SCREEN AND STAGE

Otago Daily Times, Issue 22211, 14 March 1934, Page 3

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN.

British Army “ On the Map ” “ Orders is Orders,” the picture coming to the Grand Theatre on Friday, is a clever skit on film methods and military red tape, and from beginning to end is a series of riotously funny situations. The Royal Loamshires are awaiting iuspectiou by a brigadier-general. Into the barracks square a huge car hums; barked orders and the troops come smartly to the present-arms—greeting Ed. Waggermeyer (James Gleason), director for the Acme Film Corporation (100 per cent. American), who alights from the car. He is there to make a film “that shall put the British Army on the map! " Uninvited, unwanted, he is hustled, without ceremony, off. the parade ground. A message that the brigadier has cancelled his inspection .visit, and when the colonel, vastly relieved, readies his quarters, .pleasantly anticipatory of the soothing ministrations of a thoughtful batman, he finds Ed. Waggermeyer waiting! to renew his request. The colonel (Cyril Maude) is adamant, until Ed.’s assistant, Wanda (Charlotte Greenwood) arrives. Under the lady’s blandishments the gallant soldier capitulates very handsomely, stipulating only that he must have the consent of brigade headquarters to make, pictures. As it happens, just at this time, a rat has raided the, quarter-master’s stores and, to a chit also forwarded to headquarters, asking permission to adopt certain methods of capture, the reply is to take whatever action may be advisable. In the' absence of the colonel, who is away for the week-end, this reply is accepted, inadvertently, as the official sanction for the filming. On his return Ed. and Wanda and their unit horde are in full, blast. The effect on the disciplined barracks may be imagined when the hard-boiled director engages in turn on, filming Indian military life, the Gunpowder Plot, and a eostumd drama in Algeria into the cast of which the colonel is pressed. The climax comes with a surprise visit by the brigadier, who nearly bursts when

he perceives what is going on. Heatedly he orders' the destruction of the film. But it,is unnecessary. Two'orderlies engaged in rewinding the negative have a difference of opinion ae to the relative merits of their petrol lighters. In the subsequent conflagration the only victims were the film—and the quartermaster’s rat! i

Value of Film Contests Are motion picture contests more trouble _ than they are worth? Paramount is one studio in Hollywood that will stand up and insist upon the value of searches .and contests. In slightly more than a year the studio has conducted six excursions into the populace at large on a hunt for talent, and has discovered Baby Leßoy, Charlotte Henry, Lona Andre, Gail Patrick, Larry “ Buster ” Crabbe, Jean Rouverol, and six “Search for Beauty ” applicants, including Colin Tapley. of Dunedin. Baby Leßoy was discovered when Paramount was looking for a baby to play with Maurice Chevalier in “A Bedtime story.” Since then the youngster actually has become a box-office attraction. Charlotte Henry was plucked out, of obscurity ,by Emanuel Cohen f to play the role of Paramount’s Alice in “Alice in Wonderland.” So capable and clever was the actress, and so enthusiastic the reception of press and public that the studio signed her to a long-term contract. The “ Panther Woman ” contest more than a year ago brought Kathleen Burke.' Lona Andre, Gail Patrick, and Verna Hillie to Hollywood for contracts. All have been given excellent roles. The studio wanted a “lion man” for "King of the Jungle,” and finally settled upon Larry •(“ Buster ") Crabbe, the Olympic swimming champion. He not only carried off his role successfully, but proved himself good enough to be given a long-term contract that still is in effect. Crabbe is now scheduled for an important; part in Mae West’s next Paramount picture, “ I’m No Angel.” . . The “ Search for Beauty ” embraced all of the English-speaking countries. Thirty contestants from all over the world reported to the studio. From this group, executives considered six good enough to be given contracts, so Alfred Delcambre, Gwenllian Gill, Julian Madison. Clara Lou Sheridan, Colin Tapley, and Eldred Tidbnry are still there, with assignments coming up rapidly.'

