THE PICTURES—NEW PROGRAMMES

Evening Star, Issue 20322, 2 November 1929, Page 13

THE PICTURES—NEW PROGRAMMES

FOUR DRAMAS IN ONE EXOfTINfi MYSTERY AT TOE EMPIRE Four dramas in one, all with the same theme, are embodied in * Through Different Eyes,’ one of the moot unusual types of picture entertainment, which is certain to please Empire Theatre patrons vastly this week. Though the construction of three of the dramas is technically the same, each presents an entirely different aspect. Court room dramas are the vogue these days. Few films are considered complete without one, and in several ; recent cases the entire story has been 'told from the criminal trial angle, a most effective angle. ‘ Through Different Eyes’ follows the new and popular fashion. The introduction of court room scones proves, probably more than anything else, the fact that talking pictures are treading the long trail , blazed by the legitimate drama, for the construction of the screen situation calls to mind legitimate melodrama of days gone by. As a whole, ‘Through Different Eyes’ is nothing if not modern in theme, atmosphere, and effect. It is an exciting, gripping, and completely effective photo play, a delightful feature of which is the clarity and pleasing crispness of the dialogue. Those who detest Americanisms and nasal intonations will be thankful that the English is so pure and crisp, the only twang being in the room in which the reporters, absurdly portrayed as they always are in the ■ pictures, are at work. Moreover, ‘ Through Different Eyes ’ demonstrates that tremendous advantage which the screen possesses in its con- ■- test with the stage, for the camera is able to flash back from the court to the actual happenings that are being described by counsel for the prosecution and the defence. Three times in ‘ Through Different Eyes ’ that flash back is used, _ and each time a different picture is painted on the same canvas of facts. In its entirety the tale is presented with ex- : traordinary interest, and may be un- • hesitatingly classed as one of the best Fox productions seen and heard in Dunedin since the “ talkie ” boom set in. I It introduces the audience to a rays- ■ tifying crime, the whys and wherefores of which are brought to light during ‘ a thrilling trial. Throughout the action of the screen play is managed with deft steadiness. The photography is excellent and the sound and speech reproduction is marked by clarity. Each climax is finely developed, and the denouement is reached in a gripping ! scene. ‘ Through Different Eyes ’ is ! as different from the ordinary crime picture as chalk is from cheese. There ! are no horrible details, for which the producers are to be thanked, and overv picture in the long train of incidents is presented with clearness. To correctly judge Mary Duncan’s ; portrayal of Viola Manning, one has ; necessarily to sit back and think of : all the talkies one has seen. One if forced to the conclusion that no finer I piece of acting in a talkie has been given by any woman. Miss Duncan is i an actress of experience, and »nl> a magnificent actress could, delineate with such compelling force the three entirely different portraits of Viola. Miss Duncan's voice has a depth which places her among the best “ talkers ” on the silver sheet. Appearing first as the young devoted wife, she substitutes next for that mood the sophisticated, vamping type, and concludes on a note of cynicism as she portrays a disillusioned woman. Warner Baxter has an ■ excellent talkie voice and personality, and he has fulfilled in ‘ Through Different Eyes ’ every promise made for him. Edmund Lowe’s characterisation as the husband is clear-cut and polished as ever. These are but three of the principals in a picture which is notably strong for its acting, Natalie Moorhead, Earle Fox, Florence Lake, and Nigel de Brulier also being in the cast. But the Empire management has not been satisfied in presenting only such an attraction as ‘ Through Different Eyes’ undoubtedly is. The big picture has been given adequately strong support. A snort subject, handled witb the masterly attention to detail that would mark the year’s best fsfttnre picture, is ‘ Napoleon’s Bar14$ a cameo of artistry. The play Tm 4eea described by G. B. Shaw as tht best one-act play in the English language, and it can be said that its qualities have been enhanced by the rang© of setting and swift-changing scenes which the screen provides. Napoleon’s Barber * is a wonderfully dramatic nlay, and the