ENTERTAINMENTS

Southland Times, Issue 20664, 20 April 1929, Page 5

ENTERTAINMENTS

CIVIC PICTURES. ‘‘ME,’ GANGSTER” (DON TERRY, JUNE COLLIER) AND “THE DANGER RIDER” (HOOT GIBSON).

In placing “Me, Gangster” the Fox-Raoul Walsh drama which opens at the Civic tonight among the six best pictures of the month, the editor of Photoplay publishes the following criticism which we print for the benefit of picture-goers: “Here is a picture as sentimental, as melodramatic, as pointedly moral as any picture ever made, yet it is completely absorbing. Raoul Walsh has the knack, possessed by Griffith in his heyday, of making the characters of such a story pulse with life. The picture is outstanding for another and a more important reason. It brings a new player, a very fine, very compelling actor to the screen, one Don Terry, a young college man discovered by the author of the piece, Charles Francis Coe, in the Montmartre Cafe. Terry’s performance stands out as one of the unusual and moving gestures of the cinema. He is not handsome, he is definitely a type, yet there is a rugged charm about him that gives him a niche higher than your sleek-haired, amorous puppets. The story is related in a novel form. It is ‘The Diary of Me, Gangster' and the subtitles are shown in handwriting, written in the first person. It is the boy’s story, of course, yet there are splendid performances given by June Collyer, ' Anders Randolf and by Gustav von Seyffertitz. It is an injustice to relate the plot, since it is one of the son of a wardheeler who finds that crime doesn’t pay. Such phrases as ‘the straight and narrow path,’ ‘going straight,’ etc., are plentiful. But it is the absorbing interest of the prison scenes, the fascinating development of the situations and the absolutely perfect characterization of Terry that make it a splendid contribution to the art of the cinema. It will hold you spellbound.” The showman’s ideal of a picture that will “click” through every scene has been reached in “The Danger Rider,” Universal attraction with the popular Hoot Gibson in the starring role. The picture is the funniest in which the star has appeared. Added to his capabilities as a purveyor of thrilling amusement, Hoot seems to have found himself as a comedian. He romps through the story scattering action and fun on all sides. “The Danger Rider” is laid on a ranch for ex-convicts run by Mollie, a pretty girl with charitable intentions. The ranch is supposed to give occupation to poor, run-down ex-criminals who can’t find work in other places. Hoot, the son of the prison warden, falls in love with the girl when he happens to see her picture. He goes to the farm posing as a notorious crook. The girl does her best to reform Hoot, but he is adamant. When a group of the men on the ranch attempt to rob her safe, Hoot intercepts them. HL identity is discovered, however, so when Mollie sees that he doesn’t need any reforming she decides the best thing to do is to marry him to keep- him that way. Interesting and entertaining supports are also listed for tonight. Seats may be reserved at the Bristol or by ringing No. 3SO. HOOT GIBSON MATINEE. AT THE CIVIC TO DAY. Ideal entertainment for the young folk will be provided at the usual Civic Pictures matinee this afternoon. The principal picture will be Hoot Gibson's latest, “The Danger Rider,” one of Hoot’s fastest and funniest. In addition two comedies, one of them featuring Snookums, wifi be .shown; also the opening chapter of the new serial, “The Scarlet Arrow.” This sensational serial picture introduces numerous new and unusual* producing escapades. Some of the most, noteworthy and outstanding scenes are those of the forest fire, filmed at the risk of many lives and resulting in the burning of more than ten acres of woodland; chilling scenes of two leading players in the grip of swirling flood waters, and an unusual scene of people squirming in the tightening folds of quick sand. VAUDEVILLE AND PICTURES. MAJESTIC. The management of the Majestic Theatre is offering to its patrons commencing today at the matinee, a superior class programme of which a vaudeville turn occupies a prominent position. Probably no more popular revue company has ever visited New Zealand than the “Storyettes,” and certainly no more popular revue comedian than George Storey. His return io New Zealand with his charming partner, Miss Dulcie Milner, should be like the return of a victorious warrior to the scene of his early triumphs for, as he himself admits, New Zealand is his great stronghold. Last night in Dunedin, this prince of laughter provokers kept a theatre packed from floor to ceiling shrieking with laughter for twenty-five minutes, and then was asked for more. The picture part of the programme is also of a very high standard, including as it does the famous dog star Rin-Tin-Tin in “Rinty in the Desert,” and the cream of British films “His House in Order” from the pen of Sir Arthur Pinero. The Majestic “De Luxe” Orchestra, conducted by Mr H. Halbert, will also be heard in a special programme of music. Plans for this programme are to be seen al; the Bristol, or reservations may be readily made by telephoning the Majestic Theatre direct, No. 738. “FOUR SONS.” ‘Four Sons” the William Fox masterpiece is shortly to be screened at the Civic Theatre. Briefly it is the simple, intensely human story of a mother and her four sons. The theme is faith—the faith of the mother in humanity. In spite of all the troubles that beset the old lady, her confidence remains unbroken. There are contrasting backgrounds of America and Bavaria during the War. It is not a war picture, however, there being only a flash of the battlefield, depicting the meeting of the two brothers in opposing armies. This scene is one of the emotional highlights of the picture. The role of the mother is beautifully portrayeel by Margaret Mann, the sixty year old extra who achieved overlasting film fame through her remarkable performance in this production. The four sons are no less admirably played by James Hall, Charles Morton, Francis X. Bushman Jr., and George Meeker. Others in the large company are Earle Foxe whose character role is a distinct departure from the usual comedy parts with which this player is identified. June Collyer, Ruth. Mix, daughter of the noted screen star, Tom Mix, Ferdinand Schumann-Heink, son of Mme. Schumann-Heink, the opera singer, and Archduke Leopold of Austria. John Ford, the man w r ho made “Mother Machree’ and “The Iron Horse” directed the production. THE REGENT. SPLENDID COMEDY PROGRAMME. It was indeed a happy audience that left the Regent Theatre last night after nearly two and a half hours of continuous laughter. Billed as a feast of fun Hie programme certainly contained all the comedy that anyone could desire. The Regent Review contained some interesting views of the latest, news from overseas. Followed a very clever Charlie Chase comedy concerning the attempt of a new rich couple to break into society, and the resultant faux pas at their first reception. Love Overnight is one of those all too rare comedy dramas that can best be described as delightful. Every member of the cast is exceptionally well fitted to his or her respective part and all combine to make-one of the funniest pictures imaginable. Rod la Rocque is excellent as the “fresh” ticket seller in a subway station who tells his fiancee that his father is a millionaire, and then had a terrible trouble explaining it away after they were married. Jeanette Loff as the girl is a new star, and judging by last night s performance she should go far. Ihestpry is oi

