Films and the Stage.

Dominion, Volume 23, Issue 75, 21 December 1929, Page 29

Films and the Stage.

One of the most, ruby-like effects in “On With the Show” is the hunting scene. The chorus, costumed in flaming reds, cantered to a fox-and-hounds tune. And the climax is reached as a pack of hounds leap across the screen stage followed by horses bearing gay-coated hunters. In “On With the Show” Warner Bros.’ all-colour Vitaphone p. eduction the colour ph „ography is marvellous. It gives the sets such great depth that it seems’ three-dimensional. It is truly ,a forward stride in the technique of the motion picture art.

“Whoopee,”' the cleverly constructed musical' play .which J. C. Williamson, Ltd., are sending to New Zealand, has been amply described as a dancing musical comedy by reason of the fact that in this romantic stage production the dancers and ballet appear to work overtime. The musical comedy has been built up most ingeniously, dramatic and spectacular scenes being followed by lively dancing interludes which add the spice of variety to a very delectable dish. The dresses worn in this fast-stepping musical comedy are said to be most striking, and will, It is certain, hold special attractions for the feminine section of the community. One of the most picturesque scenes is that associated with the ceremony of dedication to the Indians, and it is said that the most beautiful effects have been secured for this particularly attractive presentation.

“Thunder,” which, Metro-Goldwyn-Mayer will be releasing shortly, has plenty of thrills. and contains a greater human interest story than is usually the case with pictures that have a railroad background,” says the. “American Motion Picture News.” “The youngsters will eat up the melodrama—so will the older folks. The story has been finely produced to .carry appeal to all classes. There is just enough.railroad and melodrama'in. the picture, and the proper amount of human interest, to make it decidedly good entertainment. The climax, showing the relief train

ploughing through four feet of water, has been developed to hold the greatest amount of audience interest. Lon Chaney does an exceptionally fine characterisation, without the aid of any special make-up aside from slightly greyed hair and moustache. Phyllis Haver is excellent as the night club entertainer, while James Murray and George Duryea turn in sterling performances as the two sons. William Nigh’s direction was very satisfactory.

“When a. Woman Loves a Man,” is the title of a new song which Fannie Brice sings in her first United Artises picture, “The Champ,” which Thornton Freeland is directing. Billy Rose, noted song-writer, and husband of Miss Brice, wrote the number especially for the picture. Robert Armstrong, Gertrude Astor, Harry Green, G. Pat Collins, and Budd Fine are in the supporting cast.

Manning Haynes is busy putting talking sequences into “Mary Was Love,” the British International picture to be released by Cinema Art ’ Films. This picture features William Freshman, the young Australian, Blanche Adele and Dino Galvani, with Carol G-'odner in a prominent role. The dialogue and scenario for “The American Prisoner,” made by Thomas Bentley for British International Pictures, have been adapted from the famous story by Eden Phillpotts, which centres around the war prison of Dartmoor during the Napoleonic wars of 1815, when Americans were imprisoned for smuggling arms to the French. A strong cast is headed by Carl Brisson and Madeleine Carroll. “The American Prisoner” will be released by C.A.F. during 1930.

‘"■l |

Cloth ’of gold and silver, beading of pearls and crystals, and the trailing gowns of thirteenth century ladies were re-created for the feminine players who appear in “The Vagabond King,” Paramount’s all-colour singing romance in which Dennis King is starred. “The Vagabond King” has France of 600 years ago as its locale. Travis Banton, the creator of Paramount fashions, appropriated forty bolts of gold and silver cloth and eighty pounds of beads to make authentic costumes for the ninety-five court ladies in the cast. The production was filmed entirely in colour, necessitating the utmost care in every detail of dress. “The Vagabond King” was completed recently at the Hollywood studios and will be among the early 1930 productions. The supporting cast includes Jeanette MacDonald, O. P. Heggie, Warner Oland, Lillian Roth and Arthur Stone. Ludwig Berger directed the production.

