ENTERTAINMENTS

Dominion, Volume 23, Issue 8, 4 October 1929, Page 14

ENTERTAINMENTS

DE LUXE THEATRE. One of the most dramatic stories that the screen has ever had is to be found in “A Dangerous Woman,” Paramount's alldialogue special attraction, which commences this afternoon at the De Luxe Theatre, screening thereafter nightly at 8 o’clock and daily at 2.30 for the season of one week. • The torrid heat of the tropics, the primitive life of the jungle, the brooding mysteries of Africa, form the background upon which is woven the story of the lives of a few white people. Here in a part of Africa where the resident British Commissioner holds forth the white man’s law, is the story set. Clive Brook, the commissioner, is angry with the flirtations that his Russian wife has with his assistants. The breaking point comes when her attentions with one of them leads to the man shooting himself. Brook can stand no more, and the household is broken up. To Brook comes the news that his brother is to be his new assistant. To him he must never let It'be known of the shadow in his domestic happiness. So they patch matters ■ up, and his wife seems so penitent that Brook hopes he can begin life anew. But when his brother falls for the wiles of his wife, and he sees his brother’s life about to be ruined, he takes a firm stand. The climax being described as dramatic as well as surprising. Baclanova, Clive Brook, Noll Hamilton, Leslie Fenton, Clyde Cook and Snitz Edwards are in the cast. An interesting feature of the programme are the De Luxe talking, singing and sound featurettes. The Fox Movietone News is especially interesting. A Pathe Pictorial, containing topics of general and educational interest, in addition .to gorgeous sequences in colour, follows the News Reel. A Paramount talking and singing act is that entitled "A Ziegfeld Midnight Frolic,” which stars the inimtabie Eddie Cantor in A typically rich Ziegfeld setting, the renowned Eddie doing his singing, dialogue and stepping dances. The De Luxe music presentation under the direction of Paul T. Cullen is an important section. of the entertainment. In addition to selected overture and entr’acte an interesting organ recital prior to the commencement of the evening’s programme is given. Box plans are available at Bristol and Aitken’s.

“THE BLACK WATCH.”

Reported to be the most impressive and spectacular all-talking production yet made, “The Black Watch,” a Fox Movietone ten-part special attraction, will be screened at the De Luxe Theatre commencing on October 11. A noted trade journal, in its eulogies on “The Black Watch" added: —“To say that it is the most entertaining talking picture that has ever been made is a statement few will feel Inclined to quarrel with. It is simply the sort even hardened reviewers rave about. It’s got just about everything, exciting intrigue, amorous. adventure, thrills and romance. The characters, thanks to the excellent cast, actually live. The direction, thanks to John Ford, is flawless. And the story throughout is admirable and logical, never lagging, yet never slipping over the best spots.’! “The Black Watch” is a tale of love and adventure and intrigue and passion. All of these elements are carefuly balanced and gracefully embellish the conflict between a man and a woman, political enemies yet in love, playing with empires as stakes. From one situation to another the story moves, the duel constantly mounting in intensity to a breathtaking climax. An interesting sidelight on the production is the musie. An excellent bagpipe band entertains in one sequence while in others there are old folk tunes and a Moslem prayer’s song. Joseph Diskay,'the Hungarian baritone, and David Percy, tenor, are the singers, and very effective, too. The strong cast includ.es such capable players as Victor McLaglen, Roy D’Arcy, David Rollins, Lumsden Hare, Mitchell Lewis, Cyril Chadwick, and Walter Long. Hundreds of minor players appear in various scenes. “The Black Watch” is a massive picturisatlon of Talbot Mundy’s famous novel, “King of the Khyber Rtflea” PARAMOUNT THEATRE. “The Singing Fool,” Al Jolson’s second starring vehicle for Warner Bros., will commence its third weeks’ screening at the Paramount Theatre to-day. Jolson is first seen as a waiter in a far from pretentious New York cabaret, “Blackie Joe's.” to which, ending the night's revels, comes a gay crowd, headed by Mareus, a theatrical producer. The singing waiter, madly infatuated with Molly, an entertainer, begs her to sing the song he has just dedicated to her, but she insolently refuses. Blackie Joe then insists that Al sing the song himself. Seeing that Marcus is impressed. Molly tries to reinstate herself in Al’s good grates, which is not hard to do, as ho is blind to her insincerity. The song is finally sold to Marcus with the understanding that Molly sings it. Both Al and .Molly succeed and in time are married. When she deserts him, it is the little cigarette girl at Blackie Joe’s who comforts the disconsolate singer, urging him for the sake of his little son to try again. He does, and is on tho crest of popularity when his former wife telephones that their child is dangerously ill. The dramatic power and heart appeal of the story can be imagined only by those who know Al Jolson’s uncanny ability to play with the emotions of an audience. Supporting the star are Betty Bronson, Josephine Dunn, and David Lee. A well-varied programme of sound supports is also screened.

