THE SHADOW WORLD

Southland Times, Issue 20666, 23 April 1929, Page 5

THE SHADOW WORLD

| MOTION PICTURE PLAYS & PEOPLE

(By Columbine-)

CIVIC PICTURES. To-night: “Me, Gangster” (Don Terry, June Collyer); “The Danger Rider” (Hoot Gibson).

To-morrow: “The Docks of New York” (George Bancroft, Betty Compson. Baclonova); “The Lawful Cheater” (Clara Bow). Saturday: Zane Grey’s “The Michigan Kid” (Conrad Nagel, Rene Adorce); “Dry Martini” (Mat Moore, Mary Astor).

Amongst the Fox releases booked for the Civic pictures are: “New Year’s Eve” (Mary Astor, Arthur Stone and Marjorie Beebe); "Captain Lash” with Victor McLaglen. Captain Lash is a nickname bestowed upon him, a fifth engineer on a ship, because he drives the men under him so ruthlessly. Off duty he divides his time between making love and fighting. His pal is Cocky, a tiny seaman, played by Clyde Cook. When Lash develops a romantic turn of mind after seenig Claire Windsor, who has the role of an adventuress, he gets into the most serious trouble of his life. But he is extricated in an ingenious way by the always present Cocky. Fox promise something novel in the realm of murder mysteries with their latest all-talking feature, “Thru Different Eyes.” The story unfolds for the audience through the eyes of the prosecuting attorney, the defence lawyer, and a girl of mystery. Warner Baxter and Mary Duncan have the leads. Both these players were seasoned before the footlights before entering. upon their careers in the silent film. Now they again have the opportunity' to speak their lines. Then, of course, also from Fox will come “Four Sons” next week. This I have already stated to be one of the finest and most satisfying pictures I have ever seen. I would advise nobody to miss it. Contrary to its title, it is not of the general sob-stuff type of “mother” picture—indeed, it is brimming over with laughs.

Maurice Chevalier, France’s stage star, has been devoting much of his time to “microphone rehearsals,” preparing for the inclusion of eight songs in his first picture, "Innocents of Paris.” Latest advice, says he will sing three in French and four in English, and one of the English songs will be repeated with a different interpretation. The French songs are “Valentine,” “Les Ananas" and “Dites Moi Ma Mere.” The English melodics are called. “Louise,” “Wait'll You See Ma Cherie,” “It’s a Habit of Mine” and “On Top of the World Alone,” which is the repeat number.

A scheme for forming a new amateur film-producing society in Manchester has been proposed to the members of the Manchester Athenaeum. A stimulus to this enterprise is found in the remarkable record of the boys of the County High School at Altrincham, where amateur film production is a realized ambition. The schools first productions were The People of the Axe and The People of the Lake, two films illustrating the earliest kind of human life which has left its traces on English soil. These films were produced with the help and partly under the direction of Sir William Boyd Dawkins, whose home is near the school, and were made from beginning to end by members of the school. In another production, The Man Who Changed His Mind, all the parts were played by the boys and the masters. This film illustrates the Boy Scout movement and it enjoyed the personal help of Sir Robert Baden-Powell as well as of the headquarters of the Scout organization in London. About 100 boys took part in the production, and the film is in three reels, whereas the two former productions were of one reel only. An educational purpose, of course, lies behind all the film productions of the Altrincham High School, and they have evoked the interest of educational reformers like Professor Findlay, of the University of Manchester, as well as of the British Instructional Film Company, Limited. The best of the school’s films has been shown in Manchester, and it is to be taken for ordinary public exhibition. The example of the Altricham High School is largely relied on by the promoters of the Athenaeum film-producing scheme as showing what can be achieved by non-profes-sional effort even in the somewhat unpromising surroundings of Manchester. They aim at producing a film of serious aesthetic value in contrast to what they regard as the mass of sensational and sentimental productions imported from abroad.

