ENTERTAINMENTS

Manawatu Times, Volume XLIX, Issue 3287, 5 March 1926, Page 11

ENTERTAINMENTS

‘ WAGES LOR WIVES.” Mr and Mrs Average Mortal are going to see. themselves in the movies at (he Opera House, w-morrow night, in “Wages for which is announced as a film dramatization of the family bankroll. It is the Fox 'screen version of “Chickentccd,” by Guy Bolton, which enjoyed an unusually successful run on Broadway as a stage play, and it uproariously 1 funny. As might be gathered from ithe title, "Wages for Wives" deals with a problem as old as marriage (itself —whether a husband should (divide his salary on a lifty-fitty basis with his wife, or whether she should Ibe willing to accept hatever he feels like giving her. Jim Bailey, for instance, favors—and practices—the dole system, and his wife through tho

years, has come to accept it as a matter of course. She knows that, whether wrong or right such a system prevails in most homes, and sees nothing to b e gained by stirring up a fuss about it. However, her daughter, who has just become a bride, insists that husband and wife should go DO-50. She becomes quite militant, even declaring a throe-wife strike until the stingy husbands are brought to realize the all-wetness of the dole idea. Her mother reluctantly falls in line, as does also the timid wife of a neighbour, and the three leave their husbands flat, so to speak. It is at this point where the fun becomes hilarious. The three women go to a country boardinghouse, where they live the life of Reilly while the husbands unite to keep bachelor hall. Jacqueline Logan has the role of the domestic stormy petrel and Creighton Hale that of her husband. Claude CHllingwater and Margaret Seddon are Mr and Mrs Jim Bailey, and David Butler depicts a typical small town wiseacre who appreciates his own humour, whether others do or not. Zasu Pitt is cast as a clinging wife and Margaret Livingston is the village vampire, SYDNEY CHAPLIN XN CHARLEY’S AUNT. AND HOOT GIBSON IN THE SPECIAL WESTERN PRODUCTION “TAMING THE WEST.” AT THE KOSY. An amusing sketch of an Easterner in the West utterly unconscious of the fact that he is a tenderfoot, is presented by Hoot Gibson in his latest release. "Taming the West,” a Univer-sal-Gibson Special, which opens at the Kosy Theatre to-day. The picture is a virile out-of-doors story jammed with fast action, built around a wellknit plot and embellished with cleverly thought-out 'incidents. Hoot Gibson is given many opportunities for showing his versatility as a star in Westerns. To his famous ability with horses he has added some roaring auto racing scenes to "Taming the West.” Gibson is as clever with the steering wheel as he is with the bridle. In this picture he has combined some wild riding, with a series of exceptionally daring speed scenes. Racin over a boundless prairie, ho dashes through fence and takes many perilous skids, raising ,in a portion ol the prairie, a veritable dust storm. “Charley’s Aunt.” the big feature farce, with Syd. Chaplin, which is being shown at the Kosy Theatre today. is a picturisation of the celebrated play by Brartdon Thomas. As a play, this hilarious vehicle broke all money-making records for the stage. It is said that the sun never sets on “Charley’s Aunt,” meaning that it is always being played somewhere in England, United States, Canada, Australia, New Zealand, or some outlying place where good comedy entertainment is enjoyed. “Rambler,” writing in the “London Bioscope," declared that “Charley’s Aunt,” with Syd. Chaplin in the title role, will infuse such now blood into the old lady that she will continue to keep running for many generations. PALACE THEATRE. THE "AMERICAN FLOTILLA JAZZ BAND.” Palace Theatre is. as always, first with the best, and on this occasion they have boon swift to secure the services of this unique combination of American jazz exponents—certainly second to none in the country. Their repertoire of specials is replete with novelties, and their''rendering of the very fine jazz specialities is entirely distinctive. There ar G people who say that they do not like jazz music—it is safe to imagine that they have never heard real jazz music played by such a sextet of specialists as will charm the ear of patrons at the Palace on Monday next and the two succeeding nights. GREAT CAST IN “THE TALKER.” THE MODERN WOMAN AND HER WAYS. An imposing array of favorites form the cast of “The Talker,” First National’s latest offering, which opened yesterday at the Palace Theatre. In the featured roles we found Anna Q. Nilsson, as beautiful and its gorgeously costumed as ever; and the 'polished and immaculate Lewis S. Stone. These two were last seen here together in “Inez From Hollywood.” And in lesser roles are seen Shirley Mason, lan Keith, Tally Marshall and others almost equally as well known. Thus "The Talker,” from its cast alone, can b 0 guaranteed as good screen entertainment. The story is from Marion Fairfax’s stage hit of the same title, and while it unfolds a rapid succession of tense lov e scenes and thrills, finds its basis in the prosaic. figure of a woman who hates housework and likes to talk. She is one of those ultra-modern women who believes in the freedom of her sox, and she defies her husband to curb her. Miss Nilsson as the talking wife, and Stone in the role of the silent, or rather silenced husband, find ideal scope for some excellent portrayals. The plot ascends tensely dramatic heights when Miss Mason, as the young and unsophisticated sister

