SCREEN AND STAGE

Otago Daily Times, Issue 22833, 18 March 1936, Page 5

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

“ When Knights Were Bold ” Tile first of the Associated Distributors’ 1936 product to be screened in New Zealand is the Jack Buchanan film “When Knights Were Bold,” which will have its New Zealand premiere at the Regent Theatre on Friday next. Jack Buchanan is one of the few outstanding stage celebrities who have met with an equal success on the screen, and his large public should be delighted with his performance in this his latest picture, based on the stage farce of the same name. Jack Buchanan’s metier is essentially polished light comedy, and “When Knights Were Bold ” gives him ample opportunities to display his abilities in this direction, and in a manner which is reminiscent of his performances in “ Monte • Carlo ” and “ Goodnight Vienna.” The story of “ When Knights Were Bold ” takes the star, as a very modern young-man-about-town, back to the “ good old days ” as the result of a bump on the head, and the

experiences lie fencounters during his dream are said to be ludicrous in the extreme. Song and dance numbers specially arranged for the production present the star in his merriest mood and enhance the clever theme of the picture. Fay Wray, who, has had very few comedy roles, makes the post of this opportunity, and is very charming as Buchanan’s leading lady. Other members of the cast include Garry Marsh. Kate Culler. Moore Marriott and Aubrev Mather. “When Knights Were Bold.” which has been produced on most lavish lines, was directed by Jack Raymond. Double-featurl Programme

“’Sing Sing Nights,” which comes to the Strand Theatre next Friday,, is a novel film in that the murder takes place right at the opening of the picture. It is not the usual question of finding someone who killed ’ the man, Floyd Cooper, for no, fewer than three men come forward to confess. The difficulty arises from the problem,of eliminating the two, innocent me,h, for,it is quite obvious that if the three of them shot at Cooper only one bullet actually killed him and the other two were shot into the corpse. Each man was adamant that be killed him, and accordingly the three were sentenced to death. But the weight of public opinion rises strong against the injustice of executing two men who are obviously innocent. Accordingly the governor, under pressure, decides on a last-minute attempt to elucidate the mattdr. and calls in an cmifient criminologist, Professor Varney, who has invented a sensitive instrument called a lie-detector, which, recording a graph of the nulse beats, determines when the person being investigated is lying. Kailv Ellers. Raymond Milland. Henry O’Neill and Katherine Alexander are prominently cast in “Alias Mary Dow,” the second film. The story tells of the kidnapping of Marv Dow and the taking of her place by Sallv Gates a waitress, who Tmses as the missing,girl to save a man’s riving wife. The climax comes when she Ivans 'the man who had kidnapped the rh’hl whose nlace she has taken.

“ Mutiny on the Bounty " j‘Mutiny on the Bounty,” Metro-Oold-wvn-Mayer’s sea classic, which will be screened in Dunedin shortly, is a picture that must take the highest place of all w'a dramas' converted to the motion picture screenJ Three stars top a cast of more than 50 featured players, but the outstanding star of all is. the sturdy little square-rigger, “ H.M.S. Bounty,” which figured in one of the most dramatic chapters of sea drama more than 150 years ago. “ Mutiny on the. Bounty ” is the sea adventure immortalised so recently by the sensational book of Charles Nordhoff and James Norman Hall. It is the true story of ii scientific expedition of a group of men who rise in .mutiny against the tyranny of their captain and who arc eventually tracked diuvn by the long arm of, England’s sea lari' .and led back to an ignoble death on a yardarm. Charles Laughton, as Contain Bligh, is said to surpass any performance of hi« screen ciiycer. He gives the foie of Bligh the broetlripf life that only the original Bligh could !give it. , Clark Gable appears as th? leader of the' mutineers. Fletcher Christian. Franchot Tone is cast ns Midshipman Bvam.