Owing to the sud-

den rearrangement of the moves, Nat Phillips’s “Whirligigs” Bevue Company finished at His Majesty’s Theatre on Thursday, December 19, and sailed for Sydney on the 20th. This popular company has been in Wellington a matter of some eight weeks now, and had established a big reputation for excellent standardised entertainment. Mr. Phillips’s future plans were rather indefinite when he left here, as he is not fully cognisant of the position in Australia at present, but he anticipates a short holiday to recuperate his company after the hard term it has worked under .his direction, and then an opening in one of the Australian theatres.

Ghost visitations, materialisations, ectoplasms, and other tricks of the “Spiritual medium” were performed for the first time on a motion picture sound stage, when Lionel Barrymore staged a complete seance before the camera in his new all-talking mystery drama, “Unholy Night.” A disembodied, luminous head floated in midair, spooks “materialised” and ectoplasms came into being before the lenses of the cameras in the strange reproduction of a seance. Every trick was performed exactly as the “mediums” do it in their own seances, “Unholy Night” is based on Ben Hecht’s “The Doomed Regiment,” is a grim mystery story of London, in which a group of British officers play victims of a fantastic plot. Roland Young, Ernest Torrence, and Dorothy Sebastian are in the cast.

A very valued memento possessed by Miss Leona Hogarth, leading.lady of Fullers’ American Comedy. Company, opening in Dunedin shortly, is a hare’s foot, which always adorned the dressing room of the Queen of Tragedy, Madame Sarah Bernhardt. Miss Hogarth was given this hare’s foot by the great actress herself, and it takes first place among her many prized possessions. The American Comedy Company is opening at the Princess Theatre, Dunedin, on December 26 (Boxing Day) with the laughable legitimate comedy, “Family Upstairs.”

To-day the screen occupies a place in the enthusiasm of the public that was never approached by the stage in any golden age of its history. Far from hampering dramatic properties with mechanical limitations, the screen now gives them a wider scope that has ever been possible behind the footlights. The camera is not confined to the boundaries of one small stage. Its range is as wide as the world. When a script calls for a great outdoor background motion pictures do not have to depend upon cleverly-contrived artificial scenery. Nature’s greatest beauty becomes its stage. What the screen can give amusement-seekers in comparison with the stage is perfectly illustrated by Warner Bros.’ production, “The Gold Diggers of Broadway.” As a stage piqce it represented the highest type of achievement. “The Gold Diggers,” as the original script was called, played to phenomenal box office receipts, and took a deserved place of distinction among the worthwhile things that the theatre has boasted of in the last decade. And now once more it has returned —this time as the “’Gold Diggers of Broadway,” and in every particular it is a greater piece of entertainment than ever before. The stellar talent is now multiple—Winnie Lightner, Conway Tearle, Nica Lucas, Nancy Welford, Ann Pennington, Lilyan Tashman and many others. Its sparkling story is all there as before, its laugh-provoking situations, its scintillating dialogue—and more. It will be released in Wellington early in the New Year.

The playgrounds of the stars in Hollywood, their favourite haunts, their customs and social activities will be the background of a screen musical revue being prepared by Fox Movietone Films. It is to be called "Hollywood Nights.” Frank Strayer has been assigned to direct the picture. Scheduled for the leads are Lola Lane. Stuart Erwin, Dixie Lee, Sharon Lynn, David Rollis and Whispering Jack Smith, the baritone of radio fame. Clare Kummer is writing the scenario and dialogue for. the Fox Movietone all-talking, singing picture “New Orleans Frolic.” The highlight of this picture is a minstrel show played by some of the greatest actors. They include Will Rogers, Tom Patricola. Stepin Fetchit, Victor McLaglen, Walter Catlett, William Collier, sen.. Charles Farrell, George Jessel, Edmund Lowe, George O’Brien. Nick Stuart. Richard Keene, Clifford Dempsey. JHarold Murray, John Garrick and Joe Wagstaff; In fact, as stated before, nearly every important player on the Fox Movietone roster.

Paul Muni will enact the role of Rasputin in the all-talking Fox Movietone picture “The Holy Devil.” Muni and Berthold Viertal have hit it off so well together as star and director in “Seven Faces,” now nearing completion, that Viertal has been assigned to direct him in his new picture. Muni’s desire to portray the mad monk is based on the world’s knowledge of the man who had a hypnotic power over women, men and nations, as described by Rene Fulop-Miller in his book.

