The SCREEN and its STARS

Southland Times, Issue 21561, 26 November 1931, Page 11

The SCREEN and its STARS

(By‘

Columbine.”)

THE MAJESTIC Now Showing: “Daddy Long Legs” (Fox) Janet Gaynor, Warner Baxter —extended season). Saturday: “The Romantic Vagabond” (Sono-Art —Reginald Denny, Miriam Seegar, Anita Louise). Coming Attractions: “Trader Horn” (M.G. M.—Harry Casey, Edwina Booth, Duncan Renaldo, Mutia Omoolu, Olive Golden); “Once A Gentleman” (Fox —Edward Everett Horton and Lois Wilson, King Baggot, Evelyn Pierce, Francis X. Bushman, George Fawcett) ; “Ship Mates” (M.G.M. —Robert Montgomery, Ernest Torrence, Dorothy Jordan, Cliff Edwards, Hobart Bosworth); “Pardon Us” (M.G.M. —Stan Laurel, Oliver Hardy in their first full-length comedy.)

That “Daddy Long Legs” is still playing to capacity houses at The Majestic suggests that these are not such crudely practical times, after all. Because this beloved classic of Jean Webster’s is sheer and unadulterated romance, relying on charm, sentiment and pretty scenes for its effects, rather than the uncompromising realism the age has been demanding for years past, and the success of this charming Fox-Movie-tone version of the play that made Ruth Chatterton famous, and served Mary Pickford as her most ingratiating silent film, only goes to prove that the public hasn’t changed a bit. The heart still rules the appreciation, and it’s the heart that counts. Janet Gaynor has never been better than as a frankly appealing and thoroughly sweet Judy Abbott (her voice has improved Immensely, by the way, since the days of “Sunny Side Up”) and Warner Baxter is always a pleasant hero. Alfred Santell, the director, has certainly an eye for scenery, and presents, at the same time, interesting glimpses of American college life. "Daddy Long Legs” is a quiet joy, and the production goes to prove what I have already said about the ability, discernment and good taste of the Fox Film Corporation., * ♦ • * ♦ Adapted from E. J. Rath's novel, “The Dark Chapter,” Reginald Denny’s newest Sono-Art comedy comes to the Majestic this week-end as “The Romantic Vagabond,” directed by George J. Crone. The most remarkable thing about it would seem to be that this ingratiating Englishman who seems to be persistently miscast on the audible screen (with the glorious exception of “A Lady’s Morals”) plays the part of a gentleman tramp—with a moustache! He is supported by Miriam Seegar (who made her American film debut in the Adolphe Menjou picture, “Fashions in Love”) and Anita Louise, the young blonde girl whose brief appearance in “Millie” prompted my opinion that she is the prettiest young lady on the screen, with a very pleasant voice. At the ages of both five and ten she was voted by the National Photographers Convention America’s most beautiful child —this I have subsequently learnt. Harvey Clark, Lucille Ward, Carlye Moore, Norma Drew, Christiannc Yves, Charles Coleman and Greta Granstedt are also in the cast. • * * * Next Wednesday another record-breaker comes to the Majestic—-M.G.M.’s magnificent “Trader Horn,” based on Ethebreada Lewis’ book. One reviewer has never before witnessed such an extraordinary record of wild beasts, living, fighting and dying in complete unconsciousness of the hidden lens. In comparison, all the jungle films that have preceded ‘Trader Horn' seem empty fables. The picture is an overflowing reward for the courage, patience, and resource of the M.G.M. expedition. W. S. Van Dyke, the director, has eclipsed his first beautiful film, ‘White Shadows of the South Seas.’ Harry Carey has etched a splendid version of Horn in his prime; Edwina Booth and Duncan Renaldo contribute youth and grace. But the principal actors are the animals of Africa. No amount of synthesis can impair the cruel beauty of the jungle, that eternal background for strange tales undreamt of by the writers of scenarios.” THRILLS IN AFRICA. EXPLOITS OF TRADER HORN. The amazing exploits and adventures of the late Alfred Aloysius Horn, that remarkable identity known the world over as “Trader Horn,” are embraced on a special talkie production filmed over a period of two years by Metro-Goldwyn-Mayer Ltd. in the most primitive centres of the African wilds. Mr Roy G. Nelson, director of exploitation in Australia for Metro-Goldwyn-Mayer Ltd., who arrived in Invercargill last night to conduct a publicity campaign for “Trader Horn,” announced that the picture will be presented for the first time in Invercargill on Wednesday, December 2, at the Majestic Theatre. So great has been the success of the presentation in America, where it still is attracting large audiences, that the Metro-Goldwyn-Mayer Company and Fullers Theatres, Ltd., have decided to show the picture for a long season. At present it is creating a phenomenal success at the Empire Theatre, Dunedin. “We have not sought to present the impossible,” said Mr Nelson. “We have produced a picture filmed entirely in Africa, showing African life as it really is. The thrills presented are the greatest of all—the thrills of real life.” Thousands of readers have been enthralled by Horn’s accounts of his adventures in the dark continent, and when one reads extracts from the diary kept by the producer (Mr W. S. Van Dyke) during the two years occupied in filming the picture one realizes that it was not the mere fringe of the African wilds that was visited by him and the three principals, with their retinue of photographers and native porters. They actually traversed the hinterland of the Ivory Coast, assailed the fortresses of nature and witnessed the unending struggle of the native tribes for supremacy over the beasts of the jungle.