Stanley Lupino Comedy No film fan who enjoys a good_ laugh should miss the opportunity of seeing the Stanley Lupino film “ Honeymoon for Three'.” which comes to the Empire Theatre next Friday. Here, it is said, is some really b’ illiant comedy punctuated Bv. several bright song-hits and a number of spectacular ballets.. The comedian has a role after his own heart—in fact he wrote the story himself. He is Jack Denver, a happy-go-lucky fellow whose uncle

is the leading banker of England, and who, consequently, has never been known to do a day’s work in his life. But one day Uncle Wilfred tells Jack he must go to work in the morning. This announcement creates a sensation in the ranks ol society, whose leaders decide to see the unfortunate lad off in a proper manner by giving him a party, which is the undoing of the guest. He goes off home in a sorry state and finds himself in the wrong house—in a pretty girl’s flat. Complications sot in when his uncle discovers that her father is M. Daumery, the most powerful banker, in France, and his most influential business associate. Both bankers decide that the pair must marry. Jack agrees, but the girl. Yvonne, docs not approve of him at all. Accordingly she insists on honeymooning ■to America to get a divorce, and her fiance, Raymond, goes along with them. On the liner all sorts of complications set in with hilarious results. Opposite Lupino is Aileen

Marson, who is _ cast as the bride who takes hey boy friend along on her honeymoon. Jack Melford is the other main.

Making-up Sheep What would you do (says an English writer) if you were a make-up man, and among the players waiting to be made-up before shooting started were 30 sheep? If you were a like make-up man, you would probably do as the make-up man at Elstree did —make them up.. This was for the Bergner film "As You Like It Dr Czinner, directing, decided that the sheep’s natural coats were not sufficiently effective, ’ so they were sprayed with a mixture of white distemper. When their scene was finished, they were very reluctant to leave the sunlit Forest of Arden and return to the chilly pastures of Hertfordshire. I have been thinking a lot about this production (continues the writer). In the first place, the reception accorded to Warner Bros.’ beautifully produced “Midsummer Night’s Dream ” makes one a little inclined to wonder whether the public is yet ready for Shakepeare on the screen. , Then there is the fact that other companies also are preparing Shakespearean films —and people of the calibre of Irving Thalberg and Alexander Korda are not likely to be far wrong. Anyway, they

make very few mistakes. There is also the fact that Bergner is one of the distinguished handful of actresses who have been described as World’s Best; and she is also steeped in the- Shakespearean tradition, which the “ Midsummer Night’s Dream ” players were not. Further, Dr Paul Czinner, her husband, who is directing her, has proved himself to be one of the most accomplished directors we have in onr studios, and be is likely to make the very most of the wealth of material which Shakepoarc affords. At all events, this new film is already the most talked about production yet made in a British studio. There is not the slightest doubt that Elisabeth Benner will make her characterisation of Rosalind as memorable as her Catherine of Russia and hep Gemma Jones of “Escape Me; Never.” _ The BergnerCzinnor combination is film-proof. But

much depends on the writer and technicians. On them rests the responsibility of translating the most beautiful comedy in the world.

Drama in China “ Oil For the Lamps of China,” which will commence a season at the Mayfair Theatre to-day, is said to be even more enthralling than the best selling novel by Alice Tisdale Hobart upon which it is based. It has originality of plot,, a colourful and intriguing background, and a romance as understandable as it is beautiful. There are thrilling action, strange adventure, with the spirit of pioneer men and women actuated by a burning ambition and loyalty to their jobs. A handful of Americans facing voluntary banishment from civilisation, fighting flood, fire, famine, pestilence, banditry, a hostile people, and trying to break down the barriers of prejudice ingrained through the centuries. Pat O'Brien, as the vonng American whose unbelievable loyalty to the firm he represents makes no sacrifice too great, no hardship too terrific for him, adds to his list of screen characterisations. Josephine Hutchinson is said to prove her histrionic ability in the way she handles the part of O’Brien’s wife, whose baby is born dead during her husband's absence. She turns against him, embittered, believing that ho cares more for the company jjian he does for herself and the child. But she lights her way back to sanity, realising that a man must work as well as love.

Her heroic work in saving the life of the child of a friend, stricken with the dread cholera, is another dramatic scene. Others' in ' the cast are Jean Muir, John Eldredgg, Ronnie Cosky, Lyle Talbot, Arthur Byron, Henry O’Neill, Donald Crisp, George Meker, Christian Rub, Edward M'Wadc. and Florence Fair.