The talking pictures offers immortality to scores of famous stage stars and motion picture artists, since it forms a living record of their performance which will survive even after their deaths. Even the silent picture tempted the famous Sarah Bernhardt to star in “Queen Elizabeth,” one of the first motion pictures ever produced. “It is my one chance for immortality,” she said when accepting the offer for the part. In the past the art of many famous stage stars had died with them, now it will survive. Of what inestimable value would be the living records of such artists of the stage as Henry Irving. Sarali Bernhardt, and the Duce in modern times? Walter Huston and Claudette Colbert, who are co-featured in Paramount's “The Lady Lies,” are among the outstanding dramatic players of modern times. For years they have been starred on the Broadway stage, but their chance for immortality has come with the all-talking picture. “The Lady Lies” will be released throughout New Zealand during the forthcoming 1930 season.

John Gilbert was asked the other day what he would rather be than anything else, with the odds all in favour of his questioner believing that the answer would have something to do with acting. Instead of saying he had hopes of being “Hamlet,” or “King Lear,” or any other character, Gilbert said: “Personally. I would rather be a writer than anything else. I would rather see my name on the cover of a good book than in the biggest electric lights in the world. Writing, to me, is the greatest of all forms of self-ex-pression.” The great Metro-Goldwyn-Mayer star appears in “A Woman of Affairs” with Greta Garbo and one of the most talented casts ever assembled for the screen.

O. P. Heggie, distinguished English actor, who has performed with consistent competence on America’s stages and screens, has joined the cast of “The Swan.” Lillian Gish’s first all-talking picture, and based on Fereuo Molnar’s play. Mr. Heggie’s recent audible films have included “The Letter” and “The Wheel of Life.” Rod La Rocque, Conrad Nagel and Marie Dressier already having been assigned roles in this picture. the cast assunrs all-st r quality. Paul Stein is directing from Melville Baker’s adaptation, and' John W. Considine, Jun., is supervising the production. Rehearsals have been begun at the United Artists’ Studio in Hollywood.

"Welcome Danger,” Harold Lloyd’s first all-talking comedy, arrived recently by the s.s. Makura for release in New Zealand. The arrival of “Welcome Danger” has been looked forward to with unusual interest by exhibitors and public alike, since it marks the famous comedian’s first effort in spoken comedy. “Welcome Danger” contains many highly amusing and exciting sequences, filmed in the secret dens of San Francisco’s Chinatown. Barbara Kent plays the leading feminine role. The supting cast includes Noah Young, Charles Middleton, William Walling, James Wong and Douglas Haig. Malcolm St. Clair directed. “Welcome Danger” will be released as an extended season attraction.

The first step towards solving the language problem in talkies will be made in Maurice Chevalier’s next talking picture, “The Big Pond,” which Paramount will produce In French as well as English dialogue. The innovation should prove a boon to French picture-goers, and is only the beginning of what is to follow in film production. The French version will be an exact duplicate of the original, with the exception of the dialogue, and both versions will be filmed simultaneously. Paramount will engage a lady for Chevalier able to speak both languages. Maurice Chevalier has recently completed his second talking, singing, and dancing picture for Paramount, “The Love Parade,” at the Hollywood studios. “The Love Parade,” which is the screen’s first original operetta, features Jeanette MacDonald, Lupino Lane, Lillian Roth, and Eugene Pallette in the supporting cast.

Harry Lachman has shown an extraordinary understanding of English

rural life, as regards externals, in his handling of “Under the Greenwood Tree,” an alltalkie from British International Studios, to be released by Cinema Art Films. The sound effects, such as the tolling of the bells of Me 11 sto c k Church, the playing of the old village choir and the singing of famous old hymns and carols, make the picture much more effective than any silent film of the same subject could possibly be.

“Bulldog Drummond” has now entered upon the sixth month of continuous screening at the Tivoli Theatre, London. The takings are averaging £4OO per day.