Complete sound equipment was carried by the company throughout the journey, with the result that, for the first time, a picture has been produced in which the sounds of the jungle were not added in a studio subsequent to the filming of the picture. One of the first to view the production when the producers returned to America was the late Alfred Horn, and commendation from such a critic is surely ample recommendation for the production. “Trader Horn,” however, is not only a valuable scenic production, for the pro-

ducers have adhered closely to the plot of Horn’s book, maintaining an excellent story interest and providing with it an element of considerable educational value. Naturally, every detail had to receive close attention in the filming of such a picture, and the producers experienced not a little difficulty in. procuring actors to undertake the hazardous journey. With the exception of Harry Carey, Edwina Booth, and Duncan Renaldo, the “cast” is entirely impromptu, and, for that reason, utterly true to life.

The natives shown in the sequences of the picture are the natives whom the producers actually encountered in the jungle villages, and, in his diary Mr Van Dyke records how he and his photographers used copper wire and salt to bribe the natives to participate in the work. Close-up views of the village belles reveal that the wire was utilized extensively as ear-rings.

THE REGENT. Now Showing: “Brothers” (Columbia —Bert Lytell, Dorothy Sebastian). Saturday: “The Smiling Lieutenant” (Paramount—Maurice Chevalier, Claudette Colbert, Charles R.uggles and Miriam Hopkins. Music by Oscar Straus). Coming: ‘The Devil to Pay” (United Artists—Ronald Colman, Loretta Young).

“Brothers,” the Herbert Ashton, junr., play in which Bert Lytell established a phenomenal success during its eighteen months’ run on Broadway and the road, is now a motion picture. The film version produced by Columbia Pictures with Bert Lytell in his original role is now on view at the Regent Theatre. It deals with the effects of heredity versus environment and presents the star in the dual role of twin brothers, thus offering him a scope for widely divergent characterizations. His clear-cut portrayals of each brother, his complete differentiation of voices, gestures, movements, his amazingly rapid changes of clothing and quick returns to the stage all help to make the play even in its screen version an extremely interesting thing. William Morris also appears in his original stage role, while Dorothy Sebastian, Richard Tucker, Claire McDowell, Howard Hickman, Francis McDonald, Rita Carlyle and Frank McCormack are also in the cast. Walter Lang directed. Lytell, who comes from a prominent American theatrical family, made several hundred silent pictures, being one of the best known of the “old guard” on the silent screen. In 1914 he made has Broadway debut wtih Marie Dressier in “The Mix Up.”

Maurice Chevalier, the star, assisted by Claudett Colbert, Miriam Hopkins and Charles Ruggles, in a film directed by Ems Lubitsch, .with plentiful music all written by Oscar Straus —these are the chief ingredients of Chevalier’s newest film for Paramount, “The Smiling Lieutenant, which comes to the Regent on Saturday. Undoubtedly this should be a film worth looking forward to. Chevalier, everybody knows, and in spite of the fact that his last two films were hardly worthy of his charming presence, one still knows what he could make a film if he were given the chance. Reviewers are unanimous in hailing “The Smiling Lieutenant” as the Chevalier film they have been waiting for. Lubitsch, it will be remembered, directed this star in “The Love Parade,” and also made “Monte Carlo,’’ and infuses a delightful, whimsical humour into his films lacking in other American directors. Oscar Straus, the celebrated Viennese composer, and Clifford Grey, lyricist, prepared the music, including the star’s three songs—“ While Hearts Are Singing,” “One More Hour to Love” and “Jazz Up Your Lingerie,” in which both the female players join. Ruggles, of course, is my favourite comedian—despite the fact that" “Charley’s Aunt” was not my favourite film play!

Dolores Del Rio has been signed by Paramount to play the leading part in “The Rose of the Rancho,” which will be a talking picture version of the former David Belasco success. Richard Arlen will have the supporting role and Edward Sloman will direct.

If American companies do not make representative talkies in England, it will not be because of the quality of the casts. Paramount is producing a series of seven screen plays, and for “A Child in Their Midst” taken from May Edginton’s novel, Jack Buchanan and Joan Barry (the girl who was heard, but not seen, in “Blackmail”) will be starred. Others in the cast are Warwick Ward, Nora Swinburne, Lilian Braithwaite and Ellaline Terris.

Mae Murray, the film star, who only recently settled her differences with her husband, Prince David Mdvani, on his promising “not to be jealous of her career,” has created another sensation in Hollywood. She is suing Tiffany Productions to recover £60,000, which, she alleges, is due to her under contracts entered into in connection with eight films which she has made for the company since 1921. Miss Murray alleges that a true accounting of profits in respect to these films was never made.

8.1. P. has now completed its much-her-alded film adaptation of Prosper Merimee’s story “Carmen,” with the music of Bizet. Cecil Lewis directed this film, photographed in England and Spain, and the full cast of players is: Marguerite Namara, Thomas Burke, Lance Fairfax (the New Zealander), Lester Matthews, Dennis Wyndham, Mary Clare, D. Hay Petrie, Victor Fairley, Lewin Mannering, Winifred Dalle, Virginia Perry, Charlton Morton (who appeared here with Elsie Prince in “No, No, Nanette!”), Esme Beringer, Madame Elsa, and Brunelleschi.

Lawrence Ollivier, the young English actor who was really the first Stanhope in “Journey’s End,” (he missed the part when the play came to the public because he thought “Beau Geste” would give him a better chance) seems to have made a hit in Hollywood. Acting with Lily Damita, Adolphe Menjou and Eric Von Stroheim in “Friends and Lovers” (R.K.0.) (a Northern Indian Army romance from a story called “The Sphinx has Spoken”), his personal success is said tn be very striking. He has made such an impression upon his employers, at any rate, that Radio Pictures propose to give him a big part in a future picture. He is now working with Mary Astor and his wife, the charming Jill Esmond (daughter of Eva Moore) in a film called “Sour Grapes.”