Edmund Gwenn Returns After 14 months’ absence, in America, Edmund Gwenn returned to London recently. He appeared for six months on Broadway in “ Laburnum Grove,” the play in which he made a hit in London; and then made four pictures at Hollywood —“The Bishop Misbehaves.” “Sylvia Scarlett,” “Anthony Adverse,” and “The Walking Dead” . .... Gwenn has come back delighted with American hospitality (says an English writer). “ Onoe they find out you are genuine, and not one of the Englishmen who 'try to cover up lack of real ability by going round prattling of the ‘dean old raatah,’ nothing is too good for you,’ Gwenn said.

Gwenn was greatly impressed by Miss Hepburn. He described her ns very hardworking and ambitious —she wanted to do Maxwell Anderson’s play, “ Mary of Scotland ” —very intelligent and very natural. “ Her failure in a play on Broadway lias not discouraged her,” he said. “ She admits she was bad, and is resolved to go back again and show what she can do.” Mr Gwenn has returned to play in a screen version of “ Laburnum Grove ” for Basil Dean. Later he will appear in a film based on Henry Seton Merriman’s “ Barlasch of the Guard.”

Leslie Howard’s Son With his famous father starring in the film in the role of Romeo, Donald Howard has commenced his film career in M.G.M.’s “Romeo and Juliet.” Son of Leslie Howard, he won his role without using any of hi a father’s influence. About 14 years old, and with more than a share of his father’s good looks, young Howard ha s set for himself a writing career., But lie felt that motion picture work would give him experience that he needed. Therelore, when production commenced on “Romeo and Juliet,” he approached the casting offices and won an extra’s role. On the set, he attracted the attention, of George Cukor, the director, who, impressed with his hearing, allotted him the small role of a page. Although Leslie sooii recognised his son, he said nothing until the boy greeted him as “ father. Cukor feels that the boy, who comes by his talents honestly and has exhibited unusual talent before the camera, has excellent screen possibilities, ’hut young Ronald has no screen ambitions. His writing comes first, and he has already produced a book of verse. Norma Shearer, in the role of Juliet, has the leading role in the picture, the east of which is particularly elaborate, including John Barrymore, Basil Rathbone. Edna May Oliver, C. Aubrey Smith, and Reginald Denny.

“Age of Indescretion ” • “When parents divorce, what rights have the children? ” This is the question asked and answered in “Age of Indiscretion,” a drama of children of separation and the law courts, coming to the St. James Theatre on Friday. Paul Lukas, Madge Evans, Mav Robson, Helen Vinson and little David Jack Holt are invoked

in the main action. The picture is a graphic echo of several famous court cases of recent times. Delving into the intimate facts, it has produced a gripping piece of human interest entertainment touched with high drama. May Robson is cast as the millionaire mother-in-law, battling with her millions to wrest a child from the arms of his father, following a separation. Lukas, as the fighting father, has one of the most unusual and interesting roles in his screen career. The picture is from an original story by Lenore Coffee, was produced by Metro-Goldwyn-Mayer - studios, which gave it lavish staging. Despite the magnitude of its theme, it abounds in deft human touches —the love of the hoy and Flush, the famous spaniel of “ The Barretts of Wimnole Street” and their engaging tricks together, the scenes with Miss Robson, the boy and the bob-sled, and such interludes of comedy and heart interest. Helen Vinson plays tne philandering wife, and Ralnh Forbes is cast in the “ other man.” Catharine Doucet adds comedy in the role of the flattery authoress of trashy fiction. The skating rink sequence, the night club, the cabin in the woods, and the snow sequences all add dash and colour to the performance of the nlavers in the story.

Productions for 1936 About 600 full-length films will be produced by English and American studios during iO3G. Of these. 440 are coming from Hollywood, the estimated cost of production being £20,000,000. Metro-Goldwyn-Mnycr arc followjng up “Mutiny on the Bounty” with “Pitcairn Island ” as a sequel. The studio also has produced “A Talc of Two Cities,” with Ronald Column; Jean Harlow in “Riffraff”; Johnny Weissmuller and Maureen O’Sullivan in “Tarzan Escapes”: Wallace Bccrv and Lionel Barrymore in O’Neill’s “Ah. Wilderness! ” and William Powell in “ Rendezvous.” Paramount has “ Rose of the Rancho ; Bing Crosbv in “Anything Goes”; Mae West in “Klondyke”: Harold Lloyd in “The Milky Way.” and “Desire.” with Gary Cooper and Marlene Dietrich. From Twentieth Century Fox comes Wallace Beery in “Message to Garcia ; Ronald Column in “Under Two blags, and young Freddie Bartholomew in “ Professional Soldier.” Master Bartholomew is also in “Little Lord I 4 auntieroy,” from United Artists, .this corporation will also release Francis Lederer in “One Rainy Afternoon”: Merle Oberon and Miriam Hopkins in “Those Three’; “The Last of the Mohicans.” and ‘Tom Brown’s Schooldays.” And Charlie Chaplin’s “ 'Modern Times ’’ is expected shortly. Hollywoods other important studios promise Grace Moore in Kreisler’s only

