AMUSEMENTS,

Otago Daily Times, Issue 20799, 19 August 1929, Page 2

AMUSEMENTS,

STRAND THEATRE. “Gentlemen Prefer Blondes,” that widely-read and discussed book by Anita Boos now forms the piece de resistance nt the Strand Theatre. It is the frank description of a girl who, in terse Ameri caiiese, can be best described as a “ gold digger. There is a great deal of humour in the story, which is excellently acted and produced. The plot tells of a youii" girl, who, after finding herself soughtafter by men, turns her feminine arts to advantage, and through the influence thus gamed becomes a film actress. She is anythnig but successful in her new vocation, and finally agrees to go to New York with one Gus Eisman, a " Button King,” in prder to complete her education. The education she gains is of a very unorthodox kind, and merely increases her femi nine artfulness, with the result that she is able to persuade Eisman to finance a trip to Europe for herself and a friend. She has many adventures on the boat and an d finally captures a wealthy American, who, in his innocence, marries her, and the spectator is left to grieve for the misguided man. Ruth Taylor, in the pnncipal role, is well fitted for the part, and she is'ably supported by Alice White, who plays the role of her companion. Ford Sterling, a comedian of proved worth, has the important part of Eisman, who is a very amusing character, while admirable selection is evidenced in the compilation of the remainder of the cast. „ The supporting film, “The Sin Sister, is an adventurous story of the frozen lands of North America. It deals with six ill-assorted persons who are marooned in a deserted trading f post, and their reaction to the terrible hardships which follow. The cast includes Nancy Carroll, Lawrence Gray, and Josephine Dunn. A comedy and a news reel complete the programme. EMPIRE THEATRE. A drama of human life, telling the story of a girl’s love for a man in a way that causes none of that rare gift of womanly dignity to he lost, is “ My Man,” which is now being screened at the Empire Theatre. The picture strikes a happy note in the opening scene, which shows the delightful intimacy of the home life of Fannie, who is mother, father, and guardian to her younger sister and little brother. It is probably in this sphere that the revolutionary effect of the “ talkies ” is most apparent, for the feeling that the characters/ that appear on the screen are not merely fleeting shadows with . no life or substance, but figures which live, breathe, and ■ speak, and above all are convincingly natural. As a Jewish seamstress with a hidden talent for entertaining, Fannie Brice gives a performance which reveals her as a comedienne of the highest standing. The story of her life, of her love for a man who was unworthy of so great a gift, the treachery which the man and her younger sisier put upon her, and the final solution of her destiny, when she finds her place as the sympathetic interpreter of the great comedy of human existence, is told graphically, but with a delicacy and restraint which lifts the inpst apathetic spectator into enthusiastic interest. The “ talkie ” portions of the production are introduced where they are most valuable, and technically they are of a high standard. In her role, of entertainer, Fannie Brice gives several pattercomedy items and songs which cannot fail to provoke hearty laughter.- "Mrs Cohen at the Seaside,” is a bright sketch of ,a young Jewish matron enjoying a respite' from the cares of the city dweller, while other humorous numbers are the son;::"Minnehaha,” a satirical picture of the life of a young Indian squaw, and one of those “dame” ditties which is rendered in an engaging manner. One of the most striking scenes in the picture is where Fannie, haying discovered on the eve of her wedding day that her man is in love with her sister is suddenly confronted by a laughing throng of girls and men from the workrooms where she is employed. and is prevailed upon by them to sing their favourite song “ My Man.” The concluding number is sting by Fannie standing on the stage of a theatre, in which she is leading lady. It is “ If You Want the Rainbow You Must Have the Rain,” which strikes a note of happy optimism, enriched by sad experience. The musical section of the programme, provided by Mr Leslie Harvey on the Christie organ, and the Empire Orchestra, under the baton of M. de Rose, is of a very high calibre, the popular organist’s operation of the huge instrument being fully up to the high standard he set when he first captivated Dunedin audiences. “ Roses of Picardy ” and “ That’s My Mammy" are followed by a selection from _ “ The Show Boat,” in which the flexibility