voices are perfect. U.F.A. present another of their gems in the photographic art, and a rollicking burlesque of court scenes is given in a comedy, ‘ Beneath the Law,’ ■which would keep the most dismal in a fit of laughter. The world’s news is contained in two gazettes, and Mr • Jack Welsh has been busy at local sports gatherings obtaining interesting shots for his Dnnedin topical film. Then there is Mr Leslie Harvey, as entertaining and obliging as in his first ■week at the Christie organ. His classical number is ‘ 0 Star of Eve,’ played with feeling, and he follows with ‘ Kiddies’ Kabaret,’ a lighter number which gives him ample opportunity to exploit his own musical originality. To -‘ Deep Night,’ another of the slide series. Mr Harvey imparts rare charm. ‘Deep Night ’ is one of the latest fox trots, and all Empire patrons know hoiv the organist can play the light selections. ORIENTAL GENIUS CONQUERED REGENT’S ENTERTAINING BILL , A tale of the cleverness of the West pitted against the genius of an Oriental mind, of love in the Limehouso quarters of. London, where shadows Blink into the dark waste of waters beyond, and the tongue of the_ yellow man is heard in * The M3 r sterious Dr Fu Manchu,’ This tale was told for the first time at the Regent Theatre yesterday, when two audiences were given the exciting entertainment they sought. into Sax Rohmer’s famous mystery story Paramount Films have injected new life, a life that cannot be lived in a book, but is possible on the screen only. It is at the period of the Boxer rising in China in 1900 that the picture opens with the allied white races Combining in a* mighty effort to suppress the yellow, rebellion. In the grounds surrounding the house of Fu some of the rising followers take refuge, but they are shot at by the white men. While the wife and only son of Dr Fu axe worshipping in front of an idol a stray shell strikes the outside wall of the house, causing the idol to fall and kill those beneath. Untold suffering is borne by Dr Fu when he finds the two dead. The imprisoned animal within his breast struggles madly for freedom, and a dangerous dignity sweeps over him as he vows ■vengeance on thy .ones whp have cost

agonies into his life. A white girl, daughter of one of* the Western officers, has been sent to his home for shelter, and quickly forming a plan of revenge Df Fu decides that the girl shall assist to banish. from this earth the white enemies. Years after, in Limehouse, Dr Fu is carefully completing his plans to put to .death the commanding officers of the armies that took part in tho Boxer conflict, and he holds a strange power oyer the girl, who does not know of his evil intentions. Part of the work he has set himself is accomplished, but he finds that the activities of Scotland Yard are stretching in his direction. He, is cornered, but escapes, to act quickly. At last he has the man he wants in his power, and with a soft tongue, typical of the Orient, he tells him of the death he will meet. “ This may appear to be a melodrama,” he tells the victim, “working up to a dramatic climax with the detective appearing at the last minute'to save, the terrible situation, but the detective .will not appear at the last minute this tune. To prove his words he opens a doOT and a famous detective from the Yard, engaged in the case, is brought forth bound and gagged. From that point the picture. is tensely dramatic until the end, when Dr Fu, before he breathes his last., confesses that the melodrama has the right ending—tho detective frees himself from bondage and appears at the ‘last minute. Nothing but a highly imaginative mind could have conceived the plot laid in ‘The Mysterious Dr Fu Manchu,’ and only the best of screen talent could possibly make Sax Rohmer’s characters live. It is evident that the cast was not chosen at random, but that every individual member was carefully selected to fill the necessary wants of the personage to be depicted. On the silent screen Warner Oland was always an impressive figure, and now in the talkies he soars to even greater heights as a character actor. As Dr Fu he lives the part. He discharges every ounce of his dramatic ability to give a true and realistic impersonation. Jean Arthur, the girl who acts at his bidding, gives an. excellent account of herself, especially in view of the fact that the part she plays calls for special screen work. Neil Hamilton has been seen and heard in talking pictures before, and ms capabilities need not be enlarged upon. It need