operetta, “Cecelia”; Gary Cooper in “Opera Hat”; Paul Robeson in “Showboat William Powell in “My Man Godfrey”; Fredric March in “Anthony Adverse”; Leslie Howard in “The Petrified Forest” and Katherine Hepburn in “ Mary of Scots.”

The screen will continue to be brightened by several pictures each featuring Janet Gaynor, James Cagney, Margaret Sullavan, Claudette Colbert, Joan Crawford. Clark Gable, Irene Dunne, and, of course. Greta Garbo, scheduled for “ Camille.”

Turning to the £4,000,000 or so which represents the outlay in British studios, an outstanding production will be “ Things to Come,” H. G. Wells’s fearsome drama of the future. British producers are bolder than Hollywood in their choice of material. They arc to show Charles Laughton as “ Cyrano.” in “I, Claudius,” and as a Rand financier; Walter Hudd ns Lawrence in “Revolt in the Desert.” Kipling’s “Elephant- Boy.” and “ Soldiers " Three,” and Maurice Chevalier as “ The Beloved Vagabond.”

Other promising British pictures include “Glamorous Night.” “When Knights Were Bold,” “The Marriage of Corbal.” “ The Stars Look Down.” “ Cecil Rhodes.” Hitchcocks “ Secret Agent,” “Whom the Gods Love.” Elisabeth Bergner in “As You Like It”; Jack Hylton’s first musical: “Lady Jane Grey.” “The Poison Belt.” and Sir Seymour Hicks as “ Pickwick.” A brace from George Arliss arc earmarked, and the Gaumont studios will also film a life of General Gordon. British comedians are not ns active as they should be. and more humour is needed in most of the serious pictures.

Another Charlie Chan Film When the secret service men of two nations encounter a desperate ring of dope smugglers who defy and baffle them at every turn, what is more natural than sending for Charlie Chan to track down the desperadoes? That is how Warner Gland’s adventures begin in the latest of the pictures built about the adventures of the shrewd and kindly Oriental detective, "Charlie Chan in Shanghai,” which comes to the Grand Theatre today. From the moment he sets foot'in Shanghai, Gland meets perilous adventures. His host, an English secret service man, is killed and an attempt is made on his own life. Together with 'Keye Luke, who plays his son. Gland is lured to the den of the smugglers and must fight his way but to safety. _ Russell Hicks, an American secret service man. arrives, and Charles Loeher, secretary to the murdered Englishman, seems to be implicated in another plot on Chan’s life. The picture is said to develop a smashing climax in a waterfront dive, where the smugglers are rounded up in a terrific gun battle, and strange news arrives to reveal the true identity of one 6f the men Gland had thought his ally. Irene Hcrvey, Halliwel! Hobbes, and Frederick Vogeding arc Hie principal supporting players.

Repertory Society Production Since its inception in 1933, the Dunedin Repertory Society has endeavoured

to present plays of surpassing interestcomedy, drama, and fantasy have all been seen and heard from the stage of His Majesty’s Theatre. Now the time has come round again for another of Barnes brilliant comedy-fantasies, and “ The Admirable Crichton” has been the choice. Based on the theme of how people behave when thrust suddenly into adverse circumstances, his play has made history wherever it has been produced. The cast is an excellent one, few of whom have been seen to any great extent on the amateur stage. Mr G. B. Niven handles the title role of Crichton, and opposite him is Miss Nell Warren as Lady Mary Lasenby. Lord Loam (Mr Frank Lanyon) is Lady Mary’s father, while his nephew, Hon. Ernest Woolley, is played bv Mr Ernest Holler. Tweeny (Miss Molly Randle) contributes largely to the comedy. The cast also includes Madame Winnie Fraser, Misses Billie Robinson, Lexie Mathieson. and Jean Liddicoat, Messrs D. Skene and R. Naucarrow. The play, which opens on March 31, is produced by Miss Bessie Thomson.