REGENT THEATRE. Featuring Ruth Chatterton, Lewis Stone and Raymond Hackett, “Madame X, Metro-Gohlwyn-Mayer's all-talking screen version of the famous play, will commence its second week’s screening at the Recent Theatre to-day. The picture is a vivid drama of a woman of Paris who, through her mistake, is exiled. It tells of her tragedy and her wanderings over the face of the earth. The great dramatic climax in the courtroom, where she finds that the attorney defending her on a murder charge, is In reality her own son, is a powerful element in the story. Authentic renlicas of famous spots iu Paris, in Shanghai, in South America and other narts of the world were reproduced for the swift action of the drama. Miss Chatterton plays several ages, through the use of clever make-up, the play opening with her as a young woman and finishing some twenty years later. The great courtroom scene y an exact replica of a I< rench trial with court officials, gendarmes, and others all reproduced from actual photos of a real hearing, the vivid scene in the tropics, the colourful adventure in China, all give vivid bits of colour and fantasy to the crim drama of mother love that underlies the whole structure.' Other well-known nlavers in the cast are Holmes Herbert, Eugenie Besserer, Mitchell Lewis, Ullric Haupt, Richard Carle, Carroll Nye and Claud King. A well-varied programme of sound supports is also screened.

“FOUR FEATHERS.”

“Four Feathers,” commencing on Monday night at the Grand Opera House,. is made from an expertly handled continuity. Its popular audience appeal is unquestionable, and the African shots contributed by Rot Mercian Cooper and Ernest Schodesack, are wonderfully good and not too prevalent. Just because they had some great shots, they did not overdo the use of interpolated material; indeed, save for one scene where an animal sequence is used to form a comedy relief to reduce tire tension, the animal scenes belong to the natural development of the story, including a shot of some twenty or thirty hippopotami, so handled as to suggest triple that number. These huge beasts come tumbling down the bank and into the water with an affect unequalled since “Chang,” and the shots of the native camel corps, with apparently a couple of hundred running camels, is something long to be remembered. These shots of the corps are as splendidly staged as the armies in “The Loves of Pharoah,” which, until now, has stood unbeaten. And yet here is one Instance in which spectacle is not permitted to detract from the story, but instead is made a part of it. The tale of the young English officer who is driven into a panic of fear through the very Insistence upon courage, is interestingly told. Richard Arlen is effective as the adult Faversham. Arlen is not made a tooheroic figure, nor is he permitted to achieve the impossible. He has to work for the results he gets. Noah Beery gets a role after his own heart, as a vile slave trader, and George Fawcett shines in a bit as the paternal Faversham. A small negro with the ambitious billing of Harold Hightower is delightfully natural as a native boy, and there is a monkey that actually acts. The scene where he tries to arouse his dead little master is one of the truest touches in the play. “Four Feathers” deserves an extended run, for it is much above the average, and one of the best things Paramount has done since “Beau Geste.” Box plans are now open at the Bristol and the Berkeley.

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. In the first half the comedian scores with the burlesque pathetic ballad, “What Do They Care?” and in the hilarious sketch, “The Labour Bureau.” Lulla Fanning sings, “You Left Me Out in the Rain”; Maida Jones and Jack Scott sing the duet; “Anything You Say”: and the Two Dudleys score with a medley duet, ■ The second half is filled with the revue, “The Village Lads,” where 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.

"THE DESERT SONG.”

Bright musical numbers, clever ballets, brilliant acting and singing, against a background of striking stage effects with a wealth of colour, make “The Desert Song,” played again at the Grand Opera House last evening, one of the most popular musical comedies that have visited Wellington for some time. Last night yet another large and enthusiastic audience witnessed the very' fine performance of Mr. Lance Fairfax as “The Red Shadow,” and were thoroughly charmed by Miss ,Romolo Hanson as the romantic Margot Bouvalet. She gave a really able portrayal of the leading feminine role. Then there was the admirable comic relief supplied by Mr. Herbert Mundin, who found great favour with the house. As Susan, Miss Renee Murphy also made a good impression and the rest of the company acquitted themselves remarkably well. Only two more nights now remain for theatregoers to visit this production. There will be a matinee on Saturday afternoon.

