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New Zealand Times, Volume LIII, Issue 12459, 29 May 1926, Page 7

AN INGENIOUS FARCE. Another big audience greeted last night’s production of “Give and Take,” Aaron Hoffman’s clever comody, which is proving a big attraction at the Grand Opera House. Mr Harry Green, the leading man, is a host in himself, and lie .is ably supported by a talented cast. Mr Green takes the part of John Bauer, a Jewish husiness man of eccentric ways, who unwillingly is made the first president of a rather unique industrial democracy. The play tells of the vicissitudes of a fruit canning factory run on similar lines to the American constitution, and the ways of the workers when in control give the author ample scope for fun-making. Miss Vera Spaull provides the love interest in the show. Edward de Tisne, Edwin Lester, George Hewlitt, and Hal Percy are the others in the cast. “Give and Take” will be repeated to-night and on Monday night. NEW PRINCESS THEATRE CHARLIE CHAPLIN IN: “THE GOLD RUSH.” At the New Prinoess Theatre which. takes revivals of only the most popular films, was presented yesterday before crowded houses, “The Gold Rush,” Charlie Chaplin’s latest and best picture. It is unique, and is enacted in a manner new to Chaplin and his companies. To oat one’s own shoo —boiled—is something. But, to eat that same shoe —artistically—is an achievement! This is done by Charlie Ohaplill in his famous comedy, “Tim Geld Rush.” In what is claimed to he a delightful delineation of groat artistry, the public sees Charlie Chaplin as the lone prospector and Mack Swain ns Big Jim McKay in a lonely cabin; stormbound in the barren wastes of Alaska. They have been starving for days. In desperation, Charlie has removed one of his big, worn-out, dilapidated shoes, boiling it with tender care, he serves it a la'llitz chef. The two eat this slice. And in doing so, chey make the spectator really believe they are enjoying their repast. This is an achievement in art. For the fact, that the very thought of eating a shoe is offensive to good taste, but the shading ot this subject—which could so easily be made repulsive—is so deftly portrayed, that while convulsed with laughter the spectator will always remember the scene as one of the delicious high lights of “The Gold Rush.” The picture is too good to miss, and it shows Chaplin in the role of his career Also screening is No. 3 episode of “The Fighting Ranger,” and on the hill is the final bf the Shingle Contest. Orchestral items accompany the pictures at night. QUEEN’S THEATRE “MARRIED FLIRTS.” Pauline Frederick, who so recently said good-bye to innumerable Australian and New Zealand friends and admirers, has returned to these shores — in film form. There were many people who welcomed tho opportunity to ienew her acquaintance at the Queen’s Theatre last evening, when’the MetroGoldwyn Mayer, production, “Married Flirts,” was screened. This picture is an adaptation of Louis Joseph Vance’s well-known novel, “Mrs Paramour,’’ and among the other featured players are Conrad Nagel, Mae Busch anti Huntly Gordon. There are certain phases of this new picture reminisent of scenes in "Spring Gleaning!** which Miss Pauline Frederick mjpularised on our stages during ;Ss(rCjtouE The . story is of a wife who* beglects her husband for a career, lyses him to another woman, and thenfgets the opportunity to turn the tables on the siren. The picture has been built up cleverly with many new film situations that entertain greatly. “Married Flirts” is unusually lavish in settings, depicting scenes in and about millionaire homes in the United States, and views of a fashionable resort in ’the' South of Franco. There are, in addition, some remarkably fine scenes aboard the s.s. Mauretania. _ > A feature of special interest is the ' inclusion in one scene as extra players of Mae Murray, May McAvoy, Norma Shearer, Aileen Pringle, John Gilbert, William Haines, and the directors, Hobart Henley and Robert Z. Leonard. Admirably maintaining "-the high standard of the principal attraction, is the splendid supporting bill screened, while a specially delightful feature is the charming musical score rendered by the Queen’s Select Orchestra, under Miss Eileen Dennehy. PARAMOUNT THEATRE ‘ THE UNGUARDED HOUR.” The prevailing idea that all noblemen are poor and that all are seeking American heiresses is given a severe jolt in “The Unguarded Hour,!’ a First National picture which opened yesterday at the Paramount Theatre as a starring vehicle for Milton Sills, with Doris Kenyon featured. In this picture Sills is seen in the role of an Italian duke, but contrary to ordinary belief, this duke has money, and what is still more remarkable, he is indifferent to women and has no desire to marry. He prefers work to women. The American girl in this casp, played by Doris Kenyon, is not the victim of the scheming, foreign nobleman ; instead, this American girl deliberately sets her cap for said duke, and brings him literally to his knees by her unconventional American manner. It is a story filled with many tense moments. _ There is, for example, a thrilling airplane crash in which Miss Kenyon crashes to the hack yard of the duke in a decidedly unconventional niannor, landing in the middle of amud puddle when she is thrown from the wrecked plane. From that point to the end of the picture there is a succession of tense drama interspersed with excellent comedy which should prove a pleasant surprise to Miss Kenyon’s admirers, for in this picture sho proves herself a capable comedienne •e well aa a.n. actress whose • specialty heretofore has been emotional and ■ “sweet and charming” roles. An unusually strong supporting cast is seen in “The Ungnirdied. Hour.” Included in this list are Jed Prouty, Claude King, Dolores Cnssinelli, Vnda Ogden, Cornelius Keefe, Loina Duveon and Charles Roy or. Lambert Hitlyer directed. An A 1 St. John comedy, n grnnhio and a scenic complete jjbp hill, while the orchestral items area feature of the entertainment. I