THE REGENT. To-night: “Midnight Madness (Clive Brook), “Beyond the Sierras” (Tim McCoy). Friday: “Tenth Avenue” (Phyllis Haver), . “Man Made Woman” (H. B. Warner). Tuesday Next: • “Skirts” • (Syd. Chaplin), “The Girl in the Pullman” (Marie Prevost).

Making weather to order on the largest scale ever attempted in pictures was the strange task carried out in the filming of thenewMetro-Goldwyn-Mayer starring production for Lillian Gish, “The Wind,” which will be screened at the Regent shortly. Windstorms, tempests, and even a cyclone, were duplicated for the screen by engineering science. Complete details of the storms which were staged on the Mojave desert were worked out by the engineering department at the studio. “The Wind” is a story of elemental emotions in a primitive land; a land where the cyclone, the norther and the dreaded sandstorms continually lash and sear the souls of those within.it; where primitive passions rule and only the fit survive. The fine supporting cast includes Lars Hanson, Montague Love and Dorothy Cummings. A revolutionary picture with a revolutionry cast! Such is "Napoleon,” the historical filming of the French revolution and of Bonaparte’s life, beginning when he was a schoolboy at Brienne and ending with the stirring and dramatic scenes of the French Revolution, which also comes to the Regent. Albert Dicudonne, who enacts the role of Napolebn, gives a splendid characterization. Gina Manes makes a beautiful and fascinating Josephine.

“Lady of the Pavements” the new D. W. Griffith film in which Lupe Velez plays the title role. William Boyd, Jetta Goudal; Lupe Velz, George Fawcett and Albert Conti are in t,he cast. Dr Karl Vollmoeller, author of the book of “The Miracle,” wrote the original story’. Irving Berlin’s newest song, “Where Is the Song of Songs for Me?” was written especially for this picture, and it is sung several times by Miss Velez, who also sings “Nena” and “At the Dance.” The locale of the story is the Paris of Napoleon HI.

Miss Anna May Wong, the him actress, is to appear for the first time on the stage under the direction of Mr. Basil Dean. She will play the principal part in The Circle of Chalk, which will be Mr. Dean’s next production after Beau Geste. It is a traditional Chinese play dating from the 11th century, and has been played in China right up to the present day. A German version of it was produced a short time ago by Mr. Max Reinhardt in Berlin, and has been performed with great success in other towns in Germany, Austria, and Central Europe. Mr. Dean will produce the play in an English version by Mr. James Laver. Miss Anna May Wong was born in California, and has lived most of her life in the United States. Her first important part on the films was with Mr. Douglas Fairbanks in The Thief of Baghdad. Recently Miss Wong has been in England acting in -a British film entitled Piccadilly for a British company’, and is at present in Berlin engaged on another film for the same director, Mr. Dupont. The Children’s Hour, A correspondent writes: —The ■ idea of having a programme of pictures “for children only,” which you suggested to the local cinema managers the other day, has been tried with great success in the Plaza Theatre, of New York, where Saturday mornings have come to be known as “The Children’s Hour.” This entertainment for children is organized by the Sainopic Club, the name of which stands for Saturday Morning Pictures. The stalls are filled with youngsters whose parents are members of the club, the drees circle is for public school children who can see the show for 25 cents and the gallery is reserved for the little boys and girls of the United Neighbourhood Associations, who are admitted free of charge. In this way the venture is on a sound financial basis, while both rich and poor may avail themselves of the entertainment. The programmes usually consist of a news reel, an “Our Gang” comedy an “Ink-well” cartoon and a feature production. “The first requirement for all films chosen,” says a note by the management, “is that they be entertaining. We do not try to give the children educational pictures unless they’ are sugar-coated. It niust be remembered that youngsters, like grownups, like to be interested. We can soon tell if the programme appeals to them, for if they are enjoying themselves they are silent, but when they are bored, they wriggle.” Betty Bronson’s “Peter Pan” and “A Kiss for Cinderella” are great favourites, and have therefore been screened several times. Pictures made by Douglas Failbanks (“Robin Hood,” "The Black Pirate” etc), Jackie Coogan, Mary Pickford, Harold Lloyd, Buster Keaton, “Our Gang” and Charles Chaplin have been the most popular. No films depicting sophisticated emotions are presented by the Samorpic Club. Travel pictures, such as “Alaskan Adventures,” produced by Art Young, are liked by the children.

