ENTERTAINMENTS

Southland Times, Issue 21073, 3 May 1930, Page 4

ENTERTAINMENTS

MAJESTIC. MATINEE AND TO-NIGHT. BIG DOUBLE FEATURE PROGRAMME. Drama dealing with the deepest of human, . emotions and songs that wring the soul combine to make ’The Climax,” the Universal all-dialogue production of the famous stage play by Edward Locke, which opens at the Majestic Theatre to-day one of the most stirring pictures ever made. “The Climax,” internationally noted as a stage play, brought fame to such distinguished actors as Guy Bates Post and Leo Ditrichstein; Post having taken it on a two-year, around-the-world tour. The star role in the picture is taken by Jean Hersholt, Universal’s character actor, who regards it as the greatest part ever given him in films. The songs of “The Climax,” which deals with the ambition of a young Italian girl to achieve fame as a singer, are sung by Kathryn Crawford, who was chosen because of the beauty of her voice as well as her ability as a dramatic actress. Jacqueline Logan, while discussing her role in "The Bachelor Girl,” the Columbia production synchronized with dialogue and music, also commencing at the Majestic Theatre, commented on the reasons why so many girls seek t to express themselves through the medium of business life. “They devote to business much of the energy which would otherwise be devoted to the home and the rearing of children,” said Miss Logan. “It might be that they have an unhappy, home life; perhaps they have suffered extreme poverty from birth and have to support a home; or —and this is more often the case —■ they either have not found the man they can marry and be happy with, or else they find their emotions linked to some worthless youth whose outlook on life fails to measltre up their expectations. Very often this is due to the nonchalant attitude of our modern youth who thinks more of dress and dancing than of building a career for himself. That is why girls become “kiachelor girls” successful in business life, and too often unhappy because they are going contrary to their home-building instinct.” This double feature programme will be screened for two nights and one matinee only. THE REGENT. "DISRAELI.” A TRIUMPH FOR THE TALKIES. There is not the slightest doubt but that Warner Bros.’ “Disraeli,” now showing at the Regent Theatre, is a film that comes so close to the really arresting and intelligent as to stand head and shoulders above anything that has yet been presented to Invercargill audiences. “Disraeli” is the answer to the insistent demanil of picture theatre-goers for the perfect co-ordination of sound and spectacle, the talking film, that goes right down to the fundamentals of the legitimate stage it appears to have ousted so completely. The public has a catholic taste in entertainment, and enjoyed “Broadway Melody” and “Rio Rita” to the full without regarding them in anyway as monuments of intelligence. They found ideas in “The Hollywood Revue” and in irresistible murder mysteries which gave the production a particular value. But the quite intelligent talkie had not arrived until “Disraeli” caught and held the attention of the Regent patrons. The film is a political drama of the English people, played by- an English cast, and obviously fashioned to appeal to English people. The American tendency towards .sentimentality is happily absent, and the producer has shaken himself free of the stultifying commonplaces that have marred so many of the products of that country. The production is rooted in national understanding; it apes nothing and follows nobody. The film may be regarded as the first national monument to the American talking screen. In it the two senses of sound and sight are, for the first time in the short history- of the talkies, richly harmonized. The gesture and speech alike seem perfectly- natural. "Disraeli” is an honest, an extraordinary, and, at times, very moving film, which gains ail its effect from the fact that it has been developed from within, along the lines of its own urgency. Nothing has been imposed on it, nothing incorporated with it. The elements of story and atmosphere have simply been allowed to follow their own nature towards the fullest expression of their power. One thing “Disraeli” demonstrates with convincing force is that without talk of value the talkies are valueless. In the picture there are masters of speech whom it is a pleasure to hear as ; well as a possibility. In the whole of the j two hours’ entertainment not a word, not a syllable, Is lost by anyone who is prepared ; to give the screen the most ordinary atten- | tion. George Arliss, in the title role, gives i a characterization of superlative finish and i skill. Aril's has many- admirable lines and ’ he delivers them admirably. This triumph I for the talkies will be shown again at both this afternoon’s and evening’s sessions. THE CIVIC. GRETA GARBO AND NILS ASTHER IN “THE SINGLE STANDARD,” AND EMIL JANNINGS, ESTHER RALS TON. GARY COOPER IN "THE BETRAYAL.” "The Single Standard,” which heads the new double-star bill at the Civic to-night is typically a Greta Garbo picture with the exotic blonde giving a splendid performance as a love-hungry lady- who flauts convention in an effort to find happiness. Artistically handled by the director Mr Robertson, there is strong interest. The story tells of a young social beauty, who queries the right of convention to draw up different standards for men and women. AVhat’s sauce for the goose is also sauce for the gander is her idea of things, and at once she sets out to live life her own way. After a false start with a young chaffeur, she chums up with an artist, and together they venture to the lazy romantic charm of tropic islands as passengers on the young fellow’s private yacht. Time goes by, and the artist springs a surprise bytelling her of a decision to return her home and live in the happy memory of their friendship. She is broken-hearted, and he fakes her avowal of worship with him to the jungles of Malay, whence he goes on a trip. In the meantime the girl heeds the pleadings of an ardent admirer and they marry, the union being blessed with a son. Complete contentment is shattered when the artist returns and again demands her affection. The men have the matter out between them, and reach a decision which portends a tough break for the husband, but the girl’s love for her child is instrumental in straightening out things to everybody’s satisfaction. “The Betrayal” is another intensely dramatic story- in which Jannings again shows his remarkable histrionic ability. The narrative is laid in the little Alpine village, where Vroni, a beautiful Swiss girl, lives with her parents. Along comes Andre, a young Vienese artist, who falls in love with the girl and she reciprocates. Forced to return home, the hero promises to come back and claim his bride. Years later Andre returns, only to find that, in the mean--time, the girl has been forced to marry Poldi (Jannings), a middle-aged and good- j natured man of independent means. The girl explains to Andre, and introduces the latter to her husband as a friend -who has just lost Jiis sweetheart. Later on, Andre pays another visit to the home of Vroni; he begs the girl to flee with him, but she refuses. He then gives her a note threatening to raise Cain if she again refuses to leave with him. The girl puts ths note in her pocket, and it is in the dietovery, by the husband, of this letter, that a terrible tragedy is intensified. There Is a fitting finale to this very serious story.