PICTURE THEATRES

Evening Star, Issue 20613, 13 October 1930, Page 7

PICTURE THEATRES

REGENT

'Honey/ at the Regent Theatre, is notable in that it shows Nancy Carroll in her best talking role. Nancy Carroll photographs as prettily as ever. Miss Carroll is in masquerade as a cook, and her brother (played by “ Sheets ” Gallagher) is in masquerade as a butler, with whom an heiress (Lillian Roth) falls in love, to the consternation of her mother (Jobyna Howland), until everything is “explained. Gallagher is a great comedy asset to the picture, and Lilliam Roth puts a lot of dash into her work; she, too, sings as well as talks. Their duet, ‘ Let Us Be Domestic/ is a clever piece that gets hpme. Besides the support of these clever artists, Miss Carroll has the help of Harry Green as a “ boob detective dragged into the plot, and of his ‘ vis-a-vis,” a lachrvmose ward servant, played by Zasu 'Pitts. The disgruntled mother is presented by Johyna Howland as a flounce-about, autocratic lady of rather overdone aggressiveness, but a “draw” with the audience. Mitzi Green makes . a hit as a precocious eavesdropping juvenile. The same programme includes some entertaining shorter lilms, chief among which is ‘The Fire Fighters/ the latest 'Mickey the'Mouse ’ cartoon. COMEDY OF WALL STREET CRASH.

On Friday next the outstanding comediennes of the talking screen, Polly Moran and Marie Dressier, will be seen in ‘ Caught Short/ a comedy based on the recent disastrous fall in shares on the American Stock Exchange. The two principals take the parts of boarding-house keepers, one being careful and conservative and the other being always ready to “take a chance.” The plot is concerned chiefly with the success of the mercurial Mrs Smith in the stock market, her efforts to convince the doubtful Mrs Jones that there was no surer or quicker way of making money than by daring investments, and the events that follow when the bottom drops out of the market. A touch of romance is supplied by Anita Page and Charles Morton, who take the junior roles.

OCTAGON

For its finely-drawn character, its dramatic strength, and the boldness of its conception, ‘ Such Men Are Dangerous,’ the new big feature at the Octagon Theatre, deserves a record season. Here, well handled in every way, is a story very different from the usual fare. Ludwig Krang, the ugliest, yet most powerful man in Europe, buys what he wants. He buys a wife who revolts on the eve of the wedding day and flees. Krang contemplates Ins ugliness in a mirror, make his plans, and disappears from his airplane after being made the laughing-stock of the Continent. But Krang is not dead. He , returns to society as Pierre Villard, suave, debonair, and handsome, his face transformed and imbued with youth by the wonders of plastic surgery. Revenge broods in his heart as, with consummate skill,'he plays with the affections of his unsuspecting “widow.” Events are moving to the zenith, a,nd his “widow” makes her confession about Ludwig Krang. Then something happens to Pierre Villard, something beyond the craft of the plastic surgeon. Warner Baxter gives two clear-cut portrayals, one as the man of money without a soul; the other as the man who learned the details of life which count most.

PRINCESS

The marvellouslv varied medley of talking and musical features, ‘Show-of Shows/ now showing at the Princess Theatre, takes first place among all films of Its kind. It is just the type or entertainment to satisfy and to please the picture-goer who seeks something novel. _ . i Done in technicolour throughout, i‘t is - a magnificent tribute to the producer’s art, and the reputation with which it has been endowed is fully justified. ....

The curtain rises on one scintillating scene after another—each a show in itself, with its spectacular setting, hundreds of pretty chorus girls, and vivid and novel frocks. The prologue, featuring Hobart Rosworth, H. B. Warner, and William Courtenay, introduces the picture on rather a novel note, and the show goes on. Monte Blue, at the head of a regiment of girls, leads a swinging military sequence, Noah Beery, surmounted by a gang of rough-looking buccaneer:*, capitulates to Ted Lewis and his jazz band in a snappy pirate scene. Myrna Loy and Nick Lucas are the principals in a delightful Chinese item, in which both voices are heard to good effect. And so it goes on making the ‘ Show of Shows ’ a film well up to its title.

Interesting short supporting films are also shown. BARRYMORE TALKIE COMING. The wild adventures of a soldier of fortune are depicted in ‘General Crack/ the Princess Theatre’s next attraction. The popular John Barrymore (known widely as the Don Juan of the stage and screen) has the leading role, and is reported to bo as convincing as ever.

EMPIRE

* The Tsar of Broadway ’ is now thrilling Empire Theatre audiences. This linn contains remarkably tense scenes of life in the underworld of New York. Directed by , William James Craft, the picture is ? a succession of dramatic surprises, and those who have Httlo interest in or sympathy with the outlaws of society will have to admire the brilliance with which the story is presented. John Wray’s performance in the leading part is a notable piece of acting, according to a leading New York critic. Ho is suave always, genial at times and cold as steel when his scenes demand it. None of the characters has the objectionable type of personality that might bo expected,; and their speech _ is not the type that is so often heard in.underworld pictures. Betty Compson, the principal actress, gives a charming characterisation. Claude Allister, who has previously appeared only in foppish roles, plays in this picture the part of a ‘‘gunman ” in a very convincing manner. In addition to the main picture there is an entertaining programme of short talkie items, ns well as a full list of musical selections from the orchestra i under the direction of Monsieur do lose).

STRAND

‘ The Flirting Widow ’ is the main attraction at the Strand Theatre. The screen play is of exceptional interest, and there is a happy co-mingling of sentiment and comedy that should make the new picture acceptable to everyone. 'Dorothy Mackaill can scarcely bo accorded too much praise for the manner in which she _ plays a rather difficult part, and Basil Bathbone, who is the central male figure in what inay bo termed a romance, is natural and forceful where necessary. The story concerns the oldest daughter of an aristocratic family, who, in order to permit of her younger sister entering wedlock, jn-etends to have become