ENTERTAINMENTS

Southland Times, Issue 20524, 28 June 1928, Page 3

ENTERTAINMENTS

CHARLIE CHAPLIN IN “THE CIRCUS.” AT THE MAJESTIC. John Smith chooses a leading lady; what of it. Charlie Chaplin chooses a leading lady—and that’s news. When Charlie picks them they stay picked. There was Edna Purviance in the early days. In “A Woman of Paris,” the genius displayed in that selection bore fruit, with the ripening talent that Chaplin discerned in the embryo coming forth to dramatic peaks. There was Georgia Hale in “The Gold Rush.” It means something in the “industry” to be Charlie’s leading lady. It means a future, bigger things, fat wallets, fame. Now it is Merna Kennedy, who never appeared in a movie film before. In Charlie’s new comedy “The Circus,” which is still screening to crowded houses at the Majestic, the 18-year-old Illinios girl will be making her first screen appearance. And she makes it with Charlie Chaplin. Merna Kennedy, with red hair and green eyes, starts in films at a point that others spend years reaching. The Kennedys moved from Manteno, which is a little country town near Kangkakee Illinois, about 50 miles south of Chicago. They went west and did not stop until they reached California. So little Merna was sent to dancing classes in Los Angeles. She was eight or nine and her red hair was curled down her back. Time passed. Merna Kennedy toured the Orpheum circuit in a dancing team. The longest way round was the shortest way home and the tour brought her back to California. Charlie Chaplin was making

“The Kid.” Merna Kennedy came into the studio. She met the famous comedian. Sometimes Mrs Kennedy came along. Merna was too young to be anybody’s lead ing lady then. Charlie was about to make “The Circus.” He was to walk a tight rope and frolic about in the sideshows and seek to win the fluff skirted girl who rides the circling white Arabian in the middle of the ring. Who was to be the girl? “Merna Kennedy is playing in a musical show at the Mason Opera House here in Los Angeles,” a friend suggested. “Let’s look at her to-night,” was the answer. So Charlie went to the Mason and saw the musical show, and Merna Kennedy was picked. Screen tests followed, of course, and the vivaciousness and charm of the redhaired lady with the green eyes registered with Charlie. He chose a leading lady whom none knew, whom none had ever seen on the screen. The supporting pro gramme includes Vera Reynolds in “Sunnyside Up,” a rAost intriguing picture, with a powerful supporting cast. The plans are at the Bristol or reserves can be made at the theatre, ’phone 738. Matinees are being held daily and the prices for these are 1/6 and 1/- (children half price). Evening prices are, Circle 2/9, Stalls 2/- and 1/6. POPULAR PICTURES. RUDOLPH VALENTINO AND VILMA BANKY, “THE SON OF THE ‘ SHEIK,” AND THE RAILROAD THRILLER, “THE OVERLAND LIMITED.” One of the season’s most thrilling photoplays is now being presented at the above cosy theatre, in “The Overland Limited,” which contains romance, comedy, drama, and thrills in equal measure, the composite making one of the finest quick-moving features ever shown locally. Malcolm McGregor has the principal male role of David Barton, a young railroad engineer, while beautiful Oliver Borden is seen as his sweetheart “Ruth Dent.” Ralph Lewis is cast as the driver of the “Overland Limited.” There is a smashing climax when the giant locomotive crashes through the steel girders of a bridge and plunges into the river below. Rudolph Valentino and Vilma Banky are back again in “The Son of the Sheik,” the last picture in which Valentino appeared. This is a beautiful desert romance, with many exciting scenes with the star at his very best. There is also an uproarious Stan Laurel comedy which rounds off a perfect entertainment. Seats should be booked at the Bristol to ensure seats or ring theatre ’phone 931 after 6 o’clock. CIVIC PICTURES. JACK MULHALL AND DOROTHY MACKAILL SCORE IN “SMILE BROTHER SMILE” AND FLORENCE VIDOR DELIGHTS IN “HONEYMOON HATE.” It took the screen producers several years to discover that Jack Mulhall could display a sense of humour on the screen. They have recently been discovering talent in many unexpected quarters and it must be said that the new stars are bringing freshness and verve to many of the pictures that we see to-day. Jack Mulhall has scored very decisively in several of his recent pictures, but in “Smile Brother Smile” which opened at the Civic last night he caps all his previous efforts. And Dorothy Mackaill, who has also been cast in serious roles, makes a good team with Jack. In fact it would be difficult to find a better combination. And as a laugh producer

“Smile Brother Smile” would take a lot of beating. “Smile, Brother, Smile” might be termed as glorifying the travelling salesman, and does so in no uncertain manner of spontaneous merriment. The heroine as phone operator in the wholesale business of the Sunset Cosmetic Co. refuses to marry the hero, who is only a shipping clerk in the same business, until he makes an attempt to rise out of his rut. By a stroke of good ►fortune his boss gives him a salesman’s position, and out on the road he begins to make good. He finally puts it over the big rival firm in fine style with the help of the clever little heroine, who by a remarkable demonstration has an extremely large order placed through the hero, which gets him in line for position of sales manager in the firm. The picturesque Florence Vidor is starred in “Honeymoon Hate” and is supported by a newcomer in Tullio Carminati and William Austin, who is again excellent in a “silly ass” role. It is the tale of two haughty ones who plunge into marriage and are at odds because neither wishes to submit to the others wishes. The City of Venice serves as the background. The girl is a rich American. After she has met a man she cannot bulldoze she plans to humiliate him; she never for a moment imagines that he is a proud Roman and a prince. He serves as her .guide and paid companion and though she does her best to make him feel inferior he always rises to the occasion with the result that she begins to look up to him and even love him. Following their marriage they begin to squabble as to whether he will continue to work or not. The rift grows, their pride keeping them from making an attempt at reconciliation. The woman then uses her subtle weapons, and the husband becomes furious. This, of course, is the beginning of the end; in no time their dispute has been settled and amity reigns.