ENTERTAINMENTS

Southland Times, Issue 21264, 10 December 1930, Page 4

ENTERTAINMENTS

THE REGENT. GREAT SHOW DAY ATTRACTION. “THE RICHEST MAN IN THE WORLD” AND LAUREL AND HARDY, THE INCOMPARABLE IDIOTS. A newcomer to talkies makips his debut in “The Richest Man in, the World,” which is to be shown at the Regent to day, both matinee and night. Thia is Louis Mann, a stage actor, of whose first appearance Motion Picture News says: It is a debut comparable .only to that of George Arliss in “Disraeli.” “The Richest Man in the World” is the chronicle of the love of a German-American barber for his children. His riches are solely of the heart; his wealth, the love of his children, whom you first meet as youngsters in a progressive Eastern town. You see lavished upon them a paternal affection that is as dignified •os it is generous, tender as it is understanding. Adolf Wagenkampf’s children are his life, and there is no sacrifice he would-not make for their well-being or happiness. On the point of investing hia savings in a building and loan association in the rapidly growing town in which his barber shop is located; he is called upon to make one such sacrifice; the first of many. His savings are employed to send one of his sons, in poor health, to a sanitorium. His friend, Joe Higginson, the grocery clerk, launches the building and loan association without him, arid as the town grows, it prospers, and Higginson becomes a power in the community While Wagenkampf remains a barber. The children grow up. Another telling sacrifice is made to pay for the medical education of the eldest son. When he returns to a love other than that of his family -—it is difficult for the ageing father to understand why it was necessary for a young doctor to “Americanize” his name. But he forces himself to understand, and mortgages his barber shop to obtain the money for his son to open an office and begin his medical practice. The son, secretly married, usee the money to buy. a home for his bride. The second son is inventive, and in pursuing his hobby accepts the sort of job that places the least demand on him. He becomes a collector for an electrical company. There is a shortage in his collections and, threatened , with arrest, the father gives the last of his savings to make good the deficit. With this.stigma u|>on him the youth is unable to obtain employment in his home city, and disappears. The youngest daughter falls in love with the ne’er-do-well son of old Higginson. In asc.ene that might have been maudlin in less capable hands she confesses to her father of intimacy with young Higginson. He seeks out both father and son, asking marriage for his daughter, but is told the thing is out of the question because of the social inequality of the two families. In one of the most- effective declamations the talking screen has yet given, Louis Mann denounces the principles that have supplanted human sympathy in the heart of his friend and wins the youth to his side. Unable to obtain money from his son, now .a practicing physician, the father secs Higginson foreclose on the shop. On a Christmas Eve, after having watched the authorities take possession of his business, he returns to his wife in the home from which all of the children have departed. But the younger son, an invention of his having proved a success, returns, and is followed by others of the family. Laurel and Hardy, those unique funmakers who have convulsed so many Regent- audiences, are here again in “Below Zero,” and there is another of the beautiful Metrotone Revues, “The Mower Garden.” Plans for to-night are at the Bristol until noon, later at the theatre.

THE CIVIC TALKIES. ANN HARDING IN “HER PRIVATE AFFAIR.” The evil influence -of the. blackmailer is fully dealt- with in “Her Private Affair,” the new Ann Harding talking picture which is to open at the Civic, to-night, a powerfully emotional drama in which this popular stage actress reaches .great, .heights. Unique in the annals of film history, is the. menace to the happiness of the leading characters, in that, it is not provided by another man or woman, but through the lash of the heroine's own guilty conscience. A beautiful society leader, caught in the aftermath of a momentary mad infatuation, accidentally kills a man in seeking to avoid the machinations of a roue. No one suspects her of the crime. Her only punishment is the inferno of her own heart, which sends her forth from her home and social orbit in a mad effort Io forget. Suspense, that primary factor in drama, runs Io a high pitch in almost every sequence, but. particularly in the courtroom scenes where the husband of the, guilty women, a judge, tries an innocent man for the murder. As the hapless beauty of “Her Private Affair,” Ann Harding rises to dramatic heights even greater than those which won her international fame in such stage vehicles as “The Trial of Mary Dugan,” “The Woman Disputed,” “Tarnish,” and other famous plays. Harry Bannister does splendid work as Judge Kessler, while John Loder, Kay Hammond, Arthur Hoyt, Elmer Ballard, William Orlamond and Lawford Davidson all contribute excellent performances in important roles. “Her Private Affair," which was directed by Paul Stein, was adapted for the screen by Francis Edwards Faragoh from an Austrian play, “The Kight to Kill,” written by Leo Urvantzov, and subsequently translated and produced in New York by Herman Bernstein. Among the brilliant collection of short subjects are a .“portlight “Feline Fighters,” a Cartoon, Metro Movietone Review, News Rec'., etc. Seats may be reserved at The Bristol until noon and later at Mrs Jack’s (opposite theatre.) MAJESTIC THEATRE: THE GREAT RACING COMEDY ROMANCE "LITTLE JOHNNY JONES.” MATINEE AND TO NIGHT. "Little Johnny Jones," the First National and Vitaphone film version of George. M. Cohan's musical comedy hit, opens to-day at. the Majestic Theatre. You. mustn’t miss it 1 Despite the fact that this picture is based on a musical show and is full of song hits, it possesses a thrillingly dramatic, plot and a love story that is novel and appealing. Eddie Buzzell, one of Broadway's favourite comedians, took time off from his New York shows to play the title role of "Little Johnny Jones,” the Yankee Doodle dandy. Alice Day, as heroine, and Edna Murphy, as vamp, play opposite. Donald Reed, Robert Edeson, Wheeler Oakman, Raymond Turner and other stage and screen favourites make up the supporting cast. “Little Johnny Jones” is first of all a bully screen offering, brimming with action that runs the emotional gamut from laughter to tears. It is only secondly, but very effectively’ at that, musical. Of course, snappy dialogue abounds. And it has the magic of the true Cohan touch. Buzzell does most of the singing, and various orchestras play. Chorus girls a-plenty appear, as well as many other elements of New York night life. Two of the original song hits of the original Cohan success, “I'm a Yankee Doodle Dandy” and “Give My Regards to Broadway,” are retained in the picture. Five new songs and music numbers have been created, and you’ll come away from the theatre humming one or more of them. They are sure-fire for popularity. Three thrilling horse races form the physical centre of. interest in the three principal episodes and locales of the film. One is a bush track race; another is at a big New York track, and the third is the famous Epsom Downs in England, where the Derby is run. New York night life, in cafes, night clubs and actresses’ apartments, and a glimpse of Liverpool and London waterfront slums, add colour and variety. All in all, “Little Johnny Jones” is a brave, ’ gay.,' thrilling motion picture with all the trimmings of sound, dialogue and music—a picture that is well worth while. Plans are at the Bristol, or ring 738 for reservations.