SCREENLAND JOTTINGS

Evening Star, Issue 21316, 21 January 1933, Page 6

SCREENLAND JOTTINGS

The Marx brothers are toying with the idea of making a Western film. Meanwhile, as radio stars, they arc charging £1,500 per broadcast.

Boris Karloff, once of Dulwich College, now frightener-in-chief in spinechilling talkies such as ‘ Frankenstein ’ and ‘The Old Dark House,’ has emulated Garbo by dropping his Christian name. With his official appointment to stardom by the Universal Film Company, he becomes plain Karloff. Whether he will acquire the prefix

“Le ” is not divulged. .Incidentally. liis name is not Karloff. He adopted it from hi? mother, whoso maiden name it was.

1 His Night Out ’ is the title given to Harry Hughes’s new H.I.P. film comedy, on which production has now commenced, and clearly indicates the cause of the complications which will involve Claude I Hilbert in his first starring role, It is his attempt to entertain an important buyer for Ids firm that lead', to all the trouble, and considering the buyer is a Scots lassie bent on seeing a notorious night club it is not difficult to understand how serious Claude’s plight becomes. An interesting newcomer to Hughes’s cast is Renee' Houston, the irresprossiblo half of the popular variety stars, the Houston Sisters. She is surely ideally

cast as the Scottish buyer, and it is expected that this, her first _ appearance in a full-length film, will ho a debt of note. This part will _ show .Renee as a character actress of groat artistry and reveal a side of her talent which has, as yet. been given no opportunity of expression on the stage. • * • « ‘ Cavafi-ado,’ claimed to be the picture of the generation, has been officially completed. .Produced under the direct supervision of Air W. R. Sheehan and directed by trank Lloyd, this tremendous picture has been afforded tlm most complete production facilities of box Films. It will have, its world premiere at the (fiiiety 'llieatrc in New York some tune this month. No picture in years has received so much advance publicity as this pictiirisatiou of flic famous Noel Coward play which ran for more than eleven months at the Drury Lane Theatre in London. Although British in _ locale, ‘ Cavalcade ’ is a theme which strikes clpse to the heart of all the nations of 'iae

earth. It is as truly international in scope as it is possible for any work of art to be. Following are some of the statistics which indicate what a colossal production it is Forty featured players, 150 speaking parts, 200 production staff, 15,000 civilians, 10,000 soldiers, 8,000 rifles, 1,000 horses, 5,000 singers, 50 guns and _ caissons, 25.000 costumes, 4 troop trains, 1 troopship, 0 Zeppelins, 200 automobiles, 50 taxicabs, 50 hansom cabs, Trafalgar square,' Tilburv Docks, 1 ocean liner, 500 dancers, 1,000 musicians, St. Pauls Cathedral, Victoria station, 15 blocks London streets. Gary Cooper is the most thoroughly American young man on the scieen, stated Faith Baldwin, the novelist wiio recently met Cooper at I aramount .Studios, where he was co-starring with Helen Hayes in a ‘A Farewell to Anns.’ “Off the screen Mr Cooper appears to be merely a tall and likeable young man,” said Miss Baldwin. But after a few minutes one is impressed by the exceeding blueness of his eves, and the lean, well-modelled contours of his face, and his very attractive hands. He makes you think of mountains and plains, of pioneers and the days of Daniel Boone. * * * That oft-made claim ’’Something new in motion pictures M will be amply substantiated by the mystery thriller Him ‘ Chandu the _ Magician, which commences at the Strand Iheatic on Friday next, That consummate actor Edmund Lowe has the role of a mastci of the old Yogi arts of black magic, and simply electrifies audiences with the weirdness of his practices. Opposite Lowe is an equally distinguished player—Bela Lugosi—who rose to fame with his terrifying rote of Dracula Co-directed by Marcel \arnel and William Cameron Menzies, Chandu the Magician ’ is said to bo the last word in spine-shivering entertainment. Especially is this true of the settings and photography, both of which came under the supervision of Menzies, formerly an art director and winner of the academy award for unusual set designing. The locate of the plot is along the upper reaches of the Nile llivcr, where Lowe, as Chandu, goes in search of the archfiend, Roxor, played by Bela Lugosi, chief villain of the film. Chandu’s effort to regain possession of a powerful death ray stolen by Roxor furnishes the chief conflict of the story. Further drama is furnished when Roxor attempts to force the beautiful Egyptian Princess Nadji to tend him the support of her people, and when ho also kidnaps the family of the man who invented the death ray. Other characters are Regent, the inventor; Dorothy, Jus wife; Betty Lou and Bobby, played respectively by Henry Walthall, Virginia Hammond, June Valsek, and Nestor Aber. Irene Ware, beautiful “ Vanities ” queen and u Miss Anierica” of 1929, enacts the rote of Princess Nadji in the feminine lead. The romance that develops between her and Lowe fulfills the love interest of the picture, which is said to be replete with suspense, hilarious comedy (contributed mainly bv the inimitable Cockney comedian,' Herbert Mundin), and an aweinspiring climax that features the threatened destruction of the world by the death ray. * # » • Admirers of the famous musical comedy ‘ The Maid of the Mountains ’ may be reluctant to believe it, but in many ways the film version of this production, which will be shown at the St -lames Theatre on Friday, eclipses the stage original. Lupine Lane, who produced this film for British International Pictures, has wisely departed from stage tricks ami made the most of the mobility of scene permitted by the camera. The famous carousing song is sung on horseback, the effect being enhanced by the clatter of the horses’ feet as the brigands ride to raid the town; the well-known quarrel song is given bv the trio ns they march indignantly through the gardens and corridors of the palace. In swift and original effect the film is rich. One song is given as a laughing chorus ansiu(r naturally and cunningly out of a humorous incident. ‘ The Maid of the Mountains’ is a distinguished successor to the line of musical films, and it is far in advance of almost any other by virtue of the excellence of the singing of Nancy Brown and Harry Welchman. The quality of Nancy Brown’s voice, its full rich tone ami perfect control, make it something to be remembered, while Welchman also is a singer of distinction. Comedy is the strong point in the show, and on this score alone it would he a great hit. As for the music —who does not know the lilting strains of ‘ Love Will Find a Way,’ ‘ Paradise For Two,’ ‘ Bachelor Gay,’ and ‘ Live For To-morrow,’ and the humorous ‘ Dirty Work?’ All these are perfectly rendered in the show. No film, silent or sound, has ever been produced in England which can boast of such spectacular splendour, delightful melodies, together with an all-star cast, as can < The Maid of the Mountains.’ The scenes of the brigands' stronghold on the mountainside, and the magnificent ballroom in wh' Ii over 200 dancers arc held up by Baldnsarre and his men, are only matched in splendour by the banqueting hall, where, entertained by a full symphony orchestra, at a table thirty foot long, the guests toast, the new Governor. During this scene Nancy Brown, the brilliant discovery of the title role, sings Fraser Simpson’s famous waltz song, ‘ Love Will Find a Way.’ The scenic splendour of the production, many of the principal scenes for which were filmed in one of England’s most famous beauty spots— Cheddar Gorge—ensures ‘ The Maid of the Mountains ’ being a super entertainment worthy to rank with the foremost films of the world. In addition to Nancy Brown and Harry Welchman the cast includes Betty Stock-field, another Australian star; Wallace Lupino, a brilliant comedian ; Gus M’Nanghton, another of 8.1.P.’s popular comedians; Garry Marsh, who plays the part of Beppo; and Renee Gadd. * * * *

