AMUSEMENTS.

Otago Daily Times, Issue 20952, 15 February 1930, Page 19

AMUSEMENTS.

OCTAGON THEATRE. ■.. A double feature programme, in which the merit of each production stands so high that considerable difficulty would be experienced in ' differentiating between them, is a rarity, but it can truthfully be said that the programme which received its initial screening at the Octagon Theatre last evening achieved that distinction. The two principal attractions, “Sal of Singapore” and “High Voltage,” provide excellent entertainment, and the management of. the Octagon Theatre can be assured of strong public support during the currency of the present offering. The first film, “ Sal of Singapore,” is a production in which the salt tang of the sea predominates, although for a sea story it is refreshingly free from mutinies and obviously faked storms, with model ships playing a dubiously effective part The principals provide the greater part of the action, which breathes of the autocracy which exists on shipboard, where the skipper is undisputed ruler of his little domain. The role of Sal, the waterfront girl who is “ shanghaied ” by Captain Lief Erickson, is admirably enacted by Phyllis Haver, and the part of the heavy-fisted captain is graphically portrayed by Alan Kale. The story deals with the finding of _ a baby in his' ship’s boat by the captain, and his subsequent search along the harbour front for a woman to care for it Through Captain Sunday, an old enemy, he finds Sal, and carries her off to his tramp steamer. When he. releases her, she struggles furiously, but he locks her up and puts out to sea. Later Sal finds the baby, and, pitying it, begins to fondle it. The mother instinct is aroused in the girl, and when Captain Erickson comes into the cabin she sends him in search of food for the half-starved infant. Although the captain is undisputedly supreme above deck, he soona finds that the tables are turned when he goes below. However, he forms a strong affection for the child, and looks on Sal .merely as an m- ' strument towards its welfare. Light breaks on. him, nevertheless, when the ship reaches the end of its journey, and he discovers that his affection for the baby is more than equalled by his love for the girl. The subsequent denouement is as unexpected as it is thrilling, and the-, climax is reached when a stirring fight between two hostile crews is enacted -in midrocean. The second feature, " High Voltage,” is a story of the high Sierras in winter time, when a party of widely-diverse types is marooned in a little church on account of their motor bus having sunk into a snowdrift. In the party are a sherriff, his blonde prisoner, a banker and bis bride to be, and the. bus driver, the number being ‘augmented’ by the appearance it the church of a nomad, who instantly assume command of the situation. He has food, ,nd ■ the ■ others have not, and =as it is not known when they will be . able to leave their shelter, rations have ■ to be resorted to. The wanderer finds' that the girl in the sherriff’s'charge is being taken to prison. The two fall in love, ‘and, when supplies are low, decide to make a dash together for the nearest ranger’s post. They have just left the building at night when they See an' aeroplane circling Overhead, and finally conscience forces them to awaken’, their companions arid acquaint them of the news, thereby losing their own chance of escape. The climax is particularly convincing, and. provides a fitting conclusion to an outstanding production. In the leading roles are Carol Lombard and William Haines. An interesting Fox Movietone News completes an excellent programme.

; “FLIGHT.”' ' “ Flight,” the Columbia all-talking aviation production, which will. commence at the Octagon Theatre next Friday, was made with; the co-operation of Government officials'.in Washington, Captain Francis E. Pierce, of. the United States Marine Corps, was detailed to .supervise war scenes'in the picture. Colonel Harry Lay, temporarily in charge of the Marine Base at. San Diego, was also actively engaged in the direction of ■ the battle sequences. In commenting on the work done in San Diego, army officials have stated that the, machine gun firing, the aerial, action, and the manoeuvres of the ‘soldiers are true to actual warfare. All the machine guns and other artillery were copied.from what was used in the recent Mexican rebellion,, and the planes are accurate duplicates of ihpse used in the Government ■ marine base. -Before a single scene . had been'made a crew of technical men, under the supervision of United States marine officers, were sent to San Diego, to prepare the battle ground. The, fort used by the marines in the picture is an exact duplicate of the one that played an important part in the Mexican revolution. ■ • Jack ■ Holt, Lila Lee, and Ralph Graves are thp featured players. Holt’ and Graves, ‘ the “buddies” of “Submarine,” portray the same type of role in'this attraction. This time they perform daredevil feats in the air which' are as thrilling and hazardous as the stunts they performed under the ocean.