“ Love’s Old Sweet Song ” Coming shortly to the St. James Theatre will be the British production “Love’s Old Sweet Song,” with John Stuart, William ‘Freshman, and Joan Wyndham appearing in the featured roles. In the pretty, old-world cottage where she is holidaying, Mary Dean (Joan Wyndham), a young concert artist, comes across a copy of " Love’s Old Sweet Song.” Jimmy Croft (William Freshman), the susceptible farmer who owns the cottage, begs her to sing it for him, and, half laughing, _ she Her singing proves she is a true artist, and

brings Jimmy to his knees in a passionate declaration of love. - Mary’s manager (Paul Kingslake)" arrives by car to take her back to London, where he has important contracts for her to fulfil, and, elated, she bids Jimmy good-bye, but be prophesies that some day she will come back to him. At her radio debut Mary sings the old ballad once again—- “ Just a Song at Twilight, When the Lights are Low.” In the village inn, Jimmy joins the rustics who crowd round the loudspeaker, while in the distant studio Paul is also deeply moved. Next morning his half-brother, Eric Kingslake, drops into his office to borrow some ready cash, and Paul reluctantly introduces him to Mary. From then on the story moves from one climax to the next, and the remainder of the production'is said to be filled with drama and surprise.

Australia’s “ Cavalcade ” Mr Charles Chauvel, one of the pioneers of film production in Australia, is nothing if not ambitious. In Melbourne last year he spoke of his plans for making a pageant film of Australian history, a film worthy of Vicforia’s Centenary year. Details have now been announced. Mr Chauvel will make the film, which will be called “ Heritage,” for Expeditionary Films, Sydney. “ The theme,” says Everyones. “ is the struggle of the British people to wrest a livelihood from the most remote continent in _ the world, and to establish a new nation in the southern hemisphere ” —an ambitious project indeed. The story will be of two Australian families, and the ups and downs of their fortunes will be depicted against the historical background. On paper this production is the most ambitious yet attempted by any Australian producer. Picture-goers will remember Mr Chauvel’s film, “ The Wake of the Bounty.” There Mr Chauvel had picturesque material, but he failed to use .it to dramatic effect. As a scenic film “ The Wake of the Bounty,” was good; as dramatic entertainment it was poor. In “Heritage” Mr Chauvel, using a larger

canvas, will have greater difficulties to overcome, but film lovers will wish him well. ■ ■ i : . r.

“ Her Bodyguard ” A story of . the romance between a beautiful stage star and the private detective hired by a jealous “ sugar-daddy ” to protect ber from rivals is “ Her Bodyguard,” a romantic comedy featuring Edmund Lowe and Wynne Gibson, which commences at the Strand Theatre on Friday next. Though its action is set in New York, and its heroine is a stage star, the story is said to have caused many a red face in Hollwood, where bodyguards are as numerous as stars. “ Her Bodyguard ” has a cast which includes, in addition to Lowe and Miss Gibson, Edward Arnold, Johnny Hines, Marjorie White, Alan Dinehart, and Fuzzy Knight* Wynne Gibson plays the role of the star, and Lowe is cast as her bodyguard. His assignment to that task comes about through the enmity between Dinehart, cast as Wynne’s producer, and Arnold, cast as a millionaire. The action is fast and furious, as Lowe and Wynne seek to outwit Dinehart and Arnold. Season’s Theatrical Attractions

' The programme of theatrical offerings for the coming year was outlined recently by Mr Frank Tait, managing director of J. C. Williamson, Ltd., (says the New Zealand Herald). _ '■ Early attractions promised are Waltz from Vienna,” “ The Dubarry,” and “ Music in the Air.” “ The Dubarry ” <i s at the moment enjoying a good run in Sydney, with Sylvia Welling in the leading role. Later in the year Madge Elliot and Cyril Richards will return from England and be seen in the old favourites “Our Miss Gibbs” ad “ j be Quaker Girl,” as well as in “Hold My Hand.” A special English musical comedy company will bring over “ FTesh F'ields ” and “ Ten Minute Alibi,” in which leading parts will be taken by, Grace Lane, Jane Wood, and Gerald Savory. Another good company headed by Nigel Playfair will offer “The Late Christopher Bean,” “Old Folks at Home,” and “Laburnum.” The Sydney Easter attraction, “White Horse Inn,” will later give New Zealand theatre-goers the opportunity of enjoying the singing of Strella Wilson. Mr Tait explained that His Majesty’s Theatre in Sydney was now being rebuilt, and, ,it • as hoped, would be reopened with this play. The concert offerings for the year, though few in number, will give Dominion audiences the opportunity of hearing two of the best-known living musicians. The first of these is,the great interpreter of folk music, Percy Grainger, who was born in Australia, and who, since his first appearance in London in 1900, has performed all over the world. There will also be recitals by Yehudi Menuhin, who, though only 17 years of age, is recognised as one of the greatest violinists in the world. It was. in 1924,

when Menuhin was only seven years of age, that.he created a sensation with his first appearance with the San Francisco Symphony Orchestra. Another youthful prodigy, Phillip Hargrave, the Australian boy pianist, will also be heard during the year.

