THE Shadow World

Southland Times, Issue 20617, 16 October 1928, Page 9

THE Shadow World

LATEST REAL NEWS OF REEL PLAYERS

ATTRACTIONS AT THE MAJESTIC.

To-night! “Heeney-Tunney Fight Film” (Authentic and Official) ; “The Smart Set” l William Haines) ; “The Collegians” (sth Chapter); “Leave ’Em Laughing” (Stan Laurel). To-morrow: “Ramona” (Dolores Del Rio); “The Wise Wife” (Phylis Haver). Saturday Next: “The Tigress” (Jack Holt and Dorothy Revier); “The Wyoming Wildcat” (All Star); “The Collegians”

William Haines scores another knockout. The star of “West Point,” “Spring Fever” and “Brown of Harvard” enters on a new sport with a skill and nonchalance as screamingly funny as it is romantically dramatic. The sport is polo, heretofore brought to the screen only as atmosphere to establish the aristocratic social conditions of the characters in the picture. But in “The Smart Set,” which closes at the Majestic tonight, polo, its antecedents, environment and education, is the whole picture—and boy, what a wow! An understanding of the gentle art of clinging to the right side of a horse while pasting a polo ball with a mallet is not even necessary for the enjoyment of the picture. By the time William Haines as Tommy Van Buren leads the American polo team to victory over the British, the audience are on their feet cheering with as much enthusiasm as though they were at the Meadowbrook field on Long Island instead of in a palace of the cinema.

“The Heeney-Tunney Fight Film” finishes its season at the Majestic to-night. Tom Heeney was born in Gisborne, New Zealand, of Irish parentage, on May 19, 1899. He attended the schools of his home town until he was 14 years old. Then he quit to become a plumber’s assistant, and remained at that work until the glamour of the prize ring attracted him. The challenger to Tunney’s title inherited his fighting nature from a father who taught all of his sons at an early age some tricks of the game. Heeney fought his first professional fight in 1921. He won by a knockout in nine rounds and his showing l&i writers to predict a successful future for him in the ring. During that year, Heeney lived up to the things said about him by winning four 15-round fights and getting a draw with Colin Bell in 15 ro’ihds. Then he shifted his activities to Australia, staying there one year before returning to New Zealand. He fought nine fights in Australia, winning three by knockouts, three by decision, losing two by decision and drawing one. During 1923, when he fought in New Zealand, he won seven fights and lost one. Five of his wins were by sleep-producing punches. One came through disqualification of his opponent. Heeney's first fight in London led critics to believe that he had been ballyhooed wrongly, as he lost to Phil Scot in 20 rounds, and his subsequent fights there that year were not so impressive, although he won all except two. Then John Mortimer took him to South Africa, where he won four fights and lost one, thg ; Jstter on a fouh His American fights resulted as follows:—Won from Charlie Anderson by knockout, from Jack De Mave by decision, from Bud Gorman on a foul, from Jim Maloney by a one-round knockout, from Johnny Risko by a decision, from Delaney by a decision. He lost to Paulino Uzcudun in his second American fight, but gained a draw against Paulino later. He also fought a draw with Jack Sharkey.

Helen Hunt Jackson’s story, “Ramona,” which comes to the Majestic to-morrow, is regarded as one of the present-day American classics. When Mrs Jackson decided to write “Ramona” she had a deliberate purpose and as high an aim as that associated in the writing of “Uncle Tom’s Cabin.” She did not realize that her story would prove one of America’s most interesting romances. It was the writer’s motive to bring the treatment towards the Indians by the Americans before Congress, in the hope that Congress would enact just laws. That was Mrs Jackson’s whole desire. Before “Ramona” recalled the Indians’ plight in fiction form, she had written “A Century of Dishonour,” in which was an account of the United States Government’s dealing with the Indian tribes that had widespread influence. Being a plain, cold statement of facts, with copies of evidence to bear it out, “A Century of Dishonour’ was really an indictment of the Government for its failure to keep its promise with the Red Man from early times down to the date of the publication of the book, 1880. It was later that Mrs Jackson became convinced that public sympathy on behalf of the Mission Indians of California, could be awakened if revealed in story form; hence her novel with a purpose—- “ Ramona.” To-day the book enjoys its largest sale, and now comes the film that will give it perpetual life on the silver sheet. Inspiration Pictures and Edwin Carewe produced the story with Dolores Did Rio in the star and title role. It is regarded as one of the important pictures for the new year, and a vehicle entirely suited to the star’s histrionic talents.