of the instrument and the consummate artistry of the musician are equally demonstrated. The overture, “ Orpheus,” played by the orchestra, assisted by Mr Harvey, is a brilliant musical gem which is played in an exhilarating manner. A further musical treat is provided by one of the Masters of Music series, dealing with the life and works of Bizet, with, special attention to his greatest opera “ Carmen.” Mr Harvey rendered a special score of selections from Bizet’s works during the screening. A number of excellent “ talkie ” short subjects is also included in the programme, presenting Waring’s Pennsylvanians, in a selection of' band numbers,, a song and dance sceua featurig Lina Basquette, and a talking comedy “Lucky in Love,” featuring Clyde Cook. “ THE HOME TOWNERS.” “The Home Towners,” which .will be commenced at the Empire Theatre on Friday, enjoyed a great deal, of success abroad, in play form, but it was left for Warner Brothers to make it into an alltalking production. George M. Cohen is very well known as a playwright, but the stage has received all his best efforts, and consequently motion pictures in this direction have gone begging. The stage has bad its day so far as making great successes out of material that has been declared unsuitable for the screen on account of its silence. For the “talkies” are everywhere, and in the future picture patrons will see and hear successful stage plays, on the screen. “The Home Towners ” is just one instance M the possible future that lies ahead of the talking picture. Robert M‘Wade, one of the stars of this picture, after hearing his speech reproduced by- the “ talkies, expressed himself surprisingly pleased nt the comparatively new invention. The “ talkies ” are going to give the stage actors some wonderful chances in the says M‘Wade, “and at the same time they are going to gain ever greater reputations for present movie stars who are able to adapt themselves to the new order of production,” “ The Home Towners ” boasts an excellent cast of both stage and screen players, as Richard Bennett, Doris Kenyon, Robert Edeson. and Gladys Brockwell are included in the cast, besides M'Wndc. OCTAGON THEATRE. Mystery and tragedy in their darkest forms constitute the essential features of the “ Studio Murder Mystery,” which is now being screened at the Octagon Theatre. This presentation is the first film to be shown in this theatre under the new system of “talkies,” and the results which have attended the screenings so far have been eminently satisfactory. The mystery,of the murder in the film studio, whicli forms the principal theme of the production, is cleverly sustained until the final scenes, and so well is the identity of the murderer cloaked that the audience is left in doubt. as to who is the perpetrator of the crime until the story has run its course. An actor named Richard Hardel’ is found stabbed to death in an unused set in a film studio, and instantly suspicion falls on fivG people —his wife, who had threatened to ki’l him on account of his infidelities; his idrectnr, on account of his trifling with the latter s wife; Helen MacDonald, the nightwatchman s daughter, with whom Hardell had been flirting; and her father •md her brother. While the five suspects are being interviewed in the police station. Helen s father is poisoned as he is making a statement, and Helen is charged with both crimes. She stands her trial and is condemned to death. Help comes m foi’oi of Tony White, a ffanerman who is in love with Helen, and his efforts to bring about a solution of the mystery result in a startling turn of events in which the actual murderer is laid by the heels. Perhaps the most difficult vole in the story is that of Helen MacDonald, but Dons Hill is more than equal to the task set her. and her characterisation is remarkable for the restraint and delicacy of her work. In the short studies a turn by the famous comedian, George Robey, is the most prominent, and his bright patter and clever acting provide a diverting interlude in the programme. A news gazette, an all-talking dramatic