‘Emma’ is retained at the Regent for another week; box office returns for the Marie Dressier feature demanding it. * * * « Ever since the pioneer days of talking pictures, when Warner Baxter 11 anied into new popularity by Ids sterling performance in ‘Old Arizona,’ he has been a general favourite. Pie is right at the top of any popularity list compiled by virtue of Ids charming personality and outstanding ability. In ‘ Six Hours To Live ’ (tho next change at tho Regent), be lias one of (be most powerful roles ever brought to the screen. It is Hie sort of part that is made to order for Baxter, and all will agree that lie turns in the host performance of his career to date. His most recent pictures are ‘Doctors’ Wives,’ ‘The ’Cisco Kid,’ ‘Daddy Long Legs,’ ‘ Surrender,’ and ‘ Amateur Daddy.’ Briefly, the story of ‘Six Hours to _ Live’ deals with a dramatic episode in international history, in which Baxter, as the representative of a small ropublie, successfully prevents the efforts of plotters to ruin Ids country mid plunge the world in another disastrous war. The plotters are almost successful in their

nefarious scheme, when Baxter miraculously appears at the psychological moment and casts the dissenting vote which saves his country and defeats the intrigue.

‘Love Me To-night,’ which is coining to the Regent Theatre shortly lives up to every tradition of a Chevalier picture —lavish production, enchanting melodies, inimitable comedy, subtle sparkling dialogue, all go to make it really splendid, exhilarating entertainment. Maurice Chevalier is right back on the pinnacle he achieved in ‘lnnocents of Paris ’ and ‘ The Love Parade.’ 'The genius of a great director, Ron hen Mamoulian, is obvious throughout the (picture, and he is responsible for some mtrigningly clever touches. In the opening scenes, with .Paris starting tlm day’s work, the various movement of the tradespeople and the clang of the traffic and commerce arc made to synchronise into a sort of symphony with the orchestra. Again, wlven Chevalier, in his tailor shop, composes a little melody, ‘ Isn’t It Romantic,’ this spreads from one person to another until it infuses the whole country. _ln the scene where Chevalier is leaving the Chateau in disgrace, the recurring “whispering” effect —“ the bounder’s only a tailor ” is most effective. Jeanette MacDonald, looking more beautiful than ever, plays opposite Chevalier, and others in the' cast are Charles Haggles, the comedian, 0. Aubrey Smith, who is delightful as the Duke, Charles Butterworth, and Myrna Loy.