' . REGENT THEATRE. • Motion picture patrons are occasionally heard to complain of the length of the average programme which is screened nowadays, and,, at times, such complaints are undoubtedly justified,- for, unless the entertainment is of an extremely high standard, it cannot fail to bore many. Such is not the ease with the new programme which commenced its season at the Regent Theatre yesterday, and not a single member of the large audience which was assembled in the theatre last night could possibly find cause for complaint, long as the programme was. From the overture by the unseen orchestra— Jordan’s “ Right Away ” —to the march out, the entertainment has not a dull moment. The picture programme is commenced''with' a Hearst Metrotone News budget, which contains several matters of topical interest, notable among which are vivid and dramatic pictures of the attempted assassination, of Prince Humbert. The shi-t is heard, and the resulting confusion is graphically depicted. The current comedy is also a notable one. It is entitled “ The Sky Boy,” and, curiously enough, the scene is set almost entirely amongst the ice. An aeroplane is wrecked on an iceberg of huge dimensions, and the heroine and the villain tumble out to find that they are stranded. These roles are filled by Thelma Todd and Eddie Dunn. It is -then found that they are not alone; there is a stowaway on board This is no less a person than Harry Langdon, the well-known comedian. The situation, it can readily be seen, has vast possibilities. " The Sky Boy ” is as nearly perfect as it is /possible for a talking talking comedy to be. “ Ship Ahoy ” is described as a breezy nautical revue It has a picturesque introduction in which a huge warship is seen making her way towards port. The scene then changes to the stage, which is decorated to resemble the deck of a warship. In the foreground are Phil Spitalny and his Hotel Pennsylvania orchestra, who play Tschaikovsky’s “ 1812 ” overture. Assisting artists are A 1 Wohlman, in the role of master of ceremonies; the Ponce' sisters seven dancing stars who appear in some intriguing numbers, the Chester Hale girls, and Peggy O’Neill. This portion of the programme provides 20 minutes’ excellent musical entertainment. ' The cntr-acte is “A Night in Vienna,” by Konzak. Why the main item on the programme should have been called “ The Street Girl ” is a mystery It is a story of a little waitress in a cafe and four musicians. Betty Compson has the leading role—that of Freddie Joyzelle, the waitress. The four' cabaret players are Mike (John Harron), Happy (Ned Sparks), Joe (Jack Oakie) and Pete (Guy Buccola), and the incidentals are provided by Doris Eaton and the Radio Beauty Chorus and Gus Arnheim and his Coconut Grove Ambassadors. There is plenty of comedy, most of it being supplied by Oakie and Sparks.

The story opens with the four playing in a small cabaret for the sum of 100 dollars per week. They are immensely popular, and the cabaret never lacks for customers while they are on the stage. Then one ni"V. as they are going home, Mike .sees a man annoying a girl. He goes to her rescue, and discovers that she is starving. He has just bought supper for the .boys, and he persuades her to come in and share it. She tells them of her home in Europe and speaks of her devotion to her violin—which, unfortunately, is in pawn. She takes Happy’s instrument, and with Mike at. the piano, plays an old air which the boys see will make an instant “hit” at the cabaret. As Freddie is about to go, Mike discovers that she has nowhere to go to, so the boys make her stay at their rooms, poor Happy—so named because of his sombre mien—having to give up his bedand sleep on the piano. Nest day, Freddie tells the boys they are fools to play every night. for the small pay they receive, and she tells them to demand twice as much, which they do with the result that they lose their position. However, Freddie persauades Keppel, owner of the Little' Aregon Cafe, to give them a trial. On the night of the'experiment, Prince Nickolans, heir to the ) throne of Freddie’s country, appears at the cafe, and he recognises the girl as the violinist who had played before him at home. Lie kisses her, and immediately trouble ensues. Mike, who has fallen in love with the girl, hates him. The prince receives new that a revolution has deprived him of his heritage. Things go on from bad to worse, except that the four boys and the girl are the pride of their employer and the idols of New York. They obtain a contract at SOOOdo! per week. Ip the end, the tangle is straightened out and a thoroughly romantic and satisfactory climax is reached. The greater part of the story, of course, has music as its theme, and the music that is provided is of a much higher standard than is heard in the majority of similar productions. Many will find it a relief to note that the blaring of the saxophone has been stilled to permit of the mellower tones of the violin to beheard, wliile the clever, manipulation of the piano, cornet, piano-accordeon, guitar and clarinet by , Mike and his boys is always a pleasure to see and hear. There is not a great deal of singing in .the picture, but what there is is decidedly acceptable. Betty Compson can always be relied upon for a really good performance, but her work in “The Street Girl” is such as to make all her previous productions appear poor by contrast. As Freddie Joyzelle, the little foreigner, stranded in New York, she is a truly pathetic figure, and this atmosphere is enhanced , .by her accent, which is always in keeping .with her role. Later, when good fortune has come ■ ter way, and she is no ' longer pathetic, she appears still to be quite at home in her part. Sparks, as Happy, gives an excellent portrayal of the pessimistic, unsmiling member of. the 1 quartet, and all the other ’ members of the cast also play their parts to perfection. The sound recording is excellent throughout, and the voices, not only of the principals, but also of the subsidiary members of the cast, are much clearer and less harsh than .those of the majority of American players.