of the “talker,” follows nor preachments and elopes with a youth who turns out to be a rogue. A series of thrilling episodes are the result, but happiness finally rescues the girl, and the husband is enabled to silence his wife with that most withering of all phrases: “I told you so.” “The Talker” was produced by Sam E. Rork, Inc., and directed by Alfred E. Green. Green’s direction of Colleen Moor e in “Sally” and other good screen plays has brought him up to the pinnacle ! of his profession. The excellent photography is the, work of Arthur Edeson, who filmed First National’s great special, “The Lost World.” “The Talker” will continue at th e Palace until Saturday night. PARAMOUNT EXTENSION. “WILD HORSE MESA” EXTENDED UNTIL SATURDAY. Owing to th e large number of picf.u regoers who have been disappointed by not being able to see this gigantic, super Zane Grey picture, “The Wild Horse Mesa,” special arrangements have been made for the season to be extended to the end of the week. This picture is without a doubt the greatest Zane Grey picture that has ever been screened, and probably the finest outdoor of the American “Wild West” presented before (he picturcgoers public. The proof lies in (the enormous attendance at th Paramount Theatre Ibis week. The story depicts in gripping manner tho barbarous scheme of a gang of horse thieves and outlaws to capture several thousands of wild horses by stampeding them Inito a barbed wire trap. Under the shrewd and intelligent direction of George B. Seitz, this scheme is developed and embroidered with an assortment of such tremendous cllhiaxes as to chill the blood of the most hardened plcfnregoer. The final thundering thrill, showing the terrific charge of wild steed's, is, in itself, a masterpiece. Jack Holt, who portrays the leading role, covers himself with dramatic glory, and gives a superb exhibition of horsemanship skill. Noah Beery handles the “bad man” part with his usual finesse; Billi e Dove, charming and lovely, furnishes the delightful love interest. Bookings for this picture can be made at the Theatre as well as at C. G. Swallow’s, and the prices are as usual. “LEAVE IT TO JANE.” On Monday, March 15, and Tuese•lay. March 16, the J. C. Williamson New Musical Comedy Company will play a season at the Opera House, commencing with “Leave It to Jane,” a new and brilliant musical play. “Leave it to Jane” is said to be exceptionally well provided with good comedy and bright music. The story deals with the football rivalry of two American and how “Jane” vamps a student in order that he shall play for Attwater against Bingham and his father's wishes. The fact that the choruses are composed of college boys and their girl friends ensures lively and original scenes. Athol Tier's original physiognomy is a decided advantage when in tho part of Bub Hicks (writes a prominent Sydney paper). He is a callous freshman who can’t make his feet qr hands behave. Mr Tier is a valuable asset. To make her first; appearance here is Miss Dorothy Lena, an English musical comedy star of magnitude. Miss Lena plays Flora Wiggins and according- to Australian critics is a distinct success in the part. What appears to be a particularly strong cast, includes Mona Barlee, Elma Gibbs, Leyland Hodgson, Hugh Steyne, Jack Cannot, Harry Wootton, Fred McKay. Rita Nugent, Bloa Gibbs, Cecil B. Scott, Hugh Steyne and Athol Tier. The play which is in two acts has book and lyrics by Guy Bolton and P. G. Wodehouse. The fact that the music is by Jerome Kern should be a guarantee for grace and harmony. The company numbers over 150 people. Tho box plans will be opened at the Opera House on Friday, March 12th. “Whirled Into Happiness.” “Whirled Into Happiness,” the second production of the J. C, Williamson Season, will be presented on Tuesday, March 16. “Whirled Ito Happiness” is, writes the critic of the “Sydney Sun,” a typical musical comedy. In this play, the man who borrows the dross clothes is an ordinary barber, and his masquerade as the Duke of Brancaster is largely the fault of an ambitious cloak-room attendant, who thrusts the title upon him. Athol Tier is in his o’ement in tho latter role, and his air of disgust when ho discovers he has been dancing attendance upon a common barber is one of the funniest situations in the show. An anonymous advertisement in the agony column in the original cause of the tangle, and. one, hy one, every character in the story becomes involved in the deception. Mona Barlee, who is delightful as the volatile dancer Delphine. scored an immediate success. As Florence Horridge, Norah McManus sang and acted , charmingly. Low comedy opportunities came in handfuls to Jack Cannot, her father (Mr ’Orridgo), who spent the main portion of the night selling his ’arfcrown ’ats. His shaving scene with Athol Tier was the funniest in the production, while Reita Nugent and Fred McKay were others that also earned dancing honours. Leyland Hodgson made a handsome and ardent lover, and other roles were well filled by such well-known artists as Hugh Steyne, Harry Wootton and Elina Gibbs, and Rosie 1c Varde made an appropriate spouse for Mr 'Orrldge.