THE PICTURES—NEW PROGRAMMES

Evening Star, Issue 20980, 19 December 1931, Page 15

THE PICTURES—NEW PROGRAMMES

HISTORICAL ROMANCE ‘THE LASH ’ AT THE EMPIRE ‘The Lash,’ a First National production, which began a season at the Empire Theatre yesterday, is a romance of the fighting days following Mexico’s ceding of California to the United States. As El Puma, the leader of the band of outlaws seeking to avenge their wrongs, Richard Barthelmess has a role which suits him admirably, and, with a good supporting cast, interest never lags in the story. The date is 1846, when California has just been won in war by the Americans from the Mexicans. There is peace between tho Governments, but hatred between the former inhabitants, the proud descendants of the old Spanish dons, and the “ gringos,” as the Americanos were called. The worst elements of the conquerors came to the surface in their dealings with the Mexicans, gnj to avenge their stealing of land and insulting of women, there arises El Puma and his band. The son of a great don, the owner of fair cattle lands, and the betrothed of the lovely Rqsita, he nevertheless forswears all this because, of the wrongs done to his people, and becomes an outlaw, a modern Robin Hood, robbing the wicked to -give to the oppressed. Beside the adventure and hard riding in the picture, there is plenty of tho lighter element of love-making between David Howard (captain of the Los Angeles Rangers) and the bandit’s sister, Dolores. There are further complications because Howard is sworn to capture El Puma and hang him to' the nearest tree. But he does not carry out his vow, for El Puma, realising that his lawlessness is endangering the happiness of those he loves, disbands his men and rides off to Mexico and safety with his beloved. It is a logical ending, not just introduced for the sake of sentiment. There are some remarkably fine scenes in ‘ The Lash,’ most notable being those of the old-fashioned fiesta, and the one in which El Puma "drives a herd of 3,000 maddened steers into tho town of his enemies. Besides that of Barthelmess, very good acting is given by Mary Astor and Marian Nixon, as his sweetheart and sister respectively, by Fred Hobler as the villain, Arthur Stone as the bandit’s faithful lieutenant, and Robert Edeson as the old Spanish don. Tho supporting programme boasts of many entertaining attractions, and the whole bill is one which won popular appeal by last night’s ; audience. THE DYNAMIC DOUG. REGENT’S ENTERTAINING COMEDY In his second talkie, Douglas Fairbanks is back at the Regent Theatre on the new programme. This picture is ‘ Reaching for the Moon,’ which also presents another pre-eminent star in the person of Behe _ Daniels. 1 Reaching for tho Moon ’ is a most amusing comedy of love and Wall street, in which Fairbanks’s athletic nature finds full expression. He is shown as Larry Day, a most successful young financier, whose success is duo partly to his financial ability, and in a measure to the fact that he has remained a misogynist. It remains for Behe Daniels, as Vivian Benton, to convert him from misogynism to love, and this forms the main theme of the story. Larry Day’s motto is “ Shoot the works,” and finance is his hobby. He keeps a large staff working at top speed, and spends most of his own time dictating and answering an imposing array of telephones on his desk in his private office. His distaste of the - fair sex becomes an incentive to Vivian Benton, who sees him at an evening, to change his views, and a wager with a friend, decided her to go to his office to attempt to make an appointment with him. This she successfully does, and it is duly arranged that the pair shall meet in the evening and dine together, but the girl has no intention of keeping the engagement. She rings Larry later in the evening to say she won’t be present, and also that she is sailing for Southampton in ten minutes. “ AVhat are you going to do about it ?” she adds, to which Larry answers:' “I’ll show you what I’m going to do,” and he does in a most unusual manner. His plan of campaign is as follows:—He follows her aboard tho ship, poses as a steward, gains admittance to her state room, and makes hjs identity known. After that he does all manner of unexpected things that only Fairbanks can do. One of the cleverest scenes in the. picture is that in which* three of the principals drink a powerful mixture of cocktail, with disastrous results. By the time the boat reaches Southampton Day is penniless (through his disregard of cable messages in the course of love), but, as may be expected, he wins the greater prize. Douglas Fairbanks is his usual breezy and romping self, and lifts tho picture far above the standard set by others of its kind. He is well supported by Bebe Daniels, who was borrowed by United Artists for ‘ Reaching for the Moon.’ Miss Daniels is a fit screen mate for the dynamic Doug., and plays havoc with his love. There are two other old favourites in the cast, these being Edward Everett Horton and Claude A Ulster, two star comedians in themselves, who raise many a laugh when ever they appear on the screen. Jack Mulha.ll and Helen Jerome Eddy have tho other chief roles. The story modes at a furious pace from beginning to end, and is distinctly entertaining. There is also a supporting programme of. unusual merit. A news item presents many interesting and entertaining events in sight and sound, while a Micky Mouse cartoon (Minnie Mouse is there, too) is clever throughout and well produced. A second animal cartoon keeps tho audience in a merry mood. A nature study dealing with plant life is particularly interesting and instructive, while a seasonable picture—one that depicts Christmas ns known in many countries—is a new departure. Altogether the new bill at the Regent is very diverting, and should enjoy a profitable season next week. ‘EYES OF THE WORLD’ ' POWERFUL DRAMA AT OCTAGON Harold Bell Wrigl it is well known as a writer of vivid and powerful romances, and tho fact that his ‘Eyes of tho World ’ has been converted into a drama of tho screen will give unbounded pleasure to his numerous admirers. The picture, which was screened for the first time at the Octa-

gon Theatre yesterday, is a _ clean, wholesome story of an outdoor girl who meets a young artist and falls in love with him at first sight. No picture of recent date has so faithfully captured tho scenic splendour of Nature and so ably utilised it in the enfoldment of romance and drama. There are moments of rare pastoral beauty in tho talkie, especially in the love scenes which are placed against a background of gorgeous trees and beautiful vistas. Throughout the picture there arc powerful dramatic scenes and at the end a touch of sublimity. The tale tolls of a young, unsophisticated mountain girl who experiences the joys and pains of love for the first time when city folks come into the mountains to camp. They include wealthy Mr Taine and his wife, who endeavour to bring new interest into their bored lives by befriending numberless nonentities in the field of art. With them came the latest .artist the wife has met, Aaron Ring; tho husband is putting his own meaning on their relationship. Gertrude Taine is in love with King, but the latter largely forgets about her when, by a mountain stream, he meets Sybil, the maid of the hills. Through the machinations of Gertrude the romance is temporarily interrupted, and tragedy is near. Pride of place in the cast is taken by pretty Una Merkel, who is admirably suited to be the maid of the hills. Hers is a most charming and-touching performance. Next there is Nance O’Neil, who is well known on the screen, and who enacts the role of Myra. She has a difficult part, but she carries it through well. John Holland is good as tho artist whose heart is taken when ho comes to tho hills. Fern Andra has a prominent part as sophisticated Mrs Taine, while Hugh Huntley, Frederic Burt, and Brandon Hurst all deserve notice. Once again the Octagon Theatre is right to tho fore with a great doublefeatured programme, the second big picture in this case being ‘ Gun Smoke,’ a thrilling Western film, in which the ever-popular Richard Aden and a host of other well-known stars play attractive parts. An ingenious twist to the story has been introduced by the bringing together of two different types of straight-shooting characters—viz., cowboys and gangsters. A mixture such as this speaks for _ iteslf, and patrons may well imagine that' there is intense excitement in store for them. The scene is laid in a little outback horse and cattle trading centre in the Western States of America, and Richard Aden has the part of a young horseman who deals in riding stock and who roams tho countryside rounding up tho choicest animals he can find. In the course