“THE UNHOLY NIGHT.” The Regent Theatre will present next Friday what is . described as a ■ mystery film. “The Unholy Night,” the title of this gripping picture, is certainly not a picture for weak-minded or nervous people. It is said to be the most awesome, most mysterious, most gripping sensation of the screen. Lionel Barrymore, who scored such. a success' with “ Madame X,” directed the production, and gathered together a wonderful cast—Roland Young as Lord Montague, Ernest Torrence as Dr Ballou, Dorothy Sebastian as Lady Efra. • Sojin, the Chinaman, scores a triumph as the weird Oriental mystic. Sir James-Riimsey, of Scotland Yard, is excellently, portrayed by Claude Fleming, the Australian. John Miljan enacts the part of Major Mallory, and Polly Moran is seen as the maid. Many other wellknown names are seen and heard in the big cast. EMPIRE THEATRE. “Sweetie" is experiencing a good run at the Empire Theatre, where large audiences have been congregating daily to see this very entertaining picture. That firm favourite, Nancy Carroll, has the principal role, and she plays it with just the requisite amount of lightheartedness and , “Sweetie” is not - a serious picture; it is froth and bubble from beginning to end, but there is never a dull moment. Miss Carroll is‘seen as, Barbara Pell, a chorus girl, who , is very much in love with the captain of the Pelham College football team, “Biff” Bentley. The latter decides to leave school and marry Barbara, but when he makes the news known the -football coach persuades him that it is his duty to remain and help the team to defeat Oglefort, Pelham’s most dangerous football rival. “Biff” decided to stay, and this annoys Barbara very much. By a timely inheritance she is bequeathed Pelham College, and she takes up the position of headmaster. She then proceeds ; to wreak vengeance on the football team for her shattered romance. The champion tackier of the team falls into Barbara’s bad graces, and she forbids him to play in. the big match. She. relents later, however, and, becomes as enthusiastic as anyone for the success of the college. From this point the story works out to a very satisfactory conclusion. The supporting programme, which, is a varied one, includes a Fox Movietone News, which gives an interesting survey of worldevents. A very laughable comedy is “ The Wife’s Birthday,” in which Sally Ward has the principal part. Perle Barti sings, in her inimitable manner, “ Amor Fugaz" and “ Ojos Negros,” and -is accompanied by Basil Tontorsky and his orchestra. Mr Leslie Harvey has chosen for this week the “ Pique Dame ” overture and “Tiptoe Thru’ the Tulips with Me.” “ WHY BRING THAT UP.” All those who have laughed long and lustily over the “Two Black Crows” gramophone records will be keen to see Moran and Mack bn the screen in their amusing comedy-drama, “ Why . Bring That Up? ” which will be screened at the Empire Theatre on lYednesday next. These famous American vaudevillians specialise in black-face cross-talks on original and vastly entertaining lines. The “Two Black Crows” are said to be the laziest pair of “ coons ” in the who'e world, and they seek, in their own quaint way, to justify their attitude toward life by a philosophy that causes screams of laughter. Gramophone lovers will be interested to learn that in the course of' the picture they present the duologue which brought them disc fame, and they also present the prisoner act. But it is not all broad A strong human interest is introduced by the inevitable woman who comes between the Crows, and well-nigh wrecks their friendly partnership. Betty is a real “crook.” She will do anything for money, and when she sees that Moran and his partner have made a real “ hit ” in “ The Early Bird ” revue, she manages to obtain a small part in the show, and deliberately and with malice aforethought, sets out to vamp the man, in which nefarious scheme she is assisted by her partner in crime, Powell. Mack, who has always disliked the woman, is at last stirred into action by Moran’s changed habits and demeanour towards himself, as well as by the knowledge that he is being ruined by Moran’s extravagance. Urged on by the. manager, Mack visits Betty’s ■ dressing-room, and dismisses her from the company. She at once appeals to Moran, who takes her part. There is a heated scene, ending in a melee, in the course of which Powell fells Mack with a huge vase. There is consternation back of the stage, and Mack is taken to the hospital in an unconscious condition. That same night Betty