Living,” a Fox Films production, which comes to the Civic on Saturday, is a racy comedy drama in which Madge Bellamy gives one of her best performances. During the past year Miss Bellamy has risen to the heights as one of the most beautiful and refreshing little comediennes of the silveraheet. In each new producl tion she gives out new scintillating lights to her vivacious personality. She is cast as Nancy Woods, a secretary of a famous at-

torney and she secures her weekly check on • the lawyer’s reapings of alimony from unfortunate husbands. Nancy finally comes to the conclusion that she would like the entire check of some cast-off husband for heraelf. She marries Stockney Webb, a millionaire lumber king and thinks she will have soft living from then on. But Webb is wise to her game and the situations from -then on are novel and hilarious, and finally comes to a dramatic climax when Nancy discovers that it is her husband she loves and not his money. Johnny Mack Brown is cast in the lead with Miss Bellamy and by his performance promises to be one of next season’s most promising leading men. In the supporting cast, who give excellent portrayals are: Mary Duncan, Joyce Compton, Henry Kolker. James Tinling directed.

A deft and skilful combination of melodrama, pathos, comedy and realism, told in scenes both colourful and thrilling, makes ‘The Shield of Honour,” the Universal picture coming to the Civic, one of the most entertaining photoplavs of the season. The entire picture is a glorifiction of the nation’s arm of the law, the policeman. He is diown at work and at home, and the picture brings home vividly the dangers and hardships to which the policemen of the metropolitan city force are subjected. Some of the most thrilling fight and fire scenes ever filmed provide the elemental climaxes of the picture, while additional drama added by two airplanes in a thrilling battle increases the intensity of the story. Both Neil Hamilton and Dorothy Gulliver, who carry the love interest, give excellent performances, with Ralph Lewis, the veteran character actor, in one of the greatest characterizations of his career. Always a type that is in demand for just such a role as depicts, he has literally outdone iumself » the most respected and honoured ofietr on a rnet.xpoliian police force.

AT THE CIVIC.

To-night and until Friday: “Wings,” the aviation special (Clara Bow, Charles Rodgers, Richard Arlen) and “Knights of the Air.” Saturday: “The Shield of Honour” (Neil Hamilton, Ralph Lewis) “Soft Living” (Madge Bellamy, John Mack Brown.)

“Wings,” which is at present having a big run at the Civic, is another of the few Big pictures —and one which is totally distinct from anything else the screen has given us, inasmuch as, being a war story, most of the action is writtei about the daring aviators whose deeds have contributed so much to what will be undying history. There is a story—and a very pleasing one. It concerns two young Americans, both in love with the same girt. During the war they join the aeroplane service. Both are exceedingly jealous of one another, and this feeling still predominates when the young men get to the front. Eventually they become fast friends. When one of the heroes is reported killed, it has a very saddening effect on his pal. But the former is not dead. Instead, he escapes, gets into the German lines, steals an aeroplane, and is crossing into the Allies territory when the pal, on patrol *duty, sees the German plane coming over the American line. Eager to avenge the death of his mate the young American brings down the German plane and mortally injuries the pilot, whom he now recognizes as his pal and rival. The dying man forgives his mate, and advises the latter to, on his return, marry the girl. Around the plot is evolved the most thrilling action ever presented in a motion picture. Aeroplanes are engaged in almost continuous encounter —in pairs and groups. Crashes are frequent, and excitement runs high throughout. “Wings” is certainly an amazing picture, and it’s making is a credit to all concerned. Just how some of it wSS accomplished can only be left to the imagination, for it is indescribable in cold print. The thoroughness of the subject is particularly satisfying.

Ken Maynard is coming to the Civic in another of his excellent estern dramas, “The Wagon Show.”

Dolores Del Rio is due to make an early ■appearance at the Civic in “The Gateway of the Moon” in which she is supported by Walter Pidgeon, Ted McNamara and Leslie Fenton.