Stevens-Pouishnoff Premiere Mr Maurice 'Ralph, New Zealand representative for Hugo Larsen, has received the following cablegram with reference to the premiere of Horace Stevens and Leff Pouishnoff in Melbourne:— “Opening concert brilliant success: house sold out; critics say Pouishnoff most superb artist Australia evet listened to.” “ Private Life of Henry VIII ” ■

There is a picture, of much more than ordinary interest coming to the Regent Theatre on Friday. It .is the London Film production, “The Private Life of Henry VIII,” which is breaking records wherever it screens in New Zealand, and of which the London Morning Post wrote: “This is at last a great English film, which can be "stated without equivocation or without reserve to be the finest film of the year from any country in the world, the best film ever turned out in England, and the first British picture worthy of the name of a national film.”

Writers for the stage, from Shakespeare to George Bernard Shaw, have exploited royalty with a freedom that is possible only in England. Such a subject therefore presents an expansive and fascinating canvas for those who paint pictures for that most modern and expressive medium—the screen. The authors of “ The Private Life of Henry VIII ” do not pretend to present the dry bones of English history in the reign of.the Tudor monarch; they have simply seized on the king’s six famous marriages as a theme, and, with bold, strokes and liberal imaginations, have traced the progress of Bluff King Hal along the road of life, with his wives as milestones.

Alagnificeritly caparisoned and set in convincing scenes, which take in the Tower of London, Hampton Court, and Hatfield House, the film is dominated by the performance of Charles Laughton as Henry. This remarkable actor so entirely loses his own identity in the role of the much-married monarch that he seems to become the King himself—as' most people must have imagined him —in his truculent independence, , his ■ abounding _ animal spirits, his generous laughter, his fierce amorousness,, his loud, breezy humour, and bis rough wisdom.

Screen Artist’s Requisites Screen greatness depends upon four requisites, according to Wesley Ruggles, •the director of George Raft, Carole Lombard, Sally Rand, arid Colin Tapley in Paramount’s “ Bolero.” These he lists as follows: —Innate ability to react naturally to situations, physical beauty, intelligence to acquire technique, experience necessary to perfect these traits. Octagon Theatre Programme

A versatile all-star cast is featured in “ College Humour’,” Paramount’s boisterous musical story of college, which comes to the Octagon Theatre on Friday next. Bing Crosby, Richard Arlen, Mary Carlisle, Jack Oakie, George Bump, and Grade Allen, Lona Andre and Mary Kornman, who between them represent stage, screen, and radio, play leading roles in the picture. The Ox-Road Co-Eds, a comely chorus of beauties, dance in and out of the action. “ Learn to Croon,” “Moonstruck,” and “The Old Ox Road” are the film’s three outstanding song numbers. Bing Crosby, who plays > the role of a young first tenor sings them, with the assistance of other members of the cast.

With a written story by no fewer than 10 authors, “ The Woman Accused,” which will be shown on the same programme, is a picture of unusual interest. It is constructed along novel lines, and the production is skilfully carried out. while the acting of Cary Grant and Nancy Carroll in the leading roles is one of the outstanding features of the picture. The action of “ The Woman Accused ” centres around Miss Carroll, who, on the even of her marriage to Cary Grant, is confronted by a former lover, who demands that she return to’’ him. She refuses flatly. Infuriated and hysterical, he telephones a gangster acquaintance, and attempts to order him to kill Grant. But before he can even mention the latter’s name. Miss Carroll, in desperation, has hit him over the head with the nearest object—a bronze figure. Horrified, she finds she lias killed him. With Grant, she floes aboard an ocean vessel on a week-end “cruise to nowhere.” Halliday, a friend of the slain man, follows, and attempts to secure evidence incriminating her. Ho is almost successful, but Grant, in a dramatic climax, frees her of all guilt and carries her off to safety.