only be said that he impresses as tho hero. The thirteen other principals are not wanting. Four other pictures complete the new bill. The ‘Pathe Audio Review’ makes a slight departure from the usual trend of films of this nature in that it pic-, hires nothing but the Graf Zeppelin and its intrepid flyers. The monster of the air is seen flying across the Atlantic and circling over the landing ground, and Dr Ekener and his colleagues are shown preparing tor the world cruise in the mighty monarch of tho skies. As a modern highwayman Tom Howard has probably no equal, and it is not to be wondered at, tor his methods of holding up persons on the streets and securing promises of money prizes from his victims in Ihe Hold Up' are certainly unique; in fact, quite ridiculous. Another sound novelty in the form of a song cartoon is very cleverly done, and provides good entertainment. The song this time is ‘ Yankee Doodle Boy. . Completing the programme is a scenic gem, a picture of Milford Track. DUELS AND THRILLS 1 THE IRAN MASK ’ AT STRAND It is an unusual story, thus claiming an unusual distinction. A quartet ot gallant devil-may-care musketeers makes the foreground of all that is thrilling, but in their devotion to one another and their duty they meet their death. ‘The Iron Mask,’ with which all its glamour and variety indeed rivals its Forerunner, ‘The Three Musketeers, was first screened in Dunedin yesterday afternoon at the Strand Theatre before a delighted and most enthusiastic audience. .... . . , It is another historical picture depicting those hard but fascinating days (to read about) during the reign of Louis XIII., when life was made up for the most part of treacherous plots, furious and thrilling horse rides, all a matter of life and death, and fierce, slashing duels. While the picture does not really feature any particular outstanding principal, Douglas Fairbanks, as D’Artagnan of ‘ The Three Musketeers, always at his best in historical roles, takes the lead of those nearly as much in the limelight—his sweetheart, Constance Bonacieux, and his devoted colleagues Porthos, Aramis, and Athos. For* Constance Bonacieux to be stabbed and meet her death in a struggle with a villainous woman, and for the four adventurers to die in their greatest and most thrilling venture makes a satisfying yet most unusual and unexpected climax to a fine picture. All the pomp and show of the French Court under Louix XIII. are featured in the opening of the story. There is feneral rejoicing, for a son has been orn to the Queen, Anne of Austria. Louis is indeed a proud man, for he has an heir. But unknown to the king, another son, a twin, is born shortly after, and sensing tho trouble and strife this event is likely to cause, Cardinal Richelieu spirits the younger son away to Spain. It being known to the few concerned that D’Artagnan’s sweetheart is aware of the birth of the second child, she is taken to a convent under the care of a trusted, yet faithless, servant. Here she refuses to tell of the secret she holds, and is stabbed by her uncouth and villainous chaperon. D’Artagnan, in search of his lady love, arrived on the scene moments too late. In revenge he opposes the cardinal, whose powers prove sufficiently strong to separate the musketeer and his trio of staunch frends. Twenty years pass. Louis is dead, and his son is on the throne. A band of plotters under Count de Rochfort plans to bring the younger brother in Spain back to take the place on the throne as a substitute to the rightful heir. His plan succeeds, but D’Artagnan, who had assured the dying King Louis that he would take care of his young son, tho rightful heir to the throne, gathers his three old friends and eventually breaks up tho arrangement in a series of thrilling expericnct'3. The four musketeers now appear to bo past their prime in life, but they still tackle their adventures in devil-may-care fashion, and wield their sword's with youthful abandon. Nearing the end of the picture is a great duel against the plotters. It takes place tn a cellar of a castle, and the four hold out. D’Artagnan jumps and leaps about in his characteristic fashion, and manages to escape with all of his colleagues except one, who meets his death in a big explosion. More fights follow, and all meet their death one by one. The picture has indeed a fascinating conclusion A fine supporting programme features a comedy entitled 1 Love and Hisses,’ a skit of a military camp, and several very delightful scenic attractions.