Before the Filming Sitting in a comfortable theatre, gazing contentedly at' the latest offering from the fabulous, Hollywood studio, Mr Public rarely, if ever, gives a thought to the amount of labour that has gone into the making of those several thousand feet of celluloid entertainment. Yet he would, perhaps, be interested to know that some 30,000 workers, exclusive of actors and directors, are employed in the film city's various studios. That, for instance, Columbia, the company that produced the Josef von Sternberg film “ Crime and Punishment,” starring Peter Lorre and Edward Arnold, gives work to about 800 persons alone. Practically every one of the 600 had a hand in the making of the pictnrisation of Dostoievsky’s famous novel. This work went on for fully a year before a camera started to turn or a player stepped before the burning lights. The actual shooting time was only 28 days. The Public Taste

Film producers are fond of using titles that are well known, without much regard for their original associations. Almost any screen adaptation of a book or play is evidence of that. Contrariwise, they like sometimes to take a well-known story and give it an entirely new title, as they did with “ The Admirable Crichton,” when they called it “ Male and Female,” and with “ Madame Bovary, ’ which was renamed “ Unholy Love,” and with “Resurrection,” which became “We Live Again.” There is often a business reason tor doing this. Flaubert and Tolstoy arc thought to mean very little in the lives of the majority of film-goers, and producers hope by changing the name to counter any impression—right or wrong—that they are soaring above their patrons heads. It is sometimes supposed, by those not personally acquainted with them, that the men who rule the studios do not always know what they are doing. Mr B. B. Kahane, a vice-president of R.K.O. — Radio, speaking of public taste, as represented by kinema audiences, says: “Public taste has not improved. No, not a bit. The films are attracting a few more of those people of cultivation who used to feel superior to motion pictures. But they are not the great audience. The great audience have not changed one iota. “ Successful pictures are well done technically, or they ■wouldn’t be successful. But what of the stories? 1 find myself listening to them, thinking every instant how silly they are. And then I sit at my desk in a studio, and stories come in. “ Some are good. I like them —-would like to see them in a theatre. Yet I know it just isn’t safe to produce all those stories, simply because they are good. If

I don’t know it I can always remind myself by going to see one of the silly ones that is good box office.

“Yet I still say that it is wise to produce a certain number each year of pictures that are adult, and have a purely artistic appeal. “It takes a special kind of courage to do it. You haye to go the whole way. If your artistic experiment dictates using a cast of no important names you mustn’t lose your nerve and throw in a star or two. If, on the. other hand, you need an all-star cast, you must go the whole wav with that, too.”

Light Comedy and Drama Everything about the 8.1. P. film “ Invitation to {Tie Waltz,” which comes to the Octagon Theatre next Friday, seems to be

perfect. It has a very engaging story, and the cast is headed by Lilian Harvey, the charming leading lady, who lias a role that is said to fit her like a glove, and exactly the same may be said of the handsome young man who plays opposite her, Carl Esmond. Carl is not unknown to filnigoers, for it was her who played the juvenile masculine lead in the Richard Tauber film, “Blossom Time.” Carl Esmond, whose real name is Karl Simon, is distantly related to Johann Strauss, the famous composer. In “Invitation to tho Waltz” he plays the part of Max, a dashing young adjutant to the Duke ot Wurteniburg, and his rival to the hand of Jqnny, the dancer. “ Broken Dreams," the second film, is an emotional story ot paternal love versus the love of a woman. A father deserts his baby hoy when the mother dies in childbirth, hating the infant whose right to live has cost the life of the woman he loved so much. How the boy (Billy) is reclaimed by his father after six years, and how a strong affection was gradually established between the two, with Billy overcoming the prejudice and jealousy of his fashionable stepmother, supplies drama, that is as absorbing and moving in its appeal as any, production of its type to come to the screen. Buster Phelps has created in “ Billy ” a boy character that ranks with the outstanding creations of Jackie Cooper, Dickie Moore, and other star boy actors. Randolph Scott, Paramount leading man, was borrowed for the role of the father, Dr Robert Morlcy, and Martha Sleeper, who has appeared in numerous M-G-M features, plays the stepmother Odd Role Brings Sleep Every cloud has a silver lining, and. while Katharine Hepburn’s masquerade as a boy in her new RKO Radio picture, “ Sylvia Scarlett,” provides the sternest acting test of her career, it also gives her many extra hours to sleep. The dynamic star worked without a vestige