MAJESTIC THEATRE. Two of screendom’s most popular younger players, Mary Brian and Richard Arlen, have the leading roles in Paramount s latest all-talking picture of thrills and romance, “The Man I Love,” whichL, 18 the current feature at the Majestic Theatre. Mary Brian’s voice is heard tor the first time from the screen singing “Celia, the song written especially for her. me picture deals with the ups and downs ot a’ pair of young sweethearts. The boy goes to New York, and, when the girl folio vis him there, she finds he has yielded to the charms of a wealthy society woman. Through this woman's influence he has made a great success. The girl s efforts to reclaim him are fruitless until, in an exciting incident, another lover of the a 001 ® 1 ? woman wounds the boy. Then the girl wins. Baclanova, the Moscow Art theatre prima donna, who has had a quick rise to fame on the American screen, has the role of the wealthy society woman. Inimitable bits or comedy are introduced by Harry Green, of vaudeville fame, and the irresistible Jack Oakie. The rest of the east includes some of the best character people in Hollywood. Dialogue enhances the acton of the drama and permits ot many bits of clever humour getting across to the audience. A well-varied programme of sound supports is also screened.

“THE JAZZ AGE.” A new and highly entertaining talkie production will be presented at the Kings Theatre commencing this evening ah 8 o’clock, “The Jazz Age,” a particularly interesting radio part-dialogue feature starring Douglas Fairbanks, junr., and Marceline Dav. The picture, adapted from-a most successful stage play, deals with the modern trend of youths social activities, and apart from its colourful dance, and night club scenes, possesses an original plot, together with action, pleasing romantic element, startling climax, and other of the essentials of convincing and thrilling entertainments. An interesting feature of the King’s programmes are the sound, singing, ■ and talking featurettes, this week’s selection being as follows: Fox Movietone News, an interesting record in sight and sound of the restanding events. Bransby’ Williams, re nowned delineator of the characters from the works of the famous Dickens, is seen and heard in a really shining of talkie art—his portrayal of Smallweed” from the immortal Bleak Ernie Lotinga, England’s own inimitable comedian, proves highly diverting in the two-reel all-dialogue ■ comedy, “The Raw Recruit," in which, having the support of a very efficient cast, he is seen a d heard to great advantage in hilarious action and dialogue. Box plans are available at the Bristol. ’k

two-feature programme. No more thrilling and interesting drama has been transferred to- serene than "Masked Emotions," Fox Film adapted from Ben Ames Williams’s story, “A Son of Anak.” It might be added that no picture recently made can boast of so near?y perfect a east. .It opens at the Queen’s Theatre, at the head of an outstanding two-feature programme Gorge O’Brien enacts the leading role and is supported by Nora Lane, Farrell JlAcdonald, David Sharpe, James Gordon, Edward Pell, sen., and Frank Hagney, Bram Dlckery and his college friend, Thad Gilson, are cruising off the coast of Maine when they become interested in Emily Goodell, beautiful daughter of Captain Goodell. While Bram is away fishing Thad discovers a smuggling conspiracy, and is Injured severely by Lee Wing, a merciless Oriental, and his accomplice, Lagune. Bram determines on revenge. . He brings the attackers to quick and sensational justice, after which his thoughts turn to romance. O’Brien as Bram Dickery again demonstrates that he is one of the outstanding leading men of the screen, while Nora Lane, a noted beauty, essays the supporting role of Emily Goodell. The second attraction is the hilarious farce-comedy, Adam’s Apple,” which stars that versatile comedian, Monty Banks. It is the story of a young bride and bridegroom on their honeymoon. In this film he shows himself as a master of comedy situations, building up a high-class funmaker from one amusing sequence through a series of side-shaking' episodes into a roaring climax. A special topical budget on this programme contains some very impressive views of the recent great Scout Jamboree, which took place in England. Some of the “high lights” are the great “march past,” the drill movements executed, scenes depicting H.R.H. the Prince of Wales and General Sir Baden Powell at the head of affairs, together with other shots of immense interest. In connection with this topical budget the Queen’s management announces a special price reduction to all Boy Scouts attending the theatre in uniform, particulars of which are notified in theatre advertisements.

KILBIRNIE KINEMA.

“While the City Sleeps,” Lon Chaney’s latest.', contribution to the screen, now showing at' the Kilbirnie Kinema, will startle even those Chaney fans who are accustomed to almost any surprise in the work of the “man of a thousand faces.” Chaney plays a tletective in a desperate struggle with a band of gapgsters in the new picture. A sensational machine gun battle between police and gangsters, a running battle on the roofs of a city and other thrills, intimate details of police operations and .methods, and a pretty romance are features of this vivid drama. The cast includes Mac Busch, Wheeler Oakman, Carroll Nye, and Anita Page. “His Private Life,” starring Adolphe Menjou, will also be screened. Reserves are obtainable at theatre, ’phone 14—202.