ENTERTAINMENTS

Dominion, Volume 23, Issue 6, 2 October 1929, Page 6

ENTERTAINMENTS

REGENT THEATRE. “Madame X,” Metro-Goldwyn-Mnyer’s alltalking screen version of the world-famous play, is the current feature at the Regent Theatre. The famous stage play has been translated to the screen in a manner that keeps intact every bit of Its orglnal dramatic power, and to tiiis are added gorgeous scenes showing many parts ot the world, and settings of course impossible on a stage. The dialogue aud the action are blended into a combiation of screen and stage technique that makes it a much faster moving drama than it was on the stage, or even in a very early silent version of the picture. A series of staccato episodes, each a little masterpiece in concentrated drama, are utilised to keep the story moving at breakneck speed. Miss Ruth Chatterton, as the ill-fated heroine of the story, rises to superb dramatic heights, especially in the opening plea to the wronged husband to see her child, and in the great courtroom sequence that brings the dramatic climax of the play. Lewis Stone, as the husband, plays the role of the austerelawyer with a fine restraint, and Raymond Hackett, who scored in “The Trial of Mary Dugan,” reaps another triumph as the son and defence attorney. A wellvaried sound supporting programme includes “Berth Marks,” the latest Stan. Laurel and Oliver Hardy comedy. PARAMOUNT THEATRE. "The Singing Fool,” Warner Brothers' second starring vehicle for Al Joison, and which is now in its second week at the Paramount Theatre, is a heart story of universal appeal, which has to do with the joys and sufferings of a singing waiter of a Broadway cabaret. Joison covers new emotional ground, pours out his heart in the exaggerated, jazzy, conquering way that makes his personality altogether irresistible. The story was done by Leslie S. Barrows and pleturised by C. Graham Baker. The all-star cast includes Betty Bronson, Josephine Dunn, Reed Howes, Edward Martindel, Arthur Housman, David Lee and Robert Emmett O'Connor. “The Singing Fool” of the story becomes infatuated with a beautiful but heartless entertainer at the club in which he is a waiter. Through his help she succeeds. They are married and she deserts him, calling him back only when their little son is at the point ot death. The sound supporting features include overture to “Tannhauser” by the New York Philharmonic Orchestra, a duet between Martinelli, the famous tenor, and a basso from the opera “La Jeune,” while Mischa Elman. the famous violinist, contributes several numbers, and “Between the Acts of the Opera,” a comic singing sketch by the Howard Brothers. “THE FOUR FEATHERS.” The Grgnd Opera .House will open on Monday night with Paramount’s sensational picture, -‘The Four Feathers.” Two ambitious and travel-urged klnematographers, Messrs. Mcrrlan C. Cooper and Ernest B. Schoedsaek, have returned from Africa with the material for "The lour Feathers.” In these days of screen loquacity, "The Four Feathers' is a novelty from several divergent angles. The authentic scenes in the Sudan's wilderness, craggy fastnesses and long stretches ot arid sands, brings to "The Four Feathers a vitality and realism that stamp it as a most unusual motion picture production. About half way through, Messrs. Cooper and Schoedsaek get their cameras playing upou fields ot burning jungle brush as the natives strive to drive the hero-coward from his Hiding-place. These scenes bring the wild country into a teeming activity that is sensational. Scores of baboons arc driven from their secret nooks and droves of hippopotami, grazing on the banks of the stream, jump from the steep cliffs into the water to escape the onrushing flames. Here the film takes on the surprise action of “Chang.” For these scenes and the scenes of the army natives astride tfieir camels as they march on Fort Khar, a trip to the Grand Opera House will be well worth your time. Then too, there is Richard Arlen, in the leading role, who gives one of the most thoroughly acceptable portrayals of his career. Arlen gives real character to the role of “Harry Fevershain.” This boy, who recently proved his ability with dialogue iu "The Man I Love,” again distinguishes himself as a player Whose pantomimic ability is unlimited. The three other leading male characters are handled bv those three excellent players. Clive Brook. William Powell and Theodore Von Eltz. The picture is cracking good entertainment considered from any angle. The box plans open at the Bristol and the Berkeley on Friday morning.

