PALMERSTON PICTURE PROGRAMMES

Manawatu Times, Volume LV, Issue 7297, 6 August 1930, Page 8

PALMERSTON PICTURE PROGRAMMES

PALACE THEATRE, “NAVY BLUES” EIOTOUS WILLIAM HAINES' COMEDY. FIRST ALL-TALKING VEHICLE. William Haines, as a hard-boiled sailor, washing out clothes on tho deck of a dreadnought, making faces behind the backs of “non-coms,” or coming out of a free-for-all unscathed, between tho legs of bruised and beaten colleagues, will not surpriso his admirers who have long been accustomed to seeing him do just that sort of thing. However, in “Navy Blues,” his first all-talking vehicle, which will be shown to-night at tho Palaco Theatre, ho will probably surprise a good many people, for in this picture lie not only gives his usual light-hearted, fun-loving impersonation, in this instance as a bluejacket, but ho also goes “dramatic,” something which ho has wanted to do for some time. So often tho tragedy lies in tho fact that the star has so long been habituated to tho one typo of role that when the time comes when ho is compelled to exhibit a chameleonlike change of colours ho is unablo to produce tho goods. Fortunately, a temperament of broad human interest saves William Haines from this fate, and in “Navy Blues” lie produces conspieu ous evidence of his ability to “ come across” any time the movie public is ready for it. Clarence Brown, creator of Greta Garbo . successes, directed “Navy Blues.” Prominent in the supporting cast are such capable players as Anita Page, Karl Dane and J. C. Nugent. Well chosen short subjects are shown in support of the principal attraction, among which arc an all-talking Our Gang” comedy, entitled “Shivering Shakespeare”; a selection of songs by Robert Chisolm, a specialty act presented by Bernard and Henri, and a Metrotc.ne News.

THE REGENT. “CAPTAIN OF THE GUARD” FIRST REAL DRAMATIC MUSICAL SPECTACLE, STARRING JOHN BOLES, MARKS NEW SCREEN FORM. OPENING MATINEE TO-DAY. A new kind of sound and talking picture will be revealed when ‘Captain of the Guard,” Universal super-pro-duction starring Laura La Plante and John Boles comes to tho Regent Theatre to-day. ! The blending of music, drama and tho spectacular in this epic of tho French Revolution marks a new screen form unlike light opera, musical shows or any existing classification. “Captain of tho Guard” is the first dramatic musical spectacle of tho films. There have been elaborate musical shows, employing large casts and choruses; there have been light operas; there have been other sound pictures in which the spectacular, either in scenic backgrounds or big sets, was stressed. But “Captaiu of the Guard” is unique. Tho story, by Houston Branch concerns the birth of the song which fanned the flames of the French Revolution. Tho chief male character, Rouget do Lisle, played fry John Boles is the composer of the “Marseillaise.” Dramatic music is thus of tho essence of the picture. Iu the vital situations whero Boles sings the beautiful love songs especially written for tho production by Charles Wakefield Cadman, and Rex Rockmcld, or the inspiring Marseillaise song, the dramatic effect is carried by the very music itself. In the climax, great mobs of extras, numbering thousands, are photographed against t ! ho background of vivid drama, with their battles, the crackle of their muskets, the booming of their cannon, and their mighty sweep to victory singing tho great song which has just been born to them. The songs and other music in “Captain of tho Guard” are not incidental to the picture; they arc its life blood. A matinee is being held this afternoon, and pattens should take advantage of attending this brilliant entertainment, thus avoiding tho crush at night.

KOSY THEATRE. ANNE NICHOLS' “ABIE'S IRISH ROSE" NOW SHOWING. «■ __ Tlig story concerns Abie Levy, who makes the acquaintance of Rosemary Murphy during the war. Romance flourishes despite the knowledge that their respective parents bear an intense hatred towards each other's race. Abie and Rosemary return to America and arc secretly married at a Methodist Church. Levy takes the girl home and introduces her as Rose Murpheski, and delightedly father urges the couple to marry. It is agreed, and all is set for a Hcbriae wedding with Rosemary cabling an invitation to her father in California. She names her prospective bridegroom, Michael Magee. Father comes hot-foot to New York with a priest in his wake, and trouble starts when he breaks in on the ceremony. Ihe young couple compromise by also going” through a ceremony performed by the priest, but the parents demand that they break. Result is that the children itnish with their parents and determine to make their own way in life. Time passes and even the extension of the family lino does not bring forgiveness from the parents. The spirit of Christmas moves them, however, and they both turn up with presents for the grandchild to which each lays first claim. The grandchild happens to bo twins, and this fact secs the end to their wrangling, with the family happily reunited and the parents fuly cognisccnt with the stupidity of racial hatred. The picture features Charles “Buddy" Rogers, Nancy Carroll and Jean Hersholt. DE LUXE THEATRE. “BEHIND THE MAKE-UP." ■ “Behind the Make-Up," Paramount's latest all-talking picture, is commencing at the Dc Luxe Theatre tonight.. Hal .Skelly, who won such favour iu “The Dance of Life," contributes another of those human performances which cling to the heart. As the “happy-go-lucky” vaudeville comediau in lovo with Fay Wray, Erich Von Stroheim's lovely heroine in “The Wedding March," Skelly gives a realistic picture of a young man, clever, intelligent but hampered by an inferiority complex. William Powell’s portrayal of an Italian artist is probably the most entertaining thing he has ever done for the screen, and this in spite o£ his immortal performances in “The Canary Murder Case,'" “The Green o Murder Case” and “Interference.” “Behind the Make-Up” is the story, behind the smiles and smirks of ilia stage performers. Skelly drifts along,

his inferiority complex preventing him from exploiting his really fine ideas to advantage. He Tails in love with Fay Wray, a little French waitress in a restaurant where ho cats, then Powell comes along, carries Skelly to Broadway fame but steals his ideas and ins girl. Both Skelly and Miss Wray arc fascinated by Powell’s scintillating personality, and it is only when events dim this faseiuation that they find the;r true selves. . The supporting programme includes a Fox News, a sketch, “Wee Bit o’ Scotch," and a comedy, “Desperate 3am,”