ENTERTAINMENTS

Southland Times, Issue 20618, 17 October 1928, Page 15

ENTERTAINMENTS

"WINGS.” LAST THREE NIGHTS OF THIS GIGANTIC PICTURE AT THE CIVIC. Those who have not yet seen “Wings” the “ ‘Beau Geste’ of the air” at the Civic are reminded that the season is rapidly drawing to a close and as there is no diminution in the demand for seats reservations should be arranged for without further delay. “Wings” is an epic and filled with momentous incident. The thrill of the ’plane battles is only equalled by the fact that you as passenger are taken right into the battle on one of the planes. The throb of the human story, and the many big and impressive scenes. Through the film runs a fine romance of airmen and nurses at the front. Charles Rogers and Richard Arlen are seen as two daring pilots, and Clara Bow appears in the role of an intrepid war worker at the front, who is as full of fight as either of the “aces.” No more thrilling scene has ever been depicted than that which shows the two American airmen ascending at Mervale to drive off a mighty Gotha and two swift. German battle planes, which have come to blow the little village o ffthe map. As Jack hurls himself at the Gotha, David tackles the two battle planes, sending one crashing to earth and the other scurrying home. Jack’s triumphant fight with the Gotha is watched by Mary, the nurse, who is thrilled by the heroism of her countrymen. There is chivalry amongst the knights of the air, as Count Von Kellerman, leader of the German “living circus,” refrains from shooting down an Allied airman, whose machine gun jams. The hazards these airmen had to undergo during the Great War is shown when Jack shoots his pal down fro mthe skies. The latter has crashed behind the German lines, and is mistaken for a German in making his way back in an enemy machine. “Wings” is no ordinary film. It is one of those pictures every one should make a special effort to see. MAJESTIC. DOLORES DEL RIO IN “RAMONA,” ALSO PHYLLIS HAVER IN ‘THE WISE WIFE.” Brilliant, glamorous, pictorial, scintillant with romantic charm, vibrant with dramatic tensity, dynamic in its emotional moments poignant in its bitter tragedy—that is “Ramona,” the United Artists photoplay presented to-night at the Majestic Theatre. “Ramona” is a screen triumph. Its continuity, direction, acting, photography, and scenic vestment stamp it as one of the fines* most artistic pictures ever produced. This classic love story by Helen Hunt Jackson has been masterly directed by Edwin Carewe. The noted director has caught the romantic spirit of early California in the colourful days of the Spanish Dons, and he has faithfully brought to life on the screen the beloved characters of the book. Dolores Del Rio as “Ramona” is superb. She invests her role with sincerity, deep understanding, piognant feeling and artistic conception. Under the inspirational direction of Edwin Carewe, this brilliant young artiste surpasses in dramatic portrayal even her finest moments in “Resurrection,” the picture that swept her, overnight, into stardom. Runn'" the gamut of human emotions, feeling all the pangs of love, despair and woe, Miss Del Rio plays upon the heart strings of her audience. Her histrionic skill and gift of character delineation find opportunity for full expression in the romantic scenes, and in the deep, fine nuances of pathos and tragedy. Jacqueline Logan, a Cecil B. De Mille player, has a conspicuous featured role, that of a modern flapper in “The Wise Wife,” which will also be screened to-night for the first time at this theatre. Phyllis Haver, Tom Moore and Joseph Striker also are featured. Miss Logan, who played an important role in “The. King of Kings,” recently played the feminine lead in “The Blood Ship.” In “The Wise Wife” Miss Logan is seen as a flapper who becomes enamoured of a man of wealth, portrayed by Tom Moore, whose love for his wife is slipping. He thinks he loves the charming young southern girl and before he realizes it, he kisses her. Their romance thus begins. The wife (Phyllis Haver) adopts a daring plan to retain her husband’s love and by out flapping the flapper she brings him to a realization that he loves his wife after all and all ends happily. In the development of the story, directed by E. Mason Hopper, there are numerous thrills and laughs. The picture is said to be decidedly worth jvhile. FULLER-GONSALEZ GRAND OPERA COMPANY. For the second time within four months, Invercargill music lovers and students of the great masters of grand opera will be afforded the opportunity of experiencing first hand the glory of operatic masterpieces, which are seldom in this distant corner of the world. The two visits of the talented Fuller-Gonsalez combination to this city in one year should be notable events in the theatrical and musical history of Invercargill. There is no lack of the delightful but inconsequential tinkling melody of musical comedies and other such designed purposely to tickle the ears of the groundless; but it is seldom indeed that such an offering of the very best is made to the New’ Zealand public. The rich melody incomparable music and intense compelling action of these great works are immortal. Many of them were written of and for an age totally different from •our own in standards and customs, but a century can have no effect on their deathless attraction and universal appeal. It is perhaps one of the advantages of small helpings that the taste takes much longer to pall, but even were there ten times as much grand opera in Invercargill those who like it best would always find something new and remarkable in the works of those master composers that will never let their memory die. The work to be presented on the first night of the company’s re-appearance, Tuesday next, October 23, will be one of the prolific Verdi’s inspiring operas “Un Ballo Mascheras” (“The Masked Ball”). This has been one of the company’s most artistic successes. The principals engaged in the opera are the strongest combination that have yet appeared in one opera for they include two leading sopranos in Roeita Silvestri and Marguerita Flor, and Alessandro Rota (tenor), Franco Izal (baritone) and Signors Fumgalli and Alfieri (basses) and Nina Algozzino (mezzo). Wednesday, Bellini's most stupendous composition “Norma”; Thursday, Wagner’s “Lohengrin”; and Friday, “The Barber of Seville.” Box plans open Thursday morning at the Bristol when seats may be booked for all the operas.