AMUSEMENTS

Poverty Bay Herald, Volume LV, Issue 17407, 4 November 1930, Page 3

AMUSEMENTS

MAJESTIC THEATRE. The theatre-going' public of Gisborne has recently shown in no uncertain manner its appreciation of British productions. In the film “Atlantic,” which is screening for the last time at the Majestic to-night, additional interest is lent to the picture by the fact that it has largely to do with the sea. Some of the, scenes dealing with the wreck of a great liner amidst utmost confusion and despair are thrilling in the extreme. Among several excellent parts those of the chief officer, faithful to his duty to ihe last, and Rook an invalid confined to his chair, who nevertheless, by his greatness of sold, stands out from the crowd in the terrible crisis, will not soon he forgotten. The speaking of all the players is up to the best English standard.

“In the Headlines,” Warner Bros.’ new production, which opens at the Majestic Theatre to-morrow night, is an authentic pieturisation of newspaper life. J:jme.s Atherton Starr, one of the best-known newspapermen in Hollywood, wrote the original story, and Joseph Jackson, another newspaperman, prepared the screen adaptation. One of the many ways in which newspapers solve baffling mysteries single-handed is graphically revealed. Innumerable cases are on record in which reporters on newspapers have brought desperate criminals to bay and lifted the veil of mystery that has surrounded the crime. Grant Withers plays superbly the part of “Nosey” Norton, star reporter, in “In the Headlines,” the man who brings about the solution of a double murder which lias baffled the police force. Marion Nixon has the leading feminine role, while the cast includes Frank Campeg u, Vivian Oakland, and Edmund Brcese. The excellent “shorts” should be Enjoyed by all.

THE REGENT “Lord Byron of Broadway,” closing to-night at the Regent, more than lives up to its intriguing title. “When “Cradle Snatchers” was played on the stage ii was voted one of the greatest comedy successes ever produced. When the silent screen version was shown most of the performances were screened to capacity houses. The talkie version, “Why Leave IJome?” if the almost continuous shrieks of laughter of the audiences viewing it elsewhere may be taken as an indication, bids fair to surpass both the other versions. “Why can truly be described as a “comedy with a hick.” There is not, a (JuU moment, and as the plot becomes rijpre complicated, so does the fug increase. “Why Leave Home?” tells of three college students who, compelled to break oil an engagement with as many chorus girls for lack of funds, learn of three women who are willing to pay well for their services as escorts. With two of the boys bolstering up the fainting courage of the third, they arrive at the apartment of one of the women, narrowly escaping detection by the three husbands involved. The women have learned that their husbands are pretending to go on what file men describe as a “duckhunting trip.” The wives have strong suspicious regarding the species of the alleged “ducks,” who turn out. to bo the three chorus girls. The wives are determined to teach lire men a lesson. The boys initiate the women into the mysteries of “Boom Boom” steps. Meanwhile the husbands, with some trepidation, pick'up the chorus girls and arrive, at a secluded mountain roadhouse —and then the fun begins. A fid there it ends, for all parties recognise each other, and there is a great deal of explaining to be done. However, all ends happily. “Why Leave Home?” opens to-rnorrow at the Regent.