ENTERTAINMENTS

Manawatu Standard, Volume L, Issue 139, 12 May 1930, Page 3

ENTERTAINMENTS

KOSY THEATRE. “IRON MASK” AND “FASHION MADNESS.” Crashing through windows amid a shower of falling glass, dexterously wielding huge {. weapons which would tax the strength of a . Hercules, scaling stone walls of terrifying f height and leaping from high precipices i are only a few of the many daring feats per- I formed by Douglas Fairbanks in his newest United Artists Picture, “Tho Iron Mask,” v which is now showing at tho Kosy Theatre. £ Fairbanks displays his superb physical fitness and form in this second story of the c adventures of D'Artagnan, and makes the valiant musketeer an almost superhuman fighting man. “Fashion Madness,” the Col-umbia-Master Picture which is also showing J at the Kosy Theatre, has Claire Windsor in the stellar role, supported by _ Reed 1 llowc3, Laska Winter, Donald McNamce, e and William E. Tooker. The locale is the < luxurious mansion of a spoiled child of , wealth, a private yacht and the Canadian ( north woods. There are several thrilling sequences, chief of .Which is a spectacular fall over a precipice with a sheer drop of . 1500 feet. This is cleverly handled by Miss J Winter. > f 1 DE LUXE TALKIES. < “THE TRESPASSER.” < It would bo impossible to exaggerate the ; perfection of the talking qualities of voice ( production in “The Trespasser,” the all ( dialogue production which stars Gloria j Swanson and concludes at the Then- , tre de Luxe to night. The whole pic- , ture is incomparably better than any of the very fine ones that have gono before in tile matter of talking as distinct from the story itself. Without exception, the voices of the cast are clear and full, so that, not a syllable—let alone a word--is lost. Very gratifying, too, although it is an American story with American actors and actresses, there arc no nasal tones to upset the susceptibilities of those to whom correct speaking of the English language is a matter of pride. The story tells, as no other story presented to Palmerston North audiences has done, the many-sided love of a woman for a husband whom, by the'inlcrfcreme of his family, she was compelled to leave: fo 1 ’ her child, on whose parentage unworthy suspicions were being cast: and for her employer who, fascinated with her beauty, befriended her in the face , of the world. The story is one calculated to bring out to the full the emotional side of the characters concerned. “THE COCK-EYED WORLD.” A notable assemblage of technical directors lent their advice during the making of “The Cock-Eyed World,” “standing by” for several days when Raoul Walsh, Fox Films director, was shooting the first scenes of this important feature and their invaluable services were tendered gratuitously. Aboard the U.S.S. Henderson, which was loaned by the U.S. Navy, were the ship’s officers, including Captain Ross Adams, commanding officers of the U.S.S. . Henderson; Lieutenant Commander Cheadle ■ and the entire staff, together with Colonel 1 Rhea, commander of marines at Mare IsL land Navy Yard, and Captain Kearney, 3 commandant at Marc Island. Victor Mc- { Laglen and Edmund Lowe are co-featured i with Lilv Damita in this Movietone ali s talker. It is based on a story written by r Laurence Stallings and Maxwell Andei* f son, who co-authored the unforgettable - “What Price Glory.” Lowe and Me--3 Laglen are still in the marines, though it - ia peace time, but there is plenty of figiite ing in the tropics—and between themi- selves. Of their many love affairs, three ? stick out prominently:_ one in the tropics i- with the gorgeous Lily Damita, another i- in cold Russia with fascinating Lelia Kars nelly, and the third at Coney Island with a- an American girl, Jean Bary. Around these j love affairs are incidents of a most human “ nature. The supporting cast is one of first rank, and includes El Brendel, Swede comic of vaudeville and musical comedy. * ‘ The Cock-Eved World” comos to the " Theatre de Luxe at 8 p.m. to-morrow. Infc ’ tending patrons should secure seats as early l ' as possible by reserving at the Central Booking Office, Broadway, ’phone 7178.

PALACE TALKIES. “THE UNHOLY NIGHT.” Inner workings of Scotland Yard, London’s famous detective bureau, are shown in graphic detail in the screen’s latest mystery thriller, “Tho Unholy Night, Metro-Goldwyn-Mayer’s all-talking him version of Ben Ilecht’s famous book, Ihe Doomed Regiment,” now showing at the Palace Theatre. Tho much-heralded now picture is easily tho peer of all mystery drama stories and moreover it has been presented by Lionel Barrymore, the masterly director of “Madame X,” with that assiduous attention to detail that makes for perfect enertainment. It may confidenly be predicted that this most unusual and superby produced picture will create attendance records, especially as the big cast of eighteen talented players give flawless performances. Roland Young makes his debut to the screen as Lord Montague, the leading male role, and Metro-Goldwyn-Mayer rewarded his fine work and attractive personality with a long term contract. Ernest Torrence, Dorothy Sebastiun (looking more beautiful than ever as a mysterious Turkish girl), Natalie Moorhead (stately blonde player), Sojin (the skilful Chinese player), Lionel Belmore, and last but not least the Australian Claude Fleming are other notables in this exceptional cast.