of make-up during the filming of the masquerade scenes. Consequently, she could sleep through those early morning hours ordinarily dedicated to the application of grease paint, lipstick and eye shading. With the company working much of the time on a picturesque location eight miles from Hollywood and morning drives to the scene of action the regular routine, those extra hours of slumber were most welcome.

Dumas’ Immortal Classic Cardinal Richelieu’s bitter struggle to maintain his control over Louis XIII of France in the seventeenth century dominates one of the most dramatic eras in French history. What is more, it has importance in French literary history, for it gave Alexandre Dumas a vivid background and a motivating forcejjfor the romantic adventures of d’Artagnan, Athos, Porthos and Ararais, in “The Three Musketeers,” which comes to. the State Theatre to-morrow.

It was in 1625 that d’Artagnan rode out of Gascony on his orange-coloured horse to best the agents of Cardinal Richelieu, who dictated policy to the wavering Louis XIII and waged a bitter war of intrigue with his Queen, Anne of Austria. The tale of that lean Gascon’s winning of a place with Athos, Porthos, and Aramis as one of the four greatest lighting men in the King’s Musketeers is woven of the historic threads of spectacular rivalry, guile and intrigue. The essence of these troublous times, as critics have avowed for 90 years, was completely captured by Alexandre Dumas in his lusty talc of “ The Three Musketeers.” But more than that, Dumas used the period most dramatically, twisting its historic incidents into one of the most stirring and widely read adventure romances in world literature. D’Artagnan, Athos, Porthos and Aramis, it is said, were actual figures of the time, but the rotund Dumas gave them new life and new flavour in his classic tales. As a result they have marched down to the present with a vast and ever increasing army of enthralled readers, high tribute to their author’s extraordinary intuition for entertainment values. Walter Abel, famous Broadway actor, plays the role of the classic firebrand, d’Artagnan. Paul Lukas, Moroni Olsen and Onslow Stevens portray Athos, Porthos an,d Aramis respectively. Others featured in the cast arc Margot Grahame, as Milady do Winter, Heather Angel as Constance, Rosamond Pinchot, lan Keith as de Rochefort, Nigel de Brulier. John Qualen and Ralph Forbes. Candcd Opinion of Hollywood

Hollywood is like a madhouse, according to Nelson Eddy, the grand opera singer who starred in “Naughty Marietta,” and who is playing the lead in “ Rose Marie.” Mr Eddy finds a place in the select list of America's most eligible bachelors, which makes what be, has to say of film stars particularly interesting.

“They are,” he said recently, “egotistical, insincere, self-centred and, look like animated, paint-boxes. , Most film actresses are incredibly boring. I have not met one that I would even vaguely like to marry.” t But he admits it is not altogether their fault.. He blames the unnatural life they arc forced to live. Male stars also excite his anger. “ I have never seen such a bunch of conceited men,” he said, “with the possible exception of those working in opera.” In order to avoid his erstwhile screen colleagues Mr Eddy lias his phone number changed once a week, just to avoid party invitations. Hollywood parties are very boring, he says. There is no doubt about it. Mr Eddy docs not like Hollywood, and he does not like film stars, except one or two. perhaps, like Jeannette MacDonald and Ronald Column. Thcv are different, he says Film Adaption of Bible A London man, Mr Thomas Harwood, has written a film-adaptation of the Bible, covering the entire history from the Creation to the KevJation. This monumental work lias taken him more than five years to prepare, and would run for about 30 hours on the screen. Under the title of “ The Chosen of God,” it tells, in 227 episodes, all the best-known Bible stories, and is complete with dialogue and full musical arrangements selected from church music. Chanted lines are indicated in the text by the sol-fa method. The finished script is a heavy volume, nearly three inches thick; the index to the music arrangements alone covers 29 pages. It is Mr ITarowood’s idea that since so many people nowadays do not go to church,’but go to-the kinema instead, a film version of the Bible which could be shown in kinomae.-would help to meet the need. “When the question of Sunday kinemas

arose a few years ago, and later that of using films in church services,” Mr Harwood said, “it occurred to me that nothing short of a serial film of the whole Bible story would worthily supplant or supplement orthodox divine service at a national institution.

