried sound supports , will also be screened. >.■ HIS MAJESTY’S THEATRE. There was a marked improvement in the fare offered last evening at His Majesty’s Theatre by the George Wallace Revue Company, when the company returned from a temporary excursion into musical comedy into happy-go-lucky revue. “Silverland” was the brightest opening the company has given us. The scene is attractive and the gay march was well ‘developed, until the full strength of the company, including the jazz band, were on parade. George Wallace was in good form in his burlesque pathetic ballad, “What Do They Care?”, which was idiotic enough to make the theatre firemen laugh. The comedian’s tap-dancing was excellent. George also ran riot in “The .Labour Bureau," a burlesque sketch,.iu which the comedian is left in charge of the bureau, which, as clients materialise, becomes a bedlam. Mr. Marshall Crosby was the firm-voiced manager, and Miss Dudley was funny as the out-of-work actress, who will illustrate her various talents, and has finally to be thrown into the cold world as impossible. The Dudley Duo were partlcularlv happy in their medley duet, and “got past” in their patterology. Maida Jones and Jack Scott, sang the duet "Anything You Say” (with dance), and Lujla Fanning broke into song in “You Left Me Out in the Rain,” which suggested bathos rather than pathos. George Wallace and his Flaming Youths (In other words, the jazz •band) made things merry for a cacophanous fifteen minutes, mixing the latest ragtime numbers into a jazz adaptation of “Tannhanser” (shades of Wagner!). “Wedding Bells” found Mr. Wallace out as a vocalist, but “The Wedding of the Painted Dolls” was a pretty tinkle which tint.inabulated pleasantly on the ear. Finally “Sons of the Sea” gave the stage a nautical aspect, which induced the Six Rascals, and the rest of the company, to make sport found the binnacle. “The Village Lads,” a bucolic burlesque, with George Wallace as" Brutus, the bad egg of the parish, Marshall Crosby as the storekeeper, and Lulla Fanning as Millie, the farmer’s daughter, and Maida Jones as Aggie, the ■ belle of the countryside, provided capital fun and foolery. The musical numbers wore “South of Carolina.” “Homesick,” "The Floral. Dance,’’ “Ain’t Got Nothing Blues,” and “The Suu 'is at My Window.” This was written and produced by George Wallace, author, lyrist, comedian, drummer, and tap-dancer extraordinary. The dancing of the Six Rascals continues to be an abiding joy to all regular patrons of His Majesty’s. QUEEN’S THEATRE. “Black Magie,” a Fox Film's production, featuring Josephine Dunn, John Holland. Earl Foxe, and Henry B. Walthall, heads the double-feature programme now being screened at tho Queen's Theatre. The story deals with the implicit belief in the powers of the witcli doctor in the South Sea Islands, and is packed with action, romance and mystery. The second feature, “The Whirl of Life,” is a thrilling tale of the tinsel and sawdust, of the circus ring, where joy and grief, love and death are never far separated. KILBIRNIE KINEMA. "This is Heaven," Samuel Goldwyn's latest film starring Vilma Banky. will be repeated at the Kllbirnie Kinema to-night. The picture portrays the adventures of a Hungarian immigrant girl who comes to New York and gets a job flipping cakes in the windows of a white-tiled restaurant. In addition a varied selection of interesting and amusing supports will be screened. accompanied by the Kllbirnie. Orchestral Duo. Reserves at the theatre, telephone 14—202.

"THE FOUR FEATHERS." The Paramount sound picture, “The Four Feathers,” which will be presented at the Grand Opera House on Monday night next, is stat<Jd to be a remarkable production iu more ways than one. All the courage of "Beau Geste” and all the thrills of "Chang” are said to be Incorporated in “The Four leathers,” and the result is an unusual# original production. There will be scifii strange, unidentified animals that are neither monkeys, nor gorillas, but a combination of both with sharp-eyed dogs’ or wolves’ heads. Giant hippos will crash their weight of countless tons against the sides of river banks and all but swallow up the dauntless heroes, seemingly at their mercy in a frail canoe. A jungle lire will be seen routing beasts whose designations cannot be told. These, however, are, said to fade into inconsequence beside the vivid memory of a fight of frenzied warriors, on foot and later astride their swift-footed camels blotting out the horizon. To Richard Arlen, earnest and capable throughout, but rising like au irresistible force that sweeps all before It In the grand climax, goes the credit for an outstanding achievement. When Meriam Conner and Earnest Schoedsack. responsible for the memorable "Chang.” focused their uncanny camera eye on that desert vista, looking down on life and death in the jungle, they were at their superlative best. There is a big vein of romance running through the story which ends in a "coward” returning to his sweetheart after retrieving his lost honour in the jungle.

’’THE' DESERT SONG,” In Its infinite variety of splendid singing, bright acting, clever dancing, wealth of colour and striking stage effects, “The Desert Song” was again presented at the Grand Opera House last night to another large and enthusiastic audience. The show, which is one of the outstanding J. C. Williamson productions of recent years, is having a great run in Wellington, and there is no sign of any diminution in the public appreciation. “The Desert Song” is replete with bright musical numbers, and the ballets are a feature of the performance. Mr. Lance Fairfax, who has the vdee' and the presence, once again gave a finished performance as the “Red Shadow.” Miss Romola Hansen, as the romance-seeking Margot Bouvalet, charmed her audience in her able portrayal of the leading feminine role. Excellent comedy work was that of Mr. Herbert Mundtn, who kept the audience greatly amused. Miss Renee Murphy, as Susan, and other members of the company, gave a splendid account of themselves in their respective parts. “The Desert Song” will be staged again to-night. ,

KING’S THEATRE. Popular Reginald Denny is the star of “Clear the Decks,” the Universal partdialogue production which is cow being screened at the King’s Theatre. The story has to do with a young society man who replaces a friend on a sea voyage, using the friend’s name and stateroom. It is not until ho falls iu love with a pretty fellowpassenger that he learns he is supposed to be confined to his stateroom on a diet of goat’s milk and that he is supposed to bo slightly unbalanced mentally. His efforts at escaping from custody and in establishing his janity and identity in the mind of the girl give rise to a rapid 'succession of funny incidents and dialogue. Olive Hasbrouck is the girl. Lucien Littlefield and Otis Harlan have important roles, with Colette Merton, Robert Anderson, Brooks Benedict and Elinor Leslie among the principals. This picture is an excellent illustration of just how much sound effects and humorous dialogue can heighten the comedy of a screen farce. A wellvaried programme of sound supports is also screened.