The children are also given a little community singing. The words of well-known songs are flashed on the screen, while the organ plays the air. The children show’ little hesitation in joining in lustily in the singing.

That splendid British picture “The Flag Leiutenant” (which has never been shown in Invercargill) would be idea! for a programme of this nature. The great U.F.A. studios in Germany are under a standing contract with the German local school boards to make “interesting” educational films, and could, no doubt, supply some of their very popular, productions to the local theatres. Any boy who has read Kipling’s "Jungle Books” would be interested in the short U.F.A. film, “Killing the Killer,” a remarkable short slow motion study of a gallant little mongoose killing the deadly cobra. Then, there. is a recent French film, “Le Belle Nivernaise,” directed by Jean Epstein, which should appeal to children. It is a charming story of the adventures of an orphan who is adopted by the owner of a barge on one of the French canals. Pupils of the local Boys’ High School may remember the book, for it was used in the French class a few years back. It is said to be an exceptionally beautiful film. A delightful colour picture now running in New York is highly recommended by one critic for a children’s programme. This is “The Frog Princess,” a sort of burlesque Coq d’or. It is a fairy story “somewhat in the Dulac manner and the colours come out with real delicacy.” Two unusual German films, “Cinderalla” and an Arabian Nights story, produced without any human actors, the parts being taken by animated cut-out paper silhouettes, have been very popular with children. Travel pictures that could be revived for a children’s programme are “Grass,” "Moana,” and “Change.” If the theatres would cater for children the big producers would soon consider it worth tlieir while to-produce special films. Surely an English studio will utilize one or other of the famous public schools to make a story of school life. “The Hill,” (Harrow) could be made into a splendid film.

THE MAJESTIC. To-night: Vaudeville. George Storey, Revue Comedian; “Rinty in the Desert” (Rin Tin Tin); “His House in Order” (Tallulah Bankhead). To-morrow: “The Wheel of Chance" (Richard Barthelmess); "The Fortune Hunter” (Syd Chaplin and Helene Costello). Saturday next: “The Matinee Idol" (Bessie Love and Johnny’ Walker), "The Golden Clown” (Gosta Ekinan, Karina Bell); "The Collegians” (George Lewis, Dorothy Gulliver). “The Golden Clown,” which will be screened shortly at the Majestic Theatre# is a Danish picture, directed by A. W. Sandberg, producer of "Little Dorrit,” “David Copperfield,” “Oriental Love” and a number of other big productions. "The Golden Clown” deals with the tragedy of a soul that, hidden beneath a mask of buffoonery, had to suffer while all the time the outward contortions of a real actor were convulsing thousands. At the height of his hardwon success, the clown finds that his young wife’s affections are held by another man, and from that day his downward career begins. There is a sensational climax to the story which it would be unfair to give away. Gosta Ekman plays the part of the clown, beautiful Karina Bell, who played in “Little Dorrit,” the role of the clown’s erring wife. Two wonderful studies of circus folks are given by Maurice de Feraudy and Kate Fabian. Other members of the cast are Robert Schmidt, as a roue, and Edmonde Guy, the dancer who is now the rage of Paris, in the role of a mannequin. First National release “The Wheel of Chance” featuring Richard Barthelmess, also comes to —The Majestic. For the second time Lina Basquette takes the role of leading lady to Barthelmess in the role of Ada. Miss Basquette was seen recently as the star’s feminine lead in “The Noose.” This black-eyed young lady was formerly a featured dancer in stage productions, and has had a meteoric rise on the screen. Margaret Livingstone (recently here in “Sunrise”) plies her feminine wiles in the role of Josie Drew, who later calls herself Winnie Ross. Bodil Rosing (also of “Sunrise” fame) enacts the sympathetic role of the mother in "The Wheel of Chance,” with Warner Gland as the father. Gland was for years known as a deep-dyed screen villain, but recently graduated into sympathetic roles. Sidney and Martha Franklin, brother and sister, play as man and wife and the parents of Lina Basquette. Jacob Abrams is the grandfather, and Ann Schaeffer the dissolute midwife. It is also interesting to know that Syd Chaplin opens at The Majestic to morrow in "The Fortune Hunter,” assisted by Helene Costello.