Those who remember “The Gay Retreat” the big laugh creator featuring Ted McNamara and Sammy Cohen will welcome the news that these two irrespressibles are now on the way in another fine fun film entitled “Why Sailors Go Wrong.” The title indicates fun on the high seas and there is sure to be plenty of it. The romantic interest is centred in the two young people, Sally Phipps and Nick Stuart.

“Metropolis,” coming to the Majestic very shortly, a vast City of the future, is the life-work and ambitian of one man, John Masterman. The work people of “Metropolis” only interest the powerful Masterman so long as they are physically fit to operate his machines, and in order to save space and valuable land, he has built for them a subterranean city beneath the surface of “Metropolis.” Once a day the children of the workpeople, under the care of Mary, a girl of beauty, are permitted to travel to the topmost heights of the city, there to obtain an hour’s fresh air and sunshine. One day their guide opens an unfamiliar door and finds herself in a strange garden, in which is a young man and a number of girls. The young man is Eric Masterman, son of the master of “Metropolis.” Mary exclaims: “Behold there are your brothers and sisters,” and Eric alone realizes the meaning behind her scornful words. Fascinated by her beauty and conscience-stricken at the sight of the poor children, Eric determines to see for himself under what conditions his father’s work-people exist. Here is revealed to him the hardships and great sufferings his father’s work-people have to endure, and he implores his father to grant better conditions. John Masterman, a man of iron will and nerve, fails to understand his son’s appeal. Eric returns disguised as a workman and attends a secret meeting of the workers, who are beginning to revolt. At this meeting Eric again sees the strange and beautiful girl. John Masterman pays a visit to the catacombs in company with Rotwang, the great inventor, who is absorbed in the task of perfecting an Automaton. When Masterman sees Mary preaching to the workers he persuades Rotwang to give his “robot” the fact of this girl, so that the “robot” shall go among the workers and teach submission to their masters. Rotwang carries out the plan. Mary is captured and taken to his laboratory, and there her form and features are imparted to the “robot.” This “robot” becomes animated. She is the exact duplicate of the real Mary, but is filled with all that is evil, and once among the workers she urges them to revolt. The infuriated mob, led by the Automaton Mary, destroys every machine that operates the great city, including the “heart-machine,” on which the very existence of the city of “Metropolis” depends. In the catastrophe that follows, young Masterman and Mary save the children of the workers, who are almost drowned by the rush of water which destroys the subterranean city. In the turmoil Eric and Mary are separated. John Masterman is a broken man when he finds that not only is his life-work in ruins, but that he also has lost his son. When to his indescribable joy he learns that Eric and Mary are saved, he becomes a changed man, and thanks his Maker for their preservation.

In “The Tigress,” the Columbia Pictures’ production which will be shown at the Majestic Theatre on Saturday next, Dorothy Revier makes a thrilling rescue. Holt and Frank Leigh are required by the action to stage a terrific fistic battleJn a swift moving waggon drawn by runaway horses. Just as the tide is going against Holt, Dorothy Revier, as the gipsy tigress, dashes alongside on horseback, throws a knife between the two, killing the villain. She then grasps Holt, draws him out of the waggon and on to the back of her horse. It was a tricky piece of business and one which required considerable practice before it was perfected. Most of the action was taken at close range and it was impossible to use double in any of the scenes. This is one of those pictures where the stunts must be performed by the players regardless of the hazards. To avoid any possibility of an accident. holding up the production this thrill was reserved to the last and filmed as a wind up. No mishap occurred during the making of the scene.

Extras of every possible type took part in the Singapore scenes in Ramon Novarro’s new starring vehicle, “Across to Singapore,” which comes to the Majestic Theatre shortly. In order to successfully reproduce “the melting pot of the East,” players, of no less than twenty different nationalities, including Chinese, Japanese, Malays, Africans, and Siamese take part. Joan Crawford plays opposite Novarro in the leading feminine role, while Ernest Torrence, Frank Currier, Edward Connelly, James Mason and Anna May Wong are included in the cast. William Nigh directed from Ben Ames Williams’ novel of the thundering sea, the inscrutable Orient, and a love that would not be denied.