“ Having studied divinity under the late Hr Maud, Bishop of Kensington, I felt I had some qualfication to attempt the work, and I went carefully through the Bible and selected the matter which I thought would best serve, omitting episodes which might cause offence. “An interesting point is that I transcribed the selected parts into modern English, but I found it so ugly that J reverted to Scriptural English.” “ The Chosen of God ” i« divided into seven parts: The Patriarchs, the Lawgivers, the Judges, the Kings, the Prophets. the Messiah, and the Apostles. The music is drawn largely from Handel, though use is made of manv other composers. including Bach and Elgar.

“ Blackmailed ” for Autograph Ann Harding was marooned between floors in a Hollywood office building recently when the elevator girl stopped the lift and “blackmailed” the star out of an autograph. Miss Harding, the only passenger in the elevator, was on a visit to her dentist. Suddenly the lift stopped. “Something broken?” inquired Miss Harding. The elevator girl took a small black book and 'pencil from her pocket and proffered them to the blonde star. “ I’ve been trying to get your, autograph for more than a year,” said the girl. “Mow I am going to get it. even if I lose my job for this stunt.” Whereupon Miss Harding inscribed: “To a courageous youngster who will get places in this world.”

Quicker Film Releases The system in England by which a six months’ interval elapses between the West End showing and the general release ot a film—an abuse which has been the_ subject of unending public complaint—ie to be broken. The powerful American firm of United Artiste, which also distributes London Films and British and Dominion pictures, intends to issue its pictures to all exhibitors immediately after the West End run. It is likely that other firms will be constrained to make a similar move, since only Idnemas with no opposition can afford to be six months behind their neighbours.

The step has been made possible by the purchase by United Artists of alarge interest in a British kinema circuit known as Odeon Theatres, controlled by Mr Oscar Deutsch. This circuit, which is valued at £ 10,000,000, _ comprises 120 houses at present, and will have 200 by the end of the year. United Artists also have an interest in the houses operated by Mr C. J. Donada, numberim| 52, and the “ immediate release ” system will be introduced in these also.

The six months’ delay in release has been a source of inconvenience to producer, exhibitor, and filmgoer. A great deal of public interest is built up in a picture during its making, and this is further stimulated by the reviews it receives when first shown. Six months later, when it reaches the provincial kinemas, most of this publicity has been forgotten.

Rivalry among the great kinema chains of Great Britain, already keen, will be intensified by an agreement, signed recently between Mr Arthur Segal and Union Kinemas, Ltd. They have agreed to build a series, of important new kinemas throughout the country, and over 40 sites in leading towns have already been acquired. It is the declared policy of the company to build a large, up-to-date kinema in every town tvhere one does not already exist. Forty-seven new theatres are being erected, at an estimated cost of

£3,000,000. Mr Fred Benhard, managing director of Union Kinemas, has already acquired properties said to be wortjj £5,000,000, and when the new construction programme is complete Union Kinemas will have a circuit of over 200 houses.

This includes the Reed Circuit, in which Mr Segal has a large interest, and other interests recently acquired by Union Kinemas in Scotland and other parts of Britain. Mr A. H. Reed is joining Union Kinemas in an important executive capacity.

Union Kinemas are now the third largest circuit in the country, the leaders being the Ganmont-British (P.C.T.) group, with a total of about 400 houses, sind the British International Pictures (A.8.C.) chain, which now numbers 267 and is expected to reach 300 this year.