the farce comedy style, and one that should please the most fastidious. My Friend from India lived up to everything that had been said about it. Concerning as it does the farcical adventures of a wealthy young bachelor who becomes mistaken for an Indian Prince, and enacted by a fine cast of comedians it is in all a wonderful tonic. Franklyn Pangborn is a comedian with an altogether new style and his comedy comes unrestrained and natural. He is one of the really good comedians on the screen to-day. Elinor Fair discloses a flair for comedy that anyone who has seen her in her heavier roles, such as her part in the Volga Boatman, could hardly believe her capable of. The Regent Orchestra again delighted, especially appreciated being the entr’acte, a popular pot pourri of old favourites. In all it is a programme to be recommended.

SHAKESPEAREAN SEASON. VISIT OF THE ALLAN WILKIE COY. The Allan Wilkie Shakespearean Coni: pany concludes a highly successful three weeks’ season in Dunedin to-night and opens here at the Municipal Theatre next Monday for a visit extending over three nights, in the course of which "The Merry Wives of Windsor,” "Romeo and Juliet” and “As You Like It” will be staged. On his present tour of the Dominion Mr. Wilkie brings with him a considerably strengthened company and, amongst newcomers in a strong cast, introduces an actor of undoubted brilliance in the person of Mr. Alexander March, who has won the unstinted approval of audiences throughout. New Zealand by his capable work in the role of Ford in

“The Merry Wives.” In Falstaff Mr. Wilkie has a part well-suited to his talents while Miss Hunter-Watts and Miss Ijorna Forbes should be happily cast as Mistress Ford and Mistress Page respectively. While perhaps not revealing Shapespeare, the poetdramatist. in his most exalted vein “The Merry Wives of Windsor” has certainly few rivals as a mirth provider pure and simple and the “amours” of the Fat Knight furnish a theme prodigal of laughter. There is an ingenious fascination about witnessing the packing of Shakespeare’s gigantic and mischievous old hero in the close confinement of a linen basket and the final woodland scene furnishes an effective and picturesque conclusion heightened by the fairy song and dance, of the children’s ballet. The box-plans are at the Bristol Piano Company and the booking promises a bumper house to greet, the return of this popular combination.