de luxe theatre. Starring Fannie Brice, “My Man.” a Warner Brothers’ all-talking production, is the current feature at the De Luxe 1 hcatre The film deals with an orphaned family who live in a poor New York tenement. Fannie, tlie oldest, works in a theatrical costume factory, tlie flashy joung. r sister in a store, and the little brother, Phil "oes to school. Fannie, on her way to work, one fine day, passes a store window where a handsome and husky youth is demonstrating an exercising apparatus. She stops, spellbound, wishing that an ugly duckling like herself might have beauty like that possessed by her sister. The sister leaves her job to go with a middle-aged rounder ijUßrrclling with Fannie, who tries to prevent her. Then comes the eventful night when the youth, out of a job, invades Fannie’s kitchen, looking for food. Fannie at once forgives him. and proceeds to provide a meal, which be shares with her small brother. Love finally conies Fannie’s way—or so she believes. She is to marry the handsome stranger—when the unexpected happens. The sister takes him from her —and she is left with little Phil. Then it is that her songs well up as never before Out of her suffering she builds her fame. Well-varied sound supportsafe also screened. “A DANGEROUS) WOMAN.” Said to have attained a new high-water mark for technical perfection in all-dia-logue features. Paramount’s latest aud most outstanding sound release, “A Dangerous Woman,” is set down for presentation at the De Luxe Theatre commencing next Friday. A man-hunting woman in the land of man-eating Hons is the central figure in the plot of “A Dangerous Woman.” Baclanova, the dynamic Russian actress, who was last seen in the George Bancroft success, “The Wolf of Wall Street,” plays the title role in this tale of three white men and one white woman in

the jungle region of Africa East of the Congo. The story has a gripping plot in which Baclanova tangles the romantic yearnings ot the men into twisted disappointments amidst the mystic background of the steaming, matted jungle, with its native tribesmen and weird, aboriginal dances. Splendid support is given by Clive Brook, Neil Hamilton and Leslie Fenton as-the white representatives of the British Government in this strange little outpost of civilisation. A large personnel of negroes is east in the picture to furnish the tribal atmosphere. "A dangerous Woman” is said to be one of the most gripping and well-produced dialogue attractions since the advent of “talkies” in Wellington. “THE BLACK WATCH.” A complete regiment, numbering 1000 soldiers, played a prominent part in the production of “Tilt Black Watch,” Fox Film directed by John Ford, although this all-dialogue production is not a war picture. Clad in kilts, the aggregation consisted solely of ex-service men. recruited from the various Veterans’ Bureaus of Los Angeles and 80 per cent, were either Scotch or English veterans with more than 250 wearing decorations for meritorious service during the late conflict. Technical direction for the big scene showing the regiment entraining at Victoria Station in London was by Jack Doering, former major in the Australian forces. “The Black Watch,” commencing at the De Luxe Theatre on October 11, is a visualisation of Talbot Mundy’s widely read novel and stars Victor McLaglen in the role of “Captain Donald Gordon King,” of the famous “Black Watch,”' the nickname for the 42nd Highlanders. By reason' of “King’s” ten years of service in India, he is commissioned to return there, at the outbreak of the World War. His brother officers misunderstand, believing he has promoted a soft berth for himself. Subse quent events prove the valour of the officer, whose bravery is tested to the last degree in India. Myrna Loy has the leading feminine role, that of “Yasmani,’ a she-devil who aspires to a throne and domination of India.

MAJESTIC THEATRE. A new all-talkie picture of some interest, to those who appreciate the glamour of the prize-ring was presented at the Majestic Theatre last evening, bringing once more under notice those popular players Richard Arlen. Mary Brian, and the provocative Russian actress Baclanova. In “The .Man I Love,” Mr. Richard Arlen plays the role ot Dum-dum Brooks, who is known in California as the “due-punch fighter” through his ability to account for his adversary in one fell wallop. Brooks meets and falls in love with Celia Fields (Mary Brian), and decides to marry her despite the voluble protests of Ills manager, Curly Bloom (Harry Green). In New York, whither Brooks heads to get a big fight contract, he excites the admiration ot Sonia Barondoft (Baclanova),

