ENTERTAINMENTS

Southland Times, Issue 21579, 17 December 1931, Page 12

ENTERTAINMENTS

THE MAJESTIC. A CHARLIE CHAN THRILLER. ‘THE BLACK CAMEL.” There have been all manner of detective ■mysteries in the talkies lately, but in none has there been found the genuinely original and arrestingly intelligent flavour which is always the outstanding feature of the Charlie Chan pictures. “The Black Camel,” which had its first screenings at the Majestic Theatre yesterday, is an excellent example of the strikingly interesting and absorbing tales the inimitable Warner Oland can present on the screen in the role of Charlie Chan, the Chinese detective, whose appearance locally not so ( very long ago in the film, “Charlie Chan Carries On,” is one of the most pleasurable recollections of the past few months in the motion picture world. lit “The Black Camel" the audience is privileged to watch the great detective unravel one of the most ingenious mysteries seen on the screen for a very long time. “The black camel of death” says Charlie Chan, “comes unbidden to every gate, and he has knelt at this gate to-night.” Murder had been done, and the quaint old detective had to find the culprit. Of course, the story ends with the guilty party being brought to light, but a great deal happens before that time comes. But not even Warner Oland as Chan could have made the most of the amazing story of ‘The Black Camel” if he had not had the assistance of an uncommonly good cast, in which were included some of the most popular dramatic stars of the present time. Bela Lugosi is cast in a part particularly suited to his peculiar talents and appearance. Still, he proves less sinister than he looks. He appears as a mystic, a teller of fortunes, a reader of the future, and he carries himself with rare distinction through a none too easy part. The feminine stars are Sally Eilers and Dorothy Revier. The latter plays the part of Shelah Fane, the celebrated screen actress who is found dead, stabbed with a knife, on the floor of the palatial bungalow she lived in on the beach at Honolulu. Sally Eilers, her friend, provides the romance and assists in the weaving of a web of mystery which seems impassible of solution. Victor Varconi acquits himself as well as ever in the character of Robert Fyfe, erstwhile husband of the murdered woman. There are many others beside, all of whom help to make a good story out of the amazing happenings which are chronicled. “The Black Camel” is excellent entertainment, and should draw further large audiences to-night and tomorrow evening. Fox Movietone featurettes are in support of “The Black Camel” and there is also a most interesting travelogue, “Over Viking Trails.” The subject of the film is in Norway and Sweden, the audience being transported through Fiordland into the Viking country where the quaint customs and manners of the people are depicted in a variety of scenes. THE REGENT. FINAL PRESENTATION OF RONALD COLMAN IN FREDERICK LONSDALE’S “THE DEVIL TO PAY.” The final screening of “The Devil to Pay” will take place to-night at the Regent where it has enjoyed a successful and extended season. The star, of course, is the inimitable Ronald Colman, cast this time as the ne’er-do-well son of a very orthodox English aristocrat, who shocks all one minute with his hair-brained schemes, and the next draws all to him again with his very lovable and magnetic personality. In fact, the personality of all characters, so profoundly infectious and captivating all through, accounts mainly for the powerful appeal of the play. It is a show that one could see half a dozen times, and not for one moment experience a suggestion of boredom. It would indeed be an exceptional audience that would not be delighted by the hundred and one delightfully clever situations that crop up every minute, the sophisticated humour “put across” in the most approved English accent, and the thoroughly satisfying and charming love story. Opposite Colman plays Loretta Young as Dorothy Hope, ideally suited as a typical English girl, and .who, all through, gives a really wonderful performance. Mention must be made of the superb acting of Frederick Kerr, as lord Iceland, the irascible, but nevertheless lovable earL Nothing better could be imagined. It would serve no puiposo to merely relate the story; cold print is inadequate to convey the subtle appeal of “The Devil to Pay”—it must be seen and this is the last opportunity.