SCREENLAHD JOTTINGS

Evening Star, Issue 19274, 12 June 1926, Page 15

SCREENLAHD JOTTINGS

Before leaving New Zealand in April last Zane Grey made tlie foljowing statement in regard to ‘The \ anishing Bare,’ which is being released from the author's latest story, 1 The \nnishing American ’“ 1 am indeed glad to learn that ‘The Vanishing Hare, t which I wrote under the title of 1 1 he A an fishing American,’ is to ho released in New Zealand and Australia hy Paramount, I consider this one of my host works, and I spent many years in the vastnesses of the great American deserts gathering material tor this story, hoi ten years I have tried to write the tragedy of the American Bed Man, and ‘The Vanishing American’ is the result. • Prom my story Paramount have made a great picture. I was delighted beyond works with the production, wliirli T reviewed just before 1 left America to come to New Zealand. Lucien Hubbard, the director, is to be complimented on his interpretation of the tragic destiny of the American Bed Man. 1 am sure that everyone in New Zealand who lias done mo the honor of reading this and other ol my works will bo delighted with the screen version of mv latest story.”

Down south of Suva life is easy and love is more a matter of inclination than of race, creed, and color. That js what Dan Pritchard, reserved and silent, white man, found when ho wedded Tamca, the half-caste princess of a tropic island, and commenced to go to seed amongst perfumed flowers and everlasting sunshine. Such is flic theme of ‘Never the Twain Shall Meet.’ Peter B. Kyne’s sensation-making novel, and, in its screen form, as presented by Mctro-Gol dwy u-M ay cr, it strikes homo with redoubled force. Director Maurice Tourneur and his chosen east of stellar players handle the subject of love that cloys, clogs, stupefies, and thou unwittingly destroys the love of the tropics with great strength and feeling, so that one actually lives through Dan Pritchard’s unavailing struggle against the fascination of a dusky maid and against the inevitable fate which overtakes all those who shatter the white man's creed and marry “ across the color line.” ‘Never the Twain Shall Meet’ has Bert Lytell and Anita, Stewart in the chief roles. In ‘Stage Struck,’ imr newest picture for Paramount. Gloria Swanson returns to the type of production that registered her first great popularity, and which established her as one of the greatest character act roses. ‘Stage Struck,’ written especially for the star by Frank 11. Adams, whose stories are read by millions in the ‘ Cosmopolitan Magazine,' tells a thoroughly logical story. It has been the dream of every young girl to grow up to bo a groat actress—to go on the .stage. Allan Dwan lias taken this human theme and developed it into one of the greatest box office attractions of Miss Swanson’s career. Nothing more delightfully appealing has over boon assigned this captivating star. Joseph M. Sehenck has purchased the screen rights to a novel and a play for the use of Nonna Talmadge. Miss Talmadge draws one of the plums of the theatrical world in ‘ Kiki,’ the play in which David Bclasco starred lenore (Brie. In the keen competition for the film rights to this play, Mr Schonck came nut the winner, and has assigned it to Norma Talmadge. 1 Kiki ’ will he Miss Talmadge’s next production after ‘Graustark,’ a big special production shortly to be released in New Zealand by First National Pictures. Another of Henry Mitchell Webster's fascinating stories has been- transferred to the screen. Ft is hi* new novel ‘ Joseph Greer and His Daughter.' which has been filmed under the title of ‘ V7iiat Foois Men.' Lewis Stone and Shirley Mason have the leading roles. In order to perfect his 'skill with I'm boomerang Johnny Mine*, First National film cornelian, sjieefc several hours each day For several weeks throwing I'b. l little curved was! aronid First N, tiom.l’s si'tid o. Ibe hoc merit ng s nits. s,»|ie:;r in hi,-, hi I si, I'c.-iturc comedy ’ iiambow if i icy.’ winch is .V.uCUMIVU lOF fi.lij