Edmund Lowe, the Sergeant Quirt who squinted a fancying eye at the Charmaine of Dolores del Rio in “What Price Glory?” will appear opposite that star in her first all-talking picture, “The Bad One.” He has been borrowed from Fox. This time Miss del Rio will be a French cabaret entertainer in a waterfront cafe frequented by American sailors, and who but Mr. Lowe will be the sailor of sailors? George Fitzmaurice, who has completed “The Locked Door” as his first alltalking picture for United Artists, pleased executives of that company so much with his effort that he has been assigned direction of “The Bad One.” Edwin Carewe, who directed “Ramona” and “Revenge,” will not direct Miss del Rio this time. John Farrow wrote the original story upon which “The Bad One” is to be based.

The opportunity of seeing musical comedy productions at three shillings for a reserved seat will be accorded Wellington theatre-goers when the Freddie Forbes Musical Comedy Company opens at His Majesty’s Theatre on Boxing Day, December 26. Sir Benjamin and Mr. John Fuller have been experimenting lately with regard to presenting all their attractions at a very low scale of charges, and for this coming season they have excelled themselves. The personnel of the Freddie Forbes Company includes many names that stand big in the world of the stage, and the productions to be presented- have been gleaned from the musical comedy successes of England and-America.

Barbara Luddy, the clever comedy lead of “Lombardi. Ltd.” (which will open the New Zealand season at the Grand Opera House, Wellington, on Wednesday, January 8), is making her first appearance before New Zealand audiences. Just “a sweet little piece of femininity” is this charming girl all the way from Montana, and her entrance into stardom paved her way straight into the hearts of the people. She is but four feet, eight and threequarters of an inch—Miss Luddy insists upon the fractions—in height: but she is truly a Venus in miniature, this “wise-cracking” mannequin of the funniest comedy of the century. New Zealand audiences should take Barbara Luddy to their ev'er-generous hearts for she is described as one of the most engaging artists who has ever been brought to these shores by J. C. Williamson, Ltd.

Many stage successes have been scored by the famous Broadway star, Leo Carrillo, who will make his bow to New Zealand audiences at the Grand Opera House, Wellington, on Wednesday, January 8. But none of the characters appeals to him so strongly as that which he will present to New Zealand audiences —Tito Lombardi, in the long-promised comedy, “Lombardi, Ltd.” It can truly be said that this entrancing—sometimes hilarious—play of fun and fashion, is the most popular with the public of the many stage successes with which this gifted artist has been associated and J. C. Wililamson, Ltd., are justly proud in presenting it to New Zealand audiences.

The role of juvenile lead in the various musical comedy productions of the Freddie Forbes Company is taken by Mr. Charles Perrin, a member of the popular Big Four combination. As Mr. Perrin was first introduced to the stage in this vocal quartette, his singing voice, naturally, is better than the average lead, and his youthful appearance and personality make him particularly effective in the parts he plays. As Spencer Weldon in “Lido Lady,” many comedy situations fall to his lot, as well as the more romantic scenes, and these he handles in masterly style, extracting every ounce of humour from them. In the boxing match, when he and the comedian (Freddie Forbes) don the gloves and indulge in a little spar, the laughter rises unceasingly, and this is one of the brightest spots in the show.

Joau Beuuett was chosen as Joseph Schildkraut’s leading woman, to appear opposite him in “The Mississippi Gambler,” Universal all-talking production, directed by Reginald Barker. "The Mississippi Gambler” is Schildkraut’s first starring picture since Universal’s super-production “.Show Boat,” and Miss Bennett was signed to play opposite him after several weeks’ consideration of the field of leading women. Alec B. Francis has the father role in the picture and Carmelita Geraghty an important supporting role. Otis Harlan is also featured in the cast. The story is written around the romantic days of the steamboats on the Mississippi.

The coming to New Zealand of the great Broadway stage star, Leo Carrillo and the presentation by J. C. Williamson, Ltd., of the outstanding comedy success, “Lombardi, Ltd.,” are two of the most notable events in the theatrical history of the Dominion. Leo Carrillo comes with an enviable New York, Hollywood and Continental reputation, which has been gained by the truest and ablest artistry. His is a character impersonation of a calibre rarely witnessed in this part of the world. He created the part, which was specially written for him by the talented authors, Frederick and Fanny Hatton, the comedy being produced under the personal supervision of Mr. Leo Carrillo. Carrillo not only speaks—he lives—the part of the laughing Irrepressible, irresponsible, impressionable Tito Lombardi; the idol of his employees, his beautiful mannequins: the despair of his business manager. “Lombardi, Ltd.,” will open the New Zealand season at Grand Opera House, Wellington, on Wednesday, January 8.