act and a comedy provide the remainder ox the programme, the synchronisation at all times being everything that could be desired. REGENT THEATRE. The screen _ version of “ Abie’s Irish Rose,” which is at present being screened at the Regent Theatre, brings before the picture lovers of this city a story with all the light and shade of human romance, with the advantage of being able to call forth hearty laughter almost at the same time that breaks down emotional selfeontroh Although it is not an all-talkie picture, s it is an ambitious production in every way, being varied in its appeal and workmanlike in its presentation. The technical quality both of the photography and . the sound- production is excellent, voices and music coming over well. The dramatic material in the play has helped the producers immensely, but, at the same time, they deserve commendation on the faithful adherence to the original version. At times the play is enlarged slightly, but this in no way destroys the value of the film. Excellent discrimination has been shown in the selection of the cast, the principal players being Charles (Buddy) Rogers and Nancy Carroll. They play the title roles of Abie and Rosemary with excellent effect, and Nancy Carroll’s sweet voice lends itself admirably to reproduction. The part of Solomon Levi, one of the stiff-necked parents who caused all the ■ trouble, is entrusted to a star of proved merit, Jean Herscholt. ‘Abie’s Irish Rose ” is a film which is well worth seeing, and sets a standard of entertainment which will not be easily upheld. The supporting programme of sound “ shorts ” is also of considerable worth. There is a very clever song cartoon feature, in which several grotesque figures appear from nowhere and go through a number of diverting antics, while carefully synchronised voices render _ a selection of 'old-time .melodies. Eddie Cantor, the popular Ziegfeld Follies star, provides a bright interlude of song hits and patter. The Audo Rathe Review 1® another feature of the programme, while_ excellent educative qualities are contained in the New Zealand Government publicity film, which deals with deep sea fishing in New Zealand waters by Zane Grey.' EVERYBODY’S THEATRE. “ The Silver Lining,” the principal filth at present being shown at Everybody’s Theatre, is a story of love'and intrigue, and the battle of two brothers for the hand of the same girl. The story deals with the adventures of Thomas Hurst, who has become engaged to Letty Dean, against the will of her god-mother. Miss Akers, his brother John is enamoured of Letty and does all in his power to discredit Thomas in Letty’s eyes. Poaching begins to increase in the estate of which Thomas is gamekeeper, and suspicion falls on him,'- and later when he discovers his brother burgling the wedding presents on the .eve of the wedding day and ultimately attempts to shield him, Thomas assumes the blame in order to divert suspicion from John. The marriage is stopped and‘Thomas is sentenced to a term of imprisonment, but matters are c a c ‘ eare d U P> although the' solution e - results in tragedy. Blunging Hoofs,” the second picture of the programme, is a story of the West in which Rex, the “ Wonder Horse,” plays a prominent part. The fifth episode of Ine Collegians" completes a well-bal- ' anced programme, GRAND AND PLAZA THEATRES. “The Silent House,” the film adaptation of the famous stage play, is the featured attraction now showing at the Grand and Plaza Theatres. The productiqn is from a British studio, and the principal players are Gibb McLaughlin. Arthur Pusey, and Mabel Poulton. The story begin m China, where Richard Winsford robs Dr Chan Fu’s joss of its jewellery. Pu follows him to London and finally kills him. B-efore his death, Wmsford leaves a half-finished letter to his hen; and nephew, telling that tbe jewels have been exchanged for bonds and also that the latter and the precious star, the greatest of the jewels, are hidden, but does not tell where. Chan Fu pre’ tends to be young Winsford’s friend, and' later attempts to wring the secret of the hiding place of the jewef from .him by means of torture. He fails, and is ultimate!^. killed. “ The Phantom City " with Ken Maynard in the principal role, is the second picture. The action is swift throughout, and thrills follow in rapid succession. The story deals with the phantom of an old mining town which frightens everyone who ventures too near to an abandoned < mine. The solution of the mystery provides ample scope for the pnncipal actor to demonstrate his prowess in. the saddle, while a charming romance runs through the production, KING EDWARD THEATRE. Ford Sterling and Ruth Taylor are the featured actors in “ Gentlemen Prefer Blondes, the film version of. the story by Anita Loos, which is at present being screened at the King Edward Theatre. Ibe story deals with the peregrinations ot a girl whose main ideal is to get as much out of life as possible, cost what it o- ay 'd- The supporting picture is “The om bister, a dramatic story of the frozen north, with Nancy Carroll in the leading role Three men and three women are stranded in a deserted cabin in the' northern wastes without food or weapons, and the camera records in graphic manner the gradual deterioration in .character of of the group and the regeneration of the others.