AMUSEMENTS

Otago Daily Times, Issue 21018, 6 May 1930, Page 3

AMUSEMENTS

OCTAGON THEATRE. “ Nix on Dames ” is the principal attraction on the current programme at the Octagon Theatre, In the story the acrobatic team of Bert Wills and Johnny Brown form a woman-hating duet. They have fought together as pals at the war and on and oft the stage for years, but no woman’s smile had ever served to separate thciu. In practising a new balancing act Wills is injured, and he and his partner take rooms at an actor’s boarding house in New Yotk. It is here that they meet two women—a dancer and a singer, and the acrobats eventually find themselves interested in the dancer. The story of the complications which ensue, and of the utlimate happy ending makes an entertaining picture. The second picture is “ 'Die Wrecker,” a story that for sheer thrills and hair-raising situations has few equals. The story deals with a fiend known as “ The Wrecker," who is responsible for many disastrous railway accidents, several of which are depicted in the _ film. The railway smashes, as shown in this remarkable production, are one of its special features, and the various scenes of express trains travelling at terrific speed are thrilling in the extreme. An • all-British cast, including Benita Hume, Carlyle Blackwell, Pauline Johnson, Winter Hall, and Joseph Striker, enact its roles with dramatic assurance. In addition to the two main feature films there is an excellent Fox News, and the musical items by the unseen orchestra add a finishing touch to the new programme. REGENT THEATRE. Variety is the outstanding thing about the present • programme at the Regent Theatre. The principal picture is “ Their Own Desire,” in which the leading role is taken by Norma Shearer. The sparkling, scintillating performance ■ of Norma Shearer is a delight from beginning to end, and the fact that she is cast in a role that is eminently suited to her particular abilities and charms only adds to the distinction of the portrait she draws. The peculiar ‘ beauty of the musical discourse made by an exceedingly competent saxophone band will undoubtedly make. a very definite appeal to a great many people, and this item in the supporting programme must he commented upon, but what will meet with far more general approval is the singing of the Miller brothers, ■Ed. and Lou, who are very pleasing in “ Auf • Wiedersehn,” impressive in an English duet from "Rigoletto,” and captivating in ''High Upon the -Hill Tops.” To near “ Side by Side ” sung half in English and half in Chinese, and to listen to the lilt of '* Hello* Melody, Good-bye Jazz,” is a treat that is not often offered by the talking films. Charles King sings as a finale Climb Those Golden Stairs "in a very pleasing style, but enjoyment of this number reaches ita height when the entire company joins in a chorus that is as melodious as if is colourful. Another feature that must command attention is the comedy item in which Harry Langdon demonstrates that he is as capable of entertaining with his “ talkie ” offerings as ever he was in the silent film. ''The Fighting Parson” is genuine good fun. The vocal overture, “ The Belle of New York,” is a notable feature of the programme, but one is inclined to appreciate Liszt’s *‘ Liebestraum,” more because of the manner in which it is played. ‘‘.DEVIL-MAY-CARE.” While “ Devil-May-Care," Ramon No- : varro’s first musical romance, which -will he comnienced at the Regent Theatre on Friday, was mainly made, for romantic •purposes, it is a picture of one of the great historic moments of history. The banishment, and the subsequent imprisoning of Napoleon’s lieutenants, provides the excuse for the plot of “ Devil-May-Care.” Supporting Novarro in this musical romance are Dorothy Jordan, musical comedy > star. Marion Harris, well-known revue singer, John Miljan, Clifford Bruce, George Davis, and William Humphrey. STRAND THEATRE. At the Strand Theatre this week the I principal picture is entitled." Hard-boiled ! Rose,” in which the story is told of an aristocrat named Jefferson Duhamel, who has lost heavily at the gaming table of Julie Malo. Jefferson has lost two hundred thousand dollars, and Julie’s son Edward and Steve Wallace—who really run the gambling den—are well aware of Jefferson’s plight. Rose Duhamel returns home from a finishing school, and straighti way falls in love with John Trask, net i father’s private secretary, and accepts bis : offer of marriage, Duhamel approving. : Duhamel and Julie, of the gaming house, ; have a violent quarrel, and as a result immediate payment of the gambling det is demanded. As a result, the aristocat Duhamel hurries off to his office, steals the firm’s securities, hands them over to Julie, and shoots himself. Death is said to be due to heart failure, but Trask allows himself to be imprisoned for the theft. Then Rose—exceedingly well played by Miss Myrna Loy—discovers that Trask is innocent, finds out the whereabouts of Julie Makys gambling den, and, through Julie’s son Edward, discovers where the securities are hidden. How Rose eventually saves the situation for Trask makes a satisfactory conclusion to the picture. There is a strong supporting programme.

EMPIRE THEATRE. The screen adaptation of Owen Davis’s stage play, " To-night at Twelve,” is at present being shown at the Empire Theatre. It is a story of a matrimonial tangle, in which the wife finds a note written by her husband to some person unknown, making an appointment for 12 o’clock that night. Burning with jealousy, she invites her three best friends and their husbands to her house, and when the men-folk are absent, accuses her friends,, singly or collectively, of carrying on an intrigue with her husband. The m eventually hear of the trouble, and instantly the seeds of suspicion are sown, and although vehement declarations of innocence are immediately made by the suspected witfes, confusion and bitter .wangling break, out. Further complications arise when it is hinted that this Is not the only intrigue existing ivUli n small circle of friends, with the result that the general confusion is multiplied tenfold, A dramatic but highly satisfactory solution to the problem is at last arrived at, and all parties are reconciled. There is a strong supporting programme, and l Mr Joseph Wayne again renders several excellent numbers on the Christie organ.

“ THE MIGHTY.” George Bancroft will be seen in “The Mighty,” which will be commenced at the Empire Theatre next Friday. The cast ie a good selection, and includes Esther Ralston Warner Gland, Raymond Hatton, 0. P. Heggie Dorothy Reviei’, and Morgan Farley, The story is that of a pre-war gunman who smiled at the law, was forced into the war, and emerged a national hero without a past. He is made police chief of a crime-ridden city, but his ofil gang finds him, and they plan a grand raid with his aid. Growing tired of waiting, they hold up three banks while Bancroft and the police force are at a picnic. Off goes George at the head of 50 motor cycle officers, riding at breakneck speed, firing as fast as their automatics will shoot! Of particular interest is the return of Monsieur De Rose and the Empire Concert Orchestra, which will present the latest American and European successes and request selections. Mr Joseph Wayne will again preside at the console of the Christie Unit organ, and, besides playing with the orchestra, he will present a programme of special organ items.

PRINCESS THEATRE. “ Disraeli,” which is now in its third week at the Princess Theatre, continues to draw crowded houses to see this picture of England’s great Jewish prime minister, and that dramatic incident m his career—the purchase of the Suez Canal shares. It has been the custom to laugh aside any suggestion that the talking film would ultimately eliminate entirely the legitimate stage, but such a possibility quickly becomes a probability with the advent of films of this type. And, after all, if the sound studios are able to maintain a standard of quality consistent with that set by “Disraeli” the loss of the legitimate stage is not likely to be so keenly felt. Perhaps the most outstanding feature of this picture is the clarity and purity of the diction. There is no need to strain to hear. Every word is broadcast perfectly and every note of music, voca} or instrumental, comes across to the audience to a nicety. The acting of the principals, and particularly George Arliss. who has the title role, is of an