RICH IN HUMAN INTEREST •GENTLEMEN OF THE PRESS’ In accordance with its own very sensible policy the management or the Octagon Theatre has again chosen for its week’s entertainment a programme which is well above the average in merit. Thera are no trifling “ fill ups ” that merely waste the time of the theatregoer who welcomes the chance of catching a car homo shortly after 10 o’clock. Every picture bears the hall-mark of good quality and unimpeachable taste. Moreover, the shorter features have a strong British flavour. In particular ‘The British Fleet at Sea ’ is a stirring and heartening production which no patriot should miss. Tho pure comedy touch, now recognised as being inseparable from any programme that aims at all-round excellence, is delightfully represented by the .Cockney humour pouring out, naturally and spontaneously from ‘ Raw Recruit.’ Then there is ‘ Gentlemen of the Press.’ Here at last is a film which succeeds in handling newspaper life from the human aspect. It is a masterly screening of a great stage play, and is noteworthy for the absence from its various phases of crude sensationalism. It lives. And the audience lives, with it.

An author of a play is very seldom satisfied with the dramatised version of his ideas; much less is he in the habit of bestowing approval on a picture adaptation. However, in the case *of ‘ Gentlemen of the Press,’ the author, Ward Morehouse, has had no complaints to submit. This is a big recommendation. It is overwhelming proof of the picture’s worth. Of course, the task of representing its interesting characters has been allotted only to actors whoso voices had been well tested beforehand, and the result is a remarkably fine all-dialogue production. Without being exactly a handsome hero (thank goodness) Walter Huston is very attractive. He is every inch a man, and his speaking voice gives one pleasure right through the picture. Ho is seen and heard as Wickland Snell, an experienced journalist, whose fate it is always to be on a big assignment when important events are taking place in his own family circle. How life treats him eventually is told in a series of intensely dramatic scenes, relieved now and then by highly amusing comedy work on the ipart of those who represent the more irresponsible section of the New York Press. In this respect Charles Ruggles must claim the lion’s share of the honours. The women in the story form a striking contrast as regards their natures. There is Myra May, tho dark-haired siren, who becomes friendly with Snel! after the death of his wife, and who later tries her best to upset the happy marriage of Snell’s daughter, Dorothy. One loathes Myra right heartily, but there can be no denial of the fact that the acting of Katherine Francis in the part is a big achievement. Betty Lawford makes a very sweet Dorothy Snell. Aviation pictures, which constitute perhaps the most topical subject which could be introduced into Dunedin at the present time, are the outstanding features in the Paramount News. Tho spectacle of whirring aeroplanes in battle formation, and the arrival of the Graf Zeppelin in San Francisco are two extracts from it which should interest old and young alike. Portions of a wonderful ten-mile swim by Miss Norelius are also seen. ‘ The British Fleet at Sea,’ an inspiring sound production, takes the audience on board the majestic monsters of the Atlantic squadrons—the flagship K.M.S, Nelson (with its roaring 16in guns), H.M.S. Rodney, and H.M.S. Furious. The lastnamed has a fascination all its own, for it is the mother ship of a nest of aeroplanes, and has therefore a vast landing place on the top deck. To see tho machines come up on an automatic lift from down below, and then have their wings unfolded for flight, is a spectacle unsurpassed only by actual photographs of their taking off, their manoeuvres, and their landing. In addition to Ernie Lotinga’s drolleries in ‘ Raw Recruits,’ the remainder of the programme embraces some very enjoyable singing by British artists. In song Dale Smith, a pleasing baritone, leads an orchestra—consisting of violin, ’cello, and harp—in ‘John Peel’ and ‘Who Is That A-Calling.’ As a musical treat it is the titbit of the evening. AMATEUR VAUDEVILLE AND PICTURES GRAND AND PLAZA FARE The feature of the entertainment at the Plaza Theatre this week is the amateur vaudeville trials, which were commenced last evening. There were only four acts, but all proved popular. The first was a mouth-organ solo by Mr G. H. Rowe. The , next performer was Miss Kropp, a tiny tot, who sang sweetly, and then Mr J. M‘Kenny gave an amusing tumbling and patter act. Finally, Miss C. Peterson was seen in a step-dancing turn. The merits of the acts were judged by the applause, and the honours of the evening went to Miss Peterson. At this evening’s session seven selected acts will be staged. Anthony Carlyle’s intriguing novel, ‘The Alley Cat,’ has proved good material for the British' Dominions film of the same title, which heads the pictorial bill at both the Grand and Plaza Theatres. The story opens to disclose a murder mysteriously committed in an East End den. Incriminating evidence points towards Jimmy Ryce, a young musician, who flees and hides in the slums. Polly, a little Cockney girl, who ifi called tho “Alley Cat,” protects Jimmy, and eventually through an amazing turn of incidents clears the young lover’s name and reveals the identity of the real murderer. Hans Steinhoff, director of ‘The Alley Cat,’ with a carefullychosen staff, has obtained the correct atmosphere, as well as the true settings, for this story, that contains all the elements of thrilling and humorous entertainment. A wonderful cast, headed by the popular and _ versatile Mabel Poulton, enacts this vivid story that has a laugh and a tear in every scene. Appearing with Miss Poulton are Marie Ault and Shaylo Gardner, two famous character stars who have already won fame through their numerous screen characterisations, Clifford M'Laglon, another member of that celebrated family, has a fine “heavy” role to portray, whilst Jack Trevor is well cast in the juvenile lead as Jimmy Ryce, the young musician. •PICCADILLY’ EVERYBODY'S FINE SILENT Mr Arnold Bennett has done a sensible thing about British films. He has made a kind of extract of all. their faults and written a good film story from the old ingredients. ‘Piccadilly,’ as the result is called, is a British International picture, shown at Everybody’s Theatre for the first time yesterday. It is a simple melodrama about a night olub proprietor, his lead-

mg dancer (and, incidentally, mistress), and the Chinese scullery maid, who supersedes her. E. A. Dupont, who directed the film for British International, well knows how to strike the eye. With Mr Jameson Thomas, Dupont has been extremely successful, but it is the Chinese scullery maid, the languishing Anna May Wong, who carries off the honours, together with her compatriot, King Ho-Chang. A minor reason for the film being entertaining is the frequent by-play of minor personages in the background, particularly a “foreign visitor)” (played by Charles Laughton), who has a row about his dirty plate, and is obviously intended as a caricature in appearance of Mr Arnold Bennett himself.

*Tiie Girl-shy Cowboy’ (with Res Bell), the supporting attraction, presents that_ rare thing in Western pictures —a different theme. Briefly, it is the tale of a group of schoolgirls who go west on an expedition in search of the remains of prehistoric animals. Rex Bell and his two pals are engaged as guides for the party. Rex is a bashful Romeo at first, but when he unearths a conspiracy against the expedition he gets into action, fights the band of 11 bad men,” brings into play all the reckless feats of horsemanship for which he is noted, and wins the heart of a pretty girl. It has more comedy than any of the Bell pictures to date—in fact, it might be_ classified as a fast-moving comedy with melodramatic trimmings. RICHARD DIX AT KING EDWARD Richard Dix has the leading role in ‘ Wanning Up,’ now the feature attraction at the King Edward Theatre. It is a romantic story of the big baseball leagues. Bert Tulliver (Richard Dix) is the hero of the Eureka Bearcats, who succeeds in incurring the mischievous enmity of M'Rae, the home-run king whom the Green Sox have secured from the rival team, the Pawnees. Tulliver secures a position as demonstrator, and attracts, the attention- of Post (Claude King), who tells him to join the Green Sox. Meanwhile Tulliver has developed an acquaintance with Mary Post, and is unaware that M‘Rae is seriously interested in the girl. Tulliver later witnesses a scene between Mary and M'Rao, which leads him to believe that Mary is in love with the last-named. Some strenuous games follow on the baseball field, and Tulliver is sent into the games as a last resort, but he plays very poorly until Mary gives him encouragement. Members of the Los Angeles Baseball Club figure in the picture, giving Dix every support. The additional feature, ‘The Girlshy Cowboy,’ is a picture of rare interest, of swift movement, action,, and surprises, and embodies the spirit of the "West together with an unusual plot. The star. Res Bell, rides and fights his way through reel upon reel of the fastest action seen here for some time. The plot is vastly different from the usual Western story, and features a youthful cast of players, including many beautiful girls.