an exotic society woman, and so makes an enemy of her lover. Carlo Vesper (Leslie Fenton). During the next six mouths Brooks wins fifteen lights, and is in a line for the championship. Celia is deeply hurt at Brooks’s affair with Souia, and, leaves him, whilst Vesper is making him the beginnings of a drunkard. But though he is worried and anxious over his own foolishness, wliicu has brought about Celia’s desertion, Brooks gets his chance to fight for the middle-weight championship, at the Madison Square Gardens, Now York, and is being given the father of a hiding, when lhe promoter whispers to him that Celia is waiting for him in the office. The knowledge that she still loves him, aud Is ready to forgive him, gives Brooks a supernatural energy, and in the next round he knocks the champion out with a straight right to the jaw. The rest Is the usual reconciliation, and happiness. Other pictures arc "A Cup of Coffee," an interesting survey of the history of th ecoffee bean; the farce, “Accidental Treatment,” which has a dental setting; a Pathe Gazette, and a topical Movietone News. “THE DESERT SONG.” There was another big audience present, at tlie Grand Opera House last night to see “The Desert Song," which was undoubtedly one of the most popular musical comedies that has been staged in Wellington for some considerable time. The show, which is one of the biggest aud most successful productions J. C. Williamson’s have had for many years, is full of excellent singing, clever dancing, bright acting, and sparkling dialogue. A big feature of the performance—the whole show is full of big features—is the ballet numbers. As the “Red Shadow,” Mr. Lance Fairfax gives a very fine performance, as does .Miss Romola Hansen, who takes the part ot the romance-seeking Mangor Bouvalet. This is the leading feminine role In “The Desert Song,” and it is a very Impressive one indeed. Mr. Herbert Mundln supplies some excellent comedy, and keeps the audience highly amused throughout, and Miss Revel Murphy wins favour as Susan, while all tlie other members of the company do their work admirably. There will be a matinee this afternoon, and a performance this evening. KING’S THEATRE. Starring popular Reginald Denny, supported by Olive Hasbrouek, Lucien Littlefield, Colette Morton and Otis Harlan, “Clear the Decks," a Universal part dialogue comedy, is the current feature at the King’s Theatre. Denny portrays the part of a young millionaire, recently returned from an extensive trip to Africa, who falls in love with a strange girl whom he sees in a dining-room of an exclusive hotel. He is unable to ascertain her name but Icarus that she is sailing that day for an ocean voyage. He is unable to secure passage on the same boat, but comes across a friend of his who is booked to take the cruise for his health and does not want to go. Denny changes places with him, sails under his name and promises not to reveal the fraud. You can picture his consternation when he learns, on hoard ship, that he is supposed to be a mentally unsound invalid. A well-varied programme of sound supports is also screened. HIS MAJESTY'S THEATRE. Excellent fare is provided this week at His Majesty’s Theatre, where George Wallace and his Revue Company continue to provide unlimited mirth. Iu the first half the comedian scores with tlie burlesque pathetic ballad, “What Do They Care?” and in the hilarious sketch, "Tim Labour Bureau.” Lulla Fanning sings “You Left Me Out iu the Rain,” Maida Jones and .lack Scott sing the duet “Anything Y'ou Say,” and the Two Dudleys score with a medley duet. Tlie second half is filled with the revue, “The Village Lads,” wherein George Wallace is seen as Brutus, the bad egg of the parish. Bright music is also supplied by the jazz band, and the Six Rascals provide an attractive background to many of the numbers. KILBIRNIE KINEMA. Picturesque canals of Venice play a prominent part in “Fazil,” a Howard Hawks production for Fox Films, in which Charles Farrell and Greta Nissen have leading romantic roles. Farrell, cast as a desert prince, comes to Um capitals of Europe on a diplomatic mission, but falls in love with one of tlie most bewitching blondes on the Continent. The picture opens to-night at the Kilbirnie Kinoma. in addition to a farcical eomedy-draimu Beatrice Van. author of “Modern Love,” declares that her story was not intended to solve tlie problem of modern marriages on a fifty-fifty basis. The plan is being used successfully in many cases, but it occurred lo the author that the theme might successfully be used for a comedy and she proved it by writing “Modern Love.” Reserves are obtainable at theatre, 'phone 14 —-’02.