of his activities he runs foul of a city gangster who has decided to migrate into these regions, and during the period of antagonism between tho pair a mighty fist fight takes place. William Boyd, as leader of tho gangsters, gives a virile portrayal. There is excitement aplenty when the cowboys and gangsters come to grips in one big, more or less, organised battle, and at this stage tho picture certainly does not belie its name. As the heroine Mary Brian gives a charming and convincing portrayal, while Louise Fazenda and Eugene Pallette also distinguish themselves. BUSTER KEATON BACK COMEDY BILL FOR KING EDWARD Buster Keaton has the leading role in ‘ Parlour, Bedroom, and Bath,’ which will be shown at the King Edward Theatre to-night. Fans who are curious to see what a famous movie star’s homo is like have their chance in this film, for Buster Keaton literally takes his audience all through his own home in this comedy. When the picture was planned search was made for a handsome residence with great terraced gardens unci swimming pool to be used for a “ location.” Keaton promptly offered his Beverly Hills estate as a setting. And when filming began ho had the unique experience of getting up in the mornings, having breakfast —and then walking out on to his front lawn to go to work. The Keaton swimming pool, his gardens, Elmer (his dog), and practically all the rooms inside the home were used as settings for tho picture. ‘ Parlour, Bedroom, and Bath ’ was directed by Edward Sedgwick, Keaton’s director in ‘ Spite Marriage,’ ‘ Free and Eeasy,’ and ' ‘ Forward March.’ Charlotte Greenwood is seen in the role of Polly, and Reginald Denny, hero of. ‘ A Lady’s Morals,’ plays the , romantic male lead. Cliff Edwards, Dorothy Christy, Joan Peers, Sally Eilers, Natalie Moorhead, Edward Brophy, Walter Merrill, and Sidney Bracy are in tho cast. * SOPHISTICATED COMEDY ‘ VIRTUOUS HUSBAND' AT ST. JAMES Rich in its sophisticated dialogue, almost risque at times in its action, and daring, and entertaining in its theme, 1 Virtuous Husband ’ ranks among the smartest comedies of the year. Few brighter, smarter, and more sparkling comedies have been shown, and ‘ Virtuous Husband ’ must be placed among tho outstanding pictures screened at tho St. James Theatre during the past twelve months. ‘ Virtuous Husband ’ is a side-split-ting comedy. Occasionally the dialogue is rich, too rich for the child, but it is so diverting that any bashfulness is dissolved by laughter. The ultrasophisticated type of play is in vogue. While smart in action and dialogue, this picture has polish. The best way to deserbe the hundreds of entertaining incidents is to briefly relate the story. Daniel Curtis, as a bachelor, was certainly a great success under his late mother’s tuition, and when he fell in love his proposal must have brought tears of delight to the most oldfashioned of grandmothers. His mother had been a literary woman, and had advised many an unhappy lover. Consequently, she must have teen well able to advise her son on the trials and tribulations of life. He was possessed of none of the vices common to men—not even the minor one of smoking. But even a man of this calibre cannot withstand the pangs of love. Being an ultra-modern and sophisticated young lady, Barbara dwell looked upon his wooing as something unique, but not so unique as she finally discovered it to be. The trouble really started when he met His mother-in-law —the ■ mother-in-law. of tradition. She did not “ take” to this bashful young suitor, who refused to kiss his fiancee until lier parents had been interviewed. But the wrath of the mother did not deter the young man, and he told his “ intended*” as he kissed her. goodnight—on the forehead. Father was not such a problem—being also the traditional hen-pecked husband. Then came the real rift in the lute, when, on their wedding night. Daniel received the inevitable epistle Iroiu his mother advising him to treat his bride “gently, reverently, as you would some shrinking violet.” AVifie objected and returned homo, closely followed by a startled husband*