It is not generally known in New Zealand that an American film was produced in the Bay of Plenty districts last year, when Lew Collins, the director, two camera-men, and a scenario writer spent seven months in New Zealand taking the film. Over 1000 Maoris took part, and at Rotorua alone there was a camp of 700 Maoris working constantly. Lew Collins, who directs many Reginald Denny and Laura la Plante films, produced this all New Zealand film under the title of "Taranga.” Carl Laemmle, for Universal Pictures, sent a company of sixteen Maori men and women to America, to do their native chants and cries for the synchronized version, which will be released in New Zealand shortly under the title, “Under the Southern Cross.” Miss Batbie Stewart, the New Zealand film actress, accompanied them to America.

Carl Brisson, who recently was seen in this country in "The Ring” has just completed his second picture for British International. “The Manxman.” He is appearing at present at the London Palladium in a song and dance scena specially written for him. After fulfilling this engagement Brisson will leave England for Lapland, where he will appear in a Swedish production in conjunction with The English Company.

In pictures they call one who overacts, a “mugger.” There is the new danger from the voice in taking productions that the old-time stage players will be “voice muggers.” On the other hand, some modern stage actors seem to adapt themselves easily to the new medium. John Cromwell comes very close to being perfect, according to one director. It. is the same with Ruth Chatterton, Frcdric March and Jack Oakie. Evidently they do not belong to the old school of exaggeration.

Five new motion picture theme songs (which have become very popular, it seems) have been dedicated by United Artists to Mary Pickford, Dolores del Rio, Lupe Velez, Camilla Horn and Eleanor Boardman. Of the five, Irving Berlin composed “Coquette” for Miss Pickford and “Where Is the Song of Songs for Me?” for Lupe Velez; Al Jolson wrote “Evangeline” for Miss del Rio. “Eternal Love” —that for Miss Horn—came from the pen of Peter de Rose, Dave Dreyer and Bellard MacDonald ; “Joan,” for Miss Boardman, was composed by Lewis, Young and Akst.

The praise of the critics, which he had sought for years in minor parts and will now never hear, is going to the work of Arnold Kent, motion picture actor, in the film play “The Woman Disputed” which opened in New York in January and appears in Invercargill shortly. A few weeks before the premiere nr the film in which he had his first important role and in which his acting is described as “brilliant,” Kent was killed in an automobile accident in California. The reviews of the picture are generous in praise of Kent's interpretation of his part. Taking the secondary male lead in the play, a war drama, the hitherto littleknown’ actor is receiving the applause the reviewers usually reserve for the best-known stars. But it comes just a few weeks too late. Kent was born in Florence, Italy, in 1899. His real name was Lido Manetti. After receiving an education as a civil engineer and working as an engineer in the service of the Italian government, he became a motion picture actor and played minor parts in Italy and with the UFA organization in Germany until he got a contract from Carl Laemmle in December, 1925. He had been under contract with the Universal and Paramount companies since that time. Among the pictures in which Kent has appeared are “The Love Thief,” “Love Me' and the World is Mine,” “Evening Clothes” “The Woman on Trial,” “The World at Her Feet,” in which he played opposite Florence Vidor; and “Beau Sabreur.” In “The Woman Disputed” Kent plays the part of a Russian army officer at the outbreak of the great war who is driven to madness and death by his jealousy of the success of a former friend, an Austrian officer, in winning the affections of a once wayward girl whom the two officers had befriended. The other leading parts are taken by Norma Talmadge and Gilbert Roland.