Italian Tenor for British Films Franco .Forresta, a young Italian tenor, who makes his first screen appearance in the Stcrling-Windsor production “ For Love of You.” was discovered while singing at the Venice Opera House by the director of the film, Carmine Gallone, who was on location in Venice making exteriors. Although production was well under way, Gallone was so impressed with the young singer’s voice and personality that he was immediately engaged and a part was specially written into the story for him. He has now been placed under n long-term contract to appear in British films, thus assuring that he will not follow Jan Kiepura—another of Gallone’s

discoveries—to Hollywood. “For Love of You ” will be released by British Dominions Finis, Ltd.

“ The Invisible Man ” Now that Universal has completed the filming of “The Invisible Man,” coming on Friday to the Empire Theatre, a studio spokesman—there are always several — explained why a period of more than two years was permitted to elapse between the purchase vpf the H. G. Wells story and its transfer to the screen. The problem was how to photograph invisibility. The idea.nof an invisible man is all very well in a book, but motion picture characters have to be shown. The technicians were consulted, as is the invariable rule. For once they'could do little more than shake their heads. Camera men snorted at the notion, and the individuals responsible for the purchase of the story wore a path in ’ the carpet leading to the executive desk. And so for two years the problem was discussed while the precious story accumulated a few layers of dust in the vaults or closets or filing cabinets or wherever it is that stories are kept. But the invisible man has been photographed, and the credit must go to James Whale, the director; Charles Edeson, the photographer; and Jack Pierce, the studio riiakeup expert. After long experiment they discovered the possibilities of small mirrors, arranged as the magicians employ them in creating optical illusions. The .mirrors were'tried, and the problem was 'no more. Claude Rains, who is the picture’s invisible man, will be seen walking along, completely dressed and with a hat perched jauntily on what would be a head if any head there were. On his deathbed his head and shoulders will be visible, but the rest of his body will be merely a dent in the covers. In another scene he will be shown disrobing, and as his clothes fall away nothing but invisibility will remain.

Dorothea Wieck Starred Several years ago a slender, young Swiss girl attained a reputation in Continental pictures which brought her the name of the “Alary Pickford of Germany.” She endeared herself to the picture-going public. Then Crista Winsloe, the author of “ Alaedchen in Uniform,” selected this girl, Dorothea Wieck, for the role of Fraulein von Bamberg, the “ beloved teacher.” Dorothea Wieck emerged as one of the Continent’s greatest- dramatic stars, giving a performance that drew the highest

praise everywhere the picture was shown. That great performance led to a Paramount contract, and took Miss Wieck to America to appear in the Paramount picture “ Cradle Song,” based on the classic play,by G. M. Martinez Sierra. This first American starring picture gives her another of those roles jn which she has perhaps no peer, and comes as a climax to years of effort to attain the place in the theatre to which her genius entitles her. “Cradle Song” will be released m Lew Zealand by Paramount at Easter time. Decay of Western Films

There is sad news for all who love clean romance, the lovely Western deserts and galloping horses. The Western him is dead. Of the dozens of cowboy actors who took the world by storm, only one, Ken Maynard, is still working in “horse opera.” George O’Brien and Tim M’Coy have just retired, Tom Mix has joined a circus, Hoot Gibson is in eclipse, and Buck Jones has retired into the obscurity that long since enveloped William S. Hart and “Bronco Billv ” Anderson. Other actors who have been seen In cowboy pictures, such as Randolph Scott and Tom Keene, go on working, but only in straight roles. And to think that Scott works for Paramount, the company that made “ The Covered Wagon,” one of the greatest successes o: all time —and a Western. The Western slump has hit Hollywood hard. Scores of cowboy extras hang disconsolately around their “ water hole rendezvous: hundreds have drifted away, all, in the Western phrase, headed for the last round-up. . In one studio. Universal, which jo vears ago had 40 two-reel cowboy pictures iu production simultaneously, there is to-day one solitary horseman, Ken Maynard. In the same studio, just before the coming of talk and sophistication, was signed Tom Mix’s famous contract for 10.000 dollars a week, with. percentages that brought his earnings to £OOOO a week—the highest salary ever paid. Will Westerns come back? Formula Westerns, probably never, an English critic considers. The modern boy, brought up on flying and motor racing, regards (he horse as too slow. But boys of all ages will always like the genuine dramas of the West, such as “The Covered Wagon” and “The Virginian” were, and such as Gary Cooper’s coming “Frontier Marshal,” based on the life of Wyatt Earp, will prove to be.