PALMERSTON PICTURE PROGRAMMES

Manawatu Times, Volume LV, Issue 6746, 2 January 1932, Page 12

PALMERSTON PICTURE PROGRAMMES

REGENT THEATRE “THE PHANTOM OF PARIS” IS ENTHEALLNG DRAMA. There liavo been splendid audiences at the Regent to sco the presentation oi' “The Phantom of Paris,” the Mctro-Goldwyn-Maycr production, in which John Gilbert stars so successfully -with Leila Hyains, Jean Plcrsholt, Lewis Stone and C. Aubrey Smith. On this occasion he is in the role of CheriBibi, the famous magician, who iaughs at locks and handcuffs, even those of the detective chief of the gay metropolis. His love affairs arc not successful, for tho father of the girl he loves is slain and the murder is placed on Chcri-Bibi, who is sentenced to death. At the last moment his skill enables him to cscapo prison and he lays concealed for years. Meanwhile the girl has married the Marquis, from whom Chcri-Bibi wrings a confession on his deathbed, but has no witnesses. How he takes the place of (to Marquis and proves his innocence reveals a story with a remarkably clever plot and a happy ending. Gilbert has played more than fifty roles in pictures. And it is claimed emphatically that as ChcriBibi ia “The Phantom of Paris,” he reaches the very pinnacle of dramatic heights, usually eclipsing anything he has ever done on the screen before. In tho new Metro-Goldwyn-Maycr produc tioii, Gilbert has tho difficult task of wearing three different make-ups, and playing three different men in the course of tho one story. I irst ho is seen as tho gay and jaunty Chcri-Bibi, wth tho small, black Gilbertian moustache, and the clever magic-working hands and body. Then, ho becomes the bearded, crushed and desperate prisoner, who uses his knowlcdgo of magic to cscapo from the dungeons. And finally, he is the Marquis, gray-haired, worldly wise, inscrutable.

PALACE THEATRE,

‘ COSTELLO CASE” PACKS POWER I'UL DRAMATIC PUNCH,

Bristling with hair-raising action, jammed with suspense and electric thrills, and skilfully acted by a celebrated cast, James Cruze’s new production, “Costello Case,” at tho Palace Theatre, must be set down as a powerfully dramatic talking picture, and one of tho best underworld thrillers ever made. So admirably is it put together, that its tenso action never lags. la provides gripping scenes, lightened by Hashes of genuine humour, and tho net result is the kind of screen faro that most fans go to tho theatres to enjoy. Not tho least important asset of “Cos’ello Case” is its timeliness. Hs story is concerned with the baffling murder oi. a notorious racketeer, and in their attempts to solve it, the police net catches a young couple about to make a getaway at a railroad depot. Grilled at tho station house, Molly confesses that sho and Jimmy have run away to be married. They aro released under supervision, and the police investigation is carried further, until tho crirno is pinned on Milc-Away Harry, a gangster known to the police records. However, Jimmy's participation in the affair is made known, but having started to go straight, he is permitted to continue along the right patn. Tom Moore glorifies tho Irish-American cop in a keen, smiling portrayal of tho average patrolman. It is he who takes an interest in the runaway pair, and eventually solves tho Costello murder at tho risk of nearly being bumped off himself. Lola Lane and Russell Hardic provide the love interest as the youthful elopers, and Miss Lane again astonishes with her brilliant dramatic acting, her splendid speaking voice, and her unusually good looks. Hardic registers effectively as the young culprit who gets a break, with Wheeler Oakman turning in a line characterisation as a typical underworld racketeer. Waiter Long directed the talkie from a story by F. McGrow Willis. The picture is a James Oruze production released by Bono Art-World Wide.

KOSY THEATRE. SCREEN STARS RAPIDLY GET TECHNIQUE OF STAGE ACTING. Patsy Ruth Miller, who plays the leading feminine role in “Last of tho Lone Wolf,” which is now at the Xosy Theatre, is just one clever little picture actress who has managed to make good on the stage despite the fact that she made her first, appearance behind the footlights without a single bit of special training. About the time when talking pictures came into vogue and actors began to develop a lively interest in finding out what kind of voices they had—Miss Miller was offered tho leading role in “A Man’s Man”—staged at the Figueroa Playhouso in Los Angeles. She admits sho was nervous—and she also admits she had a hard time learning her lines for the part was a bulky one. But she went through with it gamely. The result was that her performance was so satisfactory slio was given leading roles in two ether play's—“Night Stick” and “It Pays to Advertise.” Miss Miller declares that sho likes the stage, but she won’t admit that she prefers it to pictures. She is particularly enthusiastic about her part in “Last of the Lone Wolf.” It gives her plenty of opportunity ftir comedy as well as drama. Then, too, sho has the privilege of playing opposito that sterling actor, Bert Lytcll. Others in the cast aro Lucien Prival, Otto Matieson and Alfred Hickman. Richard BOtesTSvsk_v direct"*" -