The climax is not only amusing, but exciting, almost as exciting as a “ thriller.” And by sustaining the interest to the end of a most difficult picture to handle, the producers are to be complimented. ‘ Virtuous Husband ’ is not a sqiiib. The explosion takes place at the end. The management could not have selected a more cheerful picture for this period of cheer and goodwill; and last night’s audience left the theatre chuckling with delight oyer the numerous episodes of love and life. Such pictures make the world a brighter place. Although one feels inclined to shake Curtis into action, one has to admit that Elliott Nugent is remarkable in his portrayal of the part. He is a clever actor, and the restraint he exercises in his delineation of the sincere, yet unsophisticated, . love, _ is admirable. Nugent’s characterisation is all the more remarkable in that he plays opposite his father, J. C. Nugent, who takes the part of the vacuous and hen-pecked father-in-law. The elder Nugent keeps the audience laughing, but his son is so able that he docs not once smile, Jean Arthur is delight,ful as Barbara. This actress has made rapid advancement and her refreshing work in ‘ Virtuous Husband ’ will bring her fresh honours. The erstwhile Paramount favourite, Betty Compson, is back on the screen as the frank and knowing widow, who expresses her opinions of Curtis in no uncertain terms. Probably the best piece of acting is by Allison Skipworth, who is not at all unlike Marie Dressier in her style. Her performance is outstanding. ‘Virtuous Husbands’ is great entertainment. The supporting'programme is likewise full of quality, the usual range of supports being headed by a Slim Summerville comedy, ‘ Let’s Play.’ ‘LAUGHING SINNERS’ JOAN CRAWFORD AT THE STRAND The fascinating Joan Crawford is at the Strand this week in ‘ Laughing Sinners, a drama that will undoubtedly enjoy wide success. In this picture she is a Salvation Army Girl, and a very attractive one, too. The last time that Joan appeared in a film in Dunedin with Clark Gable — one of the rising he-men of the screen —she was a hard-boiled society girl, and later a newspaper reporter. The hefty Mr Gable was a “ big shot ” in the underworld, the sort of person who had so many bad men in his bodyguard that he never had to lift a gun to anyoue himself. This time he is on the other side of the fence, and in his Salvation Army uniform. he was just as convincing as he was in the ultra-smart tailoring of the gangster. For the Salvation Army part of the picture is treated seriously and sympathetically. There is nothing of the burlesque in it, and no one could be offended by the treatment of the subject. Joan starts out ,in the first thousand feet or so of celluloid being her old, bad self. She is enthusiastic in her obedience to the instructions of the proprietor of the cabaret in which she is a dancer to “ Show your legs and give your voice a rest.” Then the tough commercial traveller with whom she is in love decides that marrying the. boss’s daughter is the best way of getting on in the world, and Joan is left in the lurch. He, by the way, is Neil Hamilton, a perfect villain of the mildly villainous type. Many a girl with the attractions of Miss Crawford would have laughed off a little thing like a jilting—-but she had a great, big heart, and it was easily wounded. That was why, in spite of the efforts of her friend Ruby, played by Marjorie Rambeau, she was wandering along a bridge with dark thoughts of suicide, when the Salvationist Gable found her. He gave her new interests in life, made her realise, as he said, that there were better things than pleasure, and other worlds than the one she had known. Joan liked the life, but then Howard cropped up again, and the old fascination returned. Nothing in the picture was better done, and neither have many wild scenes in other films been, than her relapse from goodness into laughing sin—complete with alcohol, high kicks, and general whoopee. The pouclusion is the logical one, the one that everybody wants to see, and because of the capability of the actors and actresses, it follows through with the mark of truth on it. With Joan Crawford in a picture there is never much room in a criticism for praise for anyone else. Clark Gables make? things worse, for it is impossible to ignore his steady mounting steps towards stardom. But there is another character in this film who must be mentioned. His part is not a big one, but everything he does is so well done that his arrival on the screen is always a signal for pleasure. That is Cliff Edwards, better known as Ukulele Ike, A Harry Langdom comedy, a newsreel, and other features complete an interesting programme.