AMUSEMENTS

Poverty Bay Herald, Volume LIV, Issue 16836, 27 December 1928, Page 5

AMUSEMENTS

MAJESTIC Til EAT BE, ‘’The Magic Elaine," starring the great screen favorites Ronald Column and Vilma Hanky, which opened so successfully at the Majestic Theatre last night, will he screened again to-mgilt and to-morrow night, whilst a special Friday matinee will he given 1 0-morrow. With ‘'The Magic Flame,’’ Producer ’ Samuel Goldwyu goes a- long nay toward making definite one of the heretofore unknown quantities of the moving picture industry —just what talent does the producer bring tu the creation of a successful future? For a. story that, in play form, was one of Hie classic lyric romances of continental Europe, yet wholelv unknown to literary America, he retained the talents of Bunaid Column and Vilma Hanky—the two stars who have been almosr, exclusively under his direction from the very start of their motion picture careers. Except for the- interiors in the hoi el .in the early sequences of the picture, and. in the last few scenes, laid in the royal palace, most of the scenes in “The Magic Flame” are exteriors in and around a circus. From Ihe scenic artist's point of view. then. “The Magic Flame” is largely a circus picture. The background of the picture itself constituted one of Ihe major problems of “Thu Magic Elaine.." Laid in a. mythical kingdom, the settings had to be real enough, to he convincing—lending conviction to dhe picture, and fanciful, glamorous and imaginative enough to heighten the romantic tone of tho story. In a measure, their problem was the ime that faces the producer of every picture—that to an audience there must he a recognisable something- out of their lives, yet also something glamorous enough to provide an escape from the reality of their own existence. Such subtle, and elsive. problems, to many moving picture impresarios inconsequential details, are recognised by others as constituting in sum total the effectiveness of an entire, picture. They take, great care, and infinite pains lo make every picture correct in every detail and to ignore nothing that may add to tfic charm, beauty and power of the story. The supports include an excellent English I ravel scenic and a two-reel comedy. “Jack rind Jilted." THE PALACE ’.rile special double-feat lire programme which was screened at- the Palace last night- “Kid Boots” and “The Warning’' will In* screened there, again to-night. While .Eddie (.‘antor was making “Kid Bouts,” Frank Tuttle couldn't think oi a comedy “gag" for one particular sequence. He and Cantor called on Hank Mann, comedy constructor. Raymond Gi'jflil-h dropped in from an adjoining stage to say, "Hello." He stayed to help solve the problem. Then Harold Lloyd, who had been conferring with Jesse L. Ltisky, and Douglas MacLcan, who had been working on an exterior plot appeared to talk over old times with the Broadway star. They joined the discussion about the scene. .Ford Sterling, just back from New York and Chester Conklm, about to leave for the big’ city, arrived a minute later ami learning that it was not a private fight, ‘horned in.' An hour later an agreement was reached as to how the scene should ■lie made. It was completed amid handclapping and cheers from the camera sidelines The players appearing iu the featured supporting cast m “Kid Boots” include Clara Bow, Billie Dove and Larry Gray. The picture is an adaptation from Ziegfeld's famous musical comedy, with most of the Ziegh-ld atmosphere in tad. “The Warning, relates the adventures of a girl detective in Ihe underground opium dens along the Hongkong waterfront. Tho plot affords an exceptionally fine role, for Jack Holt, who is given opportunity to use 1 1 is fists and. stage some thrilling rescues. Dorothy ilevior is well cast as the girl detective. Frank Lack teen. Bat Harmon, Eugene .Strong, George Kuwii and Norman lrevor complete Hu' exceptionally line east.