RECORDED MUSIC ‘ La Revanche de la France ’ is not sucli a dashingly martial air, and certainly one not so umpiring, as ‘La Marseillaise,’ but is selected for recording for Columbia by that magnificent military band, “La Garde Republicans,” the finest hand in the French army, composed of artists in the real sense of the word. Its companion piece is ‘ Tho Grenadier’—rather Sousa-like, but perfectly played and recorded. Everyone who loves the art of one of the" greatest of pianists need have no hesitation over buying Paderewski’s record of Schubert’s ‘lmpromptu in B Flat Major.’ The difficulties of making a good Paderewski disc seem at length to have been overcome; indeed, the one under review could hardly bo bettered. And if the piano tone be good, what of the interpretation? One can only say go and hoar it and be enraptured. The 1 Impromptu ’ is an air—-very akin to the ,well-known ‘ Rosamunde ’ one—with five variations and a coda. Tho exquisite poise of the last variation, tho tenderness of- tlic coda, is delightful. While, yon are at it von mav a.s well hear his recording of:—I, ‘ \Vnnim? ’ (Schumann); 2. 1 Nocturne,’ Op. 15, No. 2 (Chopin); ,‘{ ‘ Etude in G Flat,’ Op. 25, No. 2 (Chopin); L ‘Two Mazurkas,’ On. 59, Nos, 2 and 3 (Chopin): 5. ‘ Campanella ’ (Paganini-Lisat.); 0. ‘ Valso in C Sharp Minor’ (Chopin); 7. *La Bandoline’ (Couperin). Possibilities of the Russian balalaika were recently disclosed in some notable records issued by Columbia. These have proved so popular that further .selections by the Russian Balalaika Orchestra have been made. Tho latest, of these are Mozart’s well-known and exceedingly tuneful ‘Rondo Alla Turca,’ combined with ft stimulating Polish polka entitled ‘Ojra.’ This record will he very acceptable as an addition to records of tho lighter kind of music, and certainly as a present to friends. If a million couples have danced to the playing of the Savoy Orpheans, how manv millions have heard them on the wireless and the gramophone? One is told that over five millions of their records have already been issued to the public by H.M.V. alone. One is told that “ three to five hundred new dance pieces are composed every week.” and that every week “ thirty or forty new items are added to the repertory of the band.” and that the Orpheans, who, at a conservative estimate, carry from five hundred to a, thousand current tunes in their heads, change their programme gradually hut completely about every three months. Tho size of the band in tho recording room varies, according to the tune, from twelve to eighteen players. Sometimes more brass or more strings are required than at other times; sometimes one may detect the bass clarinet or the thrum of steel guitars. It. all depends upon the orchestration. Half a dozen tost records are often made before the critical taste of the experts is satisfied with :l tune; but .os topicality is the essence of dance music the records once passed are issued without delay. Elizabeth’s dedicatory ‘Prayer’ to the Virgin, with which Act JIL of ‘ Tannhanser ’ opens, and tho ‘ Prayer ’ of ‘La Tosca,’ generally described by its opening words, “ Vissi d’Arte, Vissi d’Amore,” arc perfectly recorded by Columbia from that admirable soprano, Miriam Licette. Every note comes out clear and round, and every word is distinct and recognisable, for Miriam Licette invariably sings grand operatic arias in English. Tho orchestral accompaniments are excellent.

Gramophone listeners, who have missed Erika Morini’s recording of the ‘ Capriccio Vti.lso ’ (Op. 7). ami the ‘ Romance,’ from Wioniawski’s ‘Second Violin Concerto in D Minor’ (Op. 22). should by all moans hear this tine bracket. Erika Morini is a comparative newcomer, who has given intense pleasure by her playing of Wieniawski’s Romance,’ a piece, of music written hy a violinist, and therefore exploiting ail the effective resources of the instrument. Generally speaking, women players lack precisely those qualities in interpretation that one might expect of them, tenderness and delicacy, winch the opposite sex are much more successful in getting into their music. This is very noticeable at students’ conceits; girls almost, without, exception smash and bang, whereas men, when they succeed in rising above the technical side of their art, manage to lmmani.se their interpretations more than the others. However, in this ease, Milo Morini’s playing is most sensitive and tender, a real joy. Even in the fireworks on the reverse, which shows us a fine technique, she does not lose her artistic .sensibility. A special tribute must be paid to the beautifully played and recorded piano part. ‘ Three Idylls ’ is the title affixed to records recently arrived from Columbia, and providing a very tine performance by the London String Quartet of Frank Bridge’s compositions. These idylls may not bo so full of limpid melody as some musical tastes would prefer," but (hero is no question of their beauty. What Jins happened to the recording ul these interesting examples of modern .English music it, is difficult for the nontechnical listener to say, but there is a richness of tone, especially noticeable in the first of the series, the adagio molto. This rovers both sides of the disc, and is, of course, complete in itself. The other allegro eon moto and allegretto poeo lento will be found recorded with wonderful fidelity to the. real thing. There can be little doubt, in the estimation of those competent, to judge that in the opinion of the world at largo ‘ Madam Butterfly ’ is a veritable masterpiece. The ninsin is extraordinarily melodious, original, curiously and cleverly harmonised. Its suggestion of Japanese color, like that of Sullivan’s ‘Mikado,’ owes little if aught to national tunes, but it docs suggest them very often in a wonderful degree. It is grateful music for the singer: it contains many strong dramatic climaxes; the orchestration is masterly in its variety and its use of clever devices. There .should, therefore, be much interest in flic series of H.M.V, gramophone records covering the whole opera of ‘Madam Butterfly.’ The record reflects infinite credit, ‘involving as it does a much less easy proposition than the recording of the Gilbert and Sullivan operas which preceded it. \ Madam Butterfly ’ is not divided up into “numbers,” but is a continuous affair; and the points for breaking off have been well selected, while very few nits have been made. AVe have - here practically the music of the entire work, and the east of English singers employed is as follows :--Madam Butterfly (soprano), Bosnia Bookman: Suzuki (mezzo-soprano). Nellie Walker; F. B. Pinkerton (tenor), Tudor Davies; Kate Pinkerton (mezzosoprano), Bessie Jones; Sharpless (baritone), Frederick llanalow; Goro (tenor), Sydney Coltbam; Prince Yamadori (baritone), Edward Halland; The Bonze (bass), Edward Halland; conductor, Eugene Goossens.

To hoar Percy Grainger’s brilliant exposition of Chopin's ‘Sonata in B Minor ’ is to listen to the art of a virtuoso.. This great artist is about to visit New Zealand, a fact that lends special interest to this magnificent sixpart -Columbia production. It is one that has to be heard to be fully believed, i-inee it instances not alono Grainger’s perfect technique and complete understanding, but recording that for purity and tune fidelity is worth filling phenomenal. Stocks are expelled at the end of the mouth.