ENTERTAINMENTS

Manawatu Standard, Volume IV, Issue 210, 6 August 1931, Page 3

ENTERTAINMENTS

KOSY THEATRE. REX BEACH ST6rY. The first story ever sold on a royalty basis for motion picture production was “The Spoilers,” according to information brought to light by Paramount during the recording of this famous thriller as an alltalking picture. It is now screening at the Kosy Theatre. It was in 1913 that Sehg was first approached by Rex Beach with an offer to soil the 6tory for the screen. Negotiations between tho two were conducted by John Pribyl, literary agent for Selig, who was somewhat astounded when Beach demanded £625 for the screen rights. Tho figure was unprecedented in tho industry. An agreement was finally reached whoroby Beach was to receive a certain royalty of the gross returns. Ho subsequently realised a fortune from the deal, receiving many times the amount he first demanded. Tho story has since become one of the greatest pieces of motion picture property in tho industry. Paramount secured the screen rights through Edwin Carewe, who bought them as a personal investment several years ago. Carewe directed tho production as a modern sound picture of elaborate scale for Paramount, with Gary Cooper featured in the cast. PALACE THEATRE. MOVIE COMEDIANS SURPRISE THEMSELVES. You never can tell until you try. An old adage, but again provod truo in the case of Charlie Ruggles and Natalie Kingston, that pair of' romantic comedians who appear with Clara Bow in that star’s latest hit, “Her Wedding Night,” -which as a Paramount picture is showing at the Palace Thoatre. Ruggles and Miss Kingston found they could do things for laughs they had never done before while making “Her Wedding Night,” and without trying. They discovered, to their own surprise, that they were acrobatically talented. Directed by Frank Tuttle, the two comedians went into a sceno in which Miss Kingston was to faint and Ruggles was to catch her and hold hor up. They were instructed to “make it funny.” The scene was to reach its climax when Ruggles loaded tho inert form of Miss Kingston on a carpet sweeper and dragged her from the room. All went forward with reasonable smoothness until Ruggles, struggling to support tho relaxed Miss Kingston, slipped and fell, with her crashing on top of him. Director Tuttle refused to believe the fall had been unintentional, and on tho next “take” ordered them to do it again. Counting two “takes” each for the long, medium and close angles, Ruggles and Miss Kingston did their fall six times. Now they arc ready to go out as the opening act on any vaudeville bill. AT THE REGENT. “TONS OF MONEY” A FAVOURITE. Tom Walls and Ralph Lynn had had just about tho saino vast amount of stage experience when they teamed up in London with plans drafted for the production of farce comedies at the now world-renowned Aldwych Theatre, and the fame of the two men spread equally as they appeared together in such productions as “Rookery Nook,” “Cuckoo in the Nest,” and “Plunder.” Whimsical Walls jumped out in front of his partner in mirth with his magnificent performance at tho Aldwych in Ben Travers’ “Thark,” but Ralph retaliated by hitting tho bull’s eye in the London presentation of “Tons of Money.” The comedy pair both went off the same mark when British Dominions signed them up to make a screen version of “Rookery Nook”; both wero acclaimed the world over, and although Walls has appeared on his own in the Frederick Lonsdale pictures, “On Approval” and “Canaries Sometimes Sing,” Lynn adds some popularity laurels to his crown as Aubrey Allingtcn in “Tons of Money,” tho current attraction at the Regent Theatre. Lynn during the course of the picture does threo impersonations, each succeeding one being seemingly more brilliant and inimitable than its predecessor. Tho cast includes Mary Brough, Robertson Ilare and Yvonne Arnatid. The latter, incidentally, appeared with Tom Walls in ’ “On Approval” and “Canaries Sometimes Song.” “Tons of Money” is undoubtedly the best comedy the screen has ever given us, not forgetting “Rookery Nook,” “The Middle Watch” and “Plunder.”

“AIONTE CARLO” ON SATURDAY. “Monte Carlo” is the name of the new Paramount picture to bo seen at tho Regent Theatre on Saturday. Named after the famed town of tho tiny principality of Monaco, playground of the rich, comic opera lanU of princes, princesses and blue horizons, this picturo has been _ deftly directed by Ernst Lubitsch. It is a musical romance. A bride runs away from her wedding, gambles her fortune on the spin of tho wheel, and falls in love with a hairdresser. That in itself docs not sound intriguing, but the charm and skill of Lubitsch make “Alonte Carlo” one of the greatest productions the theatre management have had the honour to present. Jeanette SiacDonald is the runaway Countess Vera. Jack Buchanan, tho London musical comedy favourite, shares the honours as the Prince 6f an unknown kingdom posing as a barber. Others in the cast arc 2a=u Pitts, Claude Allister and Edgar Norton. Several catchy songs are sung by Jeanette MacDonald and Jack Buchanan. The plans are now open.

SACRED CONCERT.

On Sunday night, at the Opera House, a very fine and varied programme of instrumental and vocal music will bo presented in aid of unemployment relief. Alias Dorothy Southey Baker will play a violin solo, and is also bringing a party of instrumental artists who will present several short concerted numbers which everybody will be able to understand and enjoy. In tho vocal section, students from Air Garde Grimshaw’s studio will be heard in some beautiful harmonised numbers, and several singers will appear who are new to Palmerston North audiences. Numbers have been carefully-chosen to suit all tastes. The accompaniments will be in tho very capable hands of Airs Gilmour. The full programme will appear in Saturday’s paper.