and Powell endeavour to persuade Moran to invest in a lot* of bogus oil stock, and on his demurring, Betty shows the ugly side of her nature, and Moran at once sees that he has been duped, and that all Mack has said about the woman is true. Full of contrition, * he returns to the theatre, only to find that his partner has been rushed to a hospital. Subsequently black, still unconscious, arrives at death’s door. The doctor says that if something cannot he'devised to arouse him from his state of coma he will die. It is suggested that.one possibility is the voice of his old. partner, and, in a very touching scene, Moran, still in his black-faco make-up, is rushed to the dying man’s bedside. With tears in his voice Moran begins the old “early bird” patter. At first there is no response from Mack, but as Moran persists the lips, are seen to quiver and then move in the old responses, and gradually the lazy old voice is heard saying, “Why bring that up?” Thus by reaction the brain is awakened, and life saved. The r?st is the usual happy ending, with the old relations cemented more firmly than ever by the grim experience the “ Crows " have passed through. STRAND THEATRE. The latest addition to a long list of! successes at the Strand Theatre is the film On Trial.” Chief amongst those engaged in the production of the principal attraction are Pauline Frederick and Bert Lytell, followed by nine other picture screen artiste, all of whom are more or less familiar to picture patrons On Trial ” (on the- screen) is a development which originated in' a very clever stage play, and the original has lost nothing in the screen reproduction. The heroine, Joan Trask, is placed on “the stand,” better known as the witness box, in a court of law, and called upon to explain several matters. After that the picture becomes retrospective, and shows how Joan, as a young girl, had had to face many temptations. To particularise, Robert Strickland (Lytell) is on his trial for the murder of hie friend, Gerald Trask, from whom he has borrowed 20,000 dollars. To some extent Strickland is involved in the killing, though not the actual perpetrator of the crime—that is the work of an -accomplice. Strickland objects to the trial proceeding, and emphasises that he has confessed his guilt, and is willing to take the consequences. The trial, however, goes on, Mrs Strickland has disappeared, but Mrs Trask takes the stand, and describes what took place on the fatal night. Soon afterwards Mrs Trask had been attacked by a shadowy figure, that proved just as elusive as shadows always do, and escaped. Trask bad a secretary named Glover, and he it was who, at-the critical moment, struck Strickland with a stick, and held him for the police. A great many complications follow; indeed, the -story becomes a tangled skein. Incidentally, it turns put that Mrs Strickland had known Trask two years before her marriage to Strickland, and Trask had proposed to her. Trask had induced her to accompany him to Long Island, under a promise that he-would marry her next morning. She learns afterwards that she has been tricked. On the day of the murder Trask had demanded‘that she should come to him at Long Branch, threatening her with disclosures if she did not do so. These discrepancies in Glover’s evidence are discovered, and Glover confesses having stolen the 20,000 dollars. Nothing more need be said. •' Those who visit the Strand Theatre will see and hear for themselves. A Vitaphone play, “Solomon’s Children,” in which Hugh Herbert (famous as an. exponent of feemetic character) ' appears! ■is exceedingly amusing. There is a good deal, of music of a very attractive kind in the new programme, this, portion of the performance being varied, and while it may not contain much that comes within the term “classical,” all is well worth hearing, ' KING EDWARD, THEATRE. The principal picture on the new doublefeature programme at the King Edward Theatre is “The Power of Silence.” The spirit of'the Old West is very attractively conveyed in the second picture, “Under the Tpiito Rim,” in which, Richard Arlen and Bebe Daniels have the leading roles.