John Murray Anderson is at Universal City, where he will produce “The King of Jazz” revue with Paul Whiteman. Carl Laemmle, on his arrival from Europe on the Bremen, announced that he had signed in Berlin the famous dancing sensation, the Sisters G., for this same revue.

Over half a hundred Malayans, Javanese, Sumatrans, Hawaiians, and Samoans were recently assembled in Hollywood, and shipped in a body to one of the tiny islands off the coast of Southern California. The natives will be used in many of the thrilling sequences in Nancy Carroll’s next starring picture for Paramount, “Flesh of Eve,” which' was adapted from Joseph Conrad’s famous story, “Victory.” “Flesh of Eve," which has Java as its locale, will be filmed entirely on location to obtain proper atmospheric effects. The land scenes will be made on a tropical island in the mid-Paciflc, to which the entire company has been transported. The sequences “on the high seas” will be filmed on a specially charted schooner. The supporting cast for “Flesh of Eve” has been chosen with extreme care to ensure truthful portrayals of Conrad’s immortal characters. Richard Arlen has been assigned to the leading male role. Warner Gland. Gustave von Seyffertitz, George Kotsonaros, and Evelyn Selbie play prominent parts in the production.

Universal City exuded French atmosphere during the filming of “Hold Your Man,” Laura La Plante’s highly amusing dialogue farce-comedy. Much of the action of this hilarious picture is laid in Paris, and French types were heavily in demand. A feature of the production was the construction of a perfect replica of a Paris railway station, exact to the smallest detail. All this work was performed merely to allow the taking of a single scene in the picture. Of special interest were the Parisian street scenes designed to give the projier background to the French action of the story. “Hold Your Man” is one of the most amusing of Miss La Plante’s long series of successes as a comedienne. It deals with the matrimonial mishaps of a young American couple which result when the wife conceives a desire to study art abroad. The action is laid in New York and Paris. Eugene Borden and Mildred Van Dorn have important parts in the production, which is based on a story by Maxine Alton. The film was directed by Emmett Flynn.

An acknowledged leader among composers of light opera two decades ago has set the stage for a young aspirant to waltz honours in the Viennese song romance, ‘‘Married in Hollywood,” recently completed at the Fox Movietone studios. Oscar Strauss, the Viennese musician who composed “The Chocolate Soldier,” was engaged by Fox io write the score for “Married in Hollywood.” While he was working on it in Vienna a young composer, Dave Stamper, tendered Fox officials a waltz song he had written entitled “Dance Away the Night.” Studio officials were impressed with the song, but were doubtful that Strauss would consent to have a song written by another composer Interpolated in his score. So a copy of the song was sent to Vienna accompanied by a request for his permission to use it in the picture. Strauss graciously complied. He also expressed the opinion that “Dance Away the Night” would be as popular as “The Merry Widow” was two decades ago, and that a similar revival of the waltz would take place. Stamper and Strauss shared glory with an unusual array of singing and dancing and historic talent that was assembled in the making of this production. J. Harold Murray and Norma Terris are co-starred in this production.

Glenn Tryon, co-star with Merna Kennedy in Universal’s rousing dialogue farce-comedy, “Barnum was Right,” is one of those rare funmakers of stage and screen who is funny in his own right. Tryon has a sense of humour that is distinctly his own—but you have to knew him very well to find it out. He is very shy with strangers and extremely quiet in circles where he is not well acquainted. He has a distaste for making publie appearances, and avoids the places where film luminaries are generally in evidence. With old friends, however, he is very different. A born mimic, he then clowns as ardently as he ever does before the camera. One of his distinctive forms of entertainment is imitation of the noises of all kinds of animals, now an asset in the making of talking comedies.