“With Mr Oscar Deutsch and Mr C. J. Donada also controlling large interests, the movement of the British kinema industry toward what may be called ‘ trustification ’ is becoming more

pronounced every day,” was the c«Bsnent of a prominent figure in the industry. What the Americans Like “ The Informer,” featuring Victor M’Laglen. has been awarded the title of the best picture of the year by an American organisation, while Shirley Temple, Will Rogers and Clark Gable have been disclosed as the most popular stare during 1935. The National Board of Review of Motion Pictures, situated in New York, announced recently that “The Informer,” made by Radio Pictures, had been selected for the annual award, on the basis of popular appeal. The board, which is an organisation of several hundreds of unpaid lay critics, selected the following list of the year’s most successful pictures:—“ David Copperfield,” “ Mutiny on the Bounty,” “ The Informer,” “ Lives of a Bengal Lancer,” “ Top Hat,” “ Midsummer Night’s Dream,” “Naughty Marietta,” “Les Miserables,” “Anna Karenina,” “Ruggleg of Red Gap." Another English actor, Charles Laughton, starred in no fewer than three of the films named, “ Mutiny on the Bounty,” “ Les Miserables,” and “ Ruggles of Red Gap.” Assessment of the most popular stars of the year was made by canvassing independent exhibitors in the United States. They filled in a questionnaire stating 10 stars whose pictures drew most money, to their theatres during the year ending September 1, 1935. Shirley Temple, who tops the list, made her first season of appearances in feature films in 1933-34; this year is the first in which a child star has been placed among the first 10 players in the canvass. She is now six and a-half years old. This year the list shows considerable changes; six players find themselves in the first 10 who last year had widelyscattered positions. The list of runnersup ie: Will Rogers, Clark Gable, Fred Astaire and Ginger Rogers. Joan Crawford. Claudette Colbert, Dick Powell, Wallace Beery, Joe E. Brown, James Cagney. . Even more interesting is the distribution of stars lower in the list. On a system of marking whereby Shirley Temple received 874 and James Cagney 334, Greta Garbo received 41, Sylvia Sidney 12, Maurice Chevalier 2, and such well-known stars as Elisabeth Bergner, Constance Bennett, Marlene Dietrich and the Marx Brothers one apiece. Film Topic*

The Ginger Rogers-Fred Astaire team is definitely to_ be broken up. Their employers, Radio Pictures, believe that filmgoeru have seen enough of them together. An independent Hollywood producer is to make a picture called “The Right to Kill,” based on the recent “mercy killings,"’ 'Sn which relatives and doctors have put incurable invalids to death. A tremendous amount of thought is being devoted to the question of “What to do with Mr Arlisa now.” This is in fact, one of the chief causes of insomnia among British sebnarists. Joan Crawford will be seen as a dancer in her next film, “ Elegance. Her husband, Franchot Tone, will act with her’ in this musical, and a 'third leading role will be taken by Clifton Webb. According to present plans, she will follow this film with “The Gorgeous Hussy.” • . ~ A fourth language was added the songs of Jan Kiepura for “Give Us This Right,” when the singer recently recorded his numbers in Italian. Kiepura’s songs will also be done in English, Spanish, and French in order to make them' intelligible to a world audience. Four Metro-Goldwyn-Mayer ' pictures, headed by “ Mutiny on the Bounty,” wer*

presented by royal command before hi« Majesty King George V over the Christmas holidays at Sandringham Palace. The other three films were “Broadway Melody of 1936,” “Anna Karenina ” and “ Escapade,” being the last films to be seen by the King. Old Bailey, one of the most famous courts in the world, has been reproduced at the Metro-Goldwyn-Mayer studios exactly as it appeared 150 years ago. From old sketches, ancient legal documents and other MSS. the historic edifice was erected for scenes in “A Tale of Two Cities.” One of the key sequences of the story is; that wherein Sydney Carton, portrayed by Ronald Colman, is able to win the acquittal of Charles Darnay, played by Donald Woods. To ensure its absolute authenticity, not only was the court rebuilt, but old methods of jurisprudence were followed in every particular.

Sybil Thorndike's return to the Gnumont-British studios for the historical romance, “Lady Jane Grey,” is a compliment to the British screen. That such a compellingly fine actress as Sybil Thorndike should come back to grace an important British film with her flawless dramatic art is still more proof of her and other stage stars’ confidence in British studios in ns much as her acting, which has swayed tens of thousands of stage audiences, will now hold the many millions of regular kinemagoers.