ENTERTAINMENTS

Southland Times, Issue 22296, 11 April 1934, Page 3

ENTERTAINMENTS

CIVIC THEATRE. “THE GHOUL.” STARRING BORIS KARLOFF. The ingenious Gaumont-British thriller, “The Ghoul,” commencing today at the Civic, released by Fox Films, envisages the story of a halfcrazed Egyptologist who “returns to life” in search of a jewel stolen from his hand after his supposed death, which was really only a fit of coma. Terrible happenings follow his emergence from the tomb and the whole atmosphere is one of impending doom from some mysterious source. Implacable hate seems to breathe in every shadowy scene; and the cold, gruesome fanatic round whom the whole action centres is, in very truth, a ghoul. That Boris Karloff plays the character is sufficient indication of its .excellent portrayal. It is in the best “Frankenstein” tradition, which he created for the screen. A strong cast supports him, including Cedric Hardwicke, Dorothy Hyson, Ernest Thesiger and Anthony Bushell. Pictures made frankly to chill the blood are not expected to bear much analysis; but “The Ghoul” is one that will swing the balance of close criticism strongly in its favour. The creepy atmosphere is ably maintained; the hot moments recur almost to the last fade-out: and the theme has a basis of high probability. Justly famed for his interpretations of weird, sinister characters, Boris Karloff has achieved another masterly piece of work in “The Ghoul.” This picture is a real, crawly thriller and, if it is less gruesome than some others, its drama loses nothing thereby. The story, by Dr Frank King and Leonard Hines concerns the stealing of a remarkable jewel from a famous Egyptian tomb. Professor Morlant, an Egyptologist and fanatical believer in ancient gods, buys the stone, and on his deathbed demands that the jewel be buried with him in his Egyptian tomb built in the garden. The priceless jewel is stolen and a strange and horrifying figure appears from the grave of the dead professor. The heirs to the estate have some terrifying experiences before they solve the mystery. Boris Karloff is at his grim and ghoulish best as the fanatical heathenish Professor Morlant. It is doubtful if the screen in any country has his equal in the. interpretation of such coldly horrible characters. The direction of the picture was in the capable hands of T. Hayes Hunter, who might be termed “the psychologist of shadow.” In a picture of this type, clever lighting effects are all-important and Mr Hunter’s artistry has made much effective use of flickering shadows, dim corners, suggestive of slimy, creeping things, candles guttering in variant airs, and over all the heavy atmosphere of brooding horror. The acting of the cast supporting Boris Karloff is first-rate, with outstanding performances given by Ernest Thesiger as a religious Scot, valet to Morlant, who fears for his master’s soul; Cedric Hardwicke, a solicitor determined to own the jewel; Harold Huth, the sinister Arab responsible for pilfering the stone from a famous tomb; D. A. Clarke Smith, as his fellow countryman and enemy; Dorothy Hyson, one of the heirs to Morlant’s estate; Anthony Bushell, the not-to-be-frightened co-heir; Kathleen Harrison, who is fascinated by the Arab, he being her conception of a real sheik; and Ralph Richardson in the role of a visiting curate annoyed at the heathenish funeral accorded Morlant. With “The Ghoul,” GaumontBritish Pictures have once more proved that the British idea of a first-class thriller is that it shall be based on a likely theme, well within the bounds of probability. This is a mystery story that, in the light of recent disclosures incidental to the disturbing of Egyptian tomb-sites in the interests of archaeology, is easily credible. There is also a splendid array of supporting pictures. MAJESTIC THEATRE. KATHLEEN NORRIS’S STARTLING NOVEL. “WALLS OF GOLD.” Not only by the powerful interest of its story, but also by the excellence of the acting of its players, “Walls of Gold,” which commences at the Majestic Theatre to-day, is a picture that will please. In this film version of Kathleen Norris’s novel of the same name Sally Eilers makes another step forward in her acting progression as the woman through whom the famous authoress sets out to debate whether love is necessary in marriage and whether romance is meant only for children. Fundamentally an old one, the story receives a new and original interpretation in the hands of a picked cast. Sally Eilers has the role of a young lady named Jeanie Sa terlee, who is eminently successful as manageress of an employment bureau. She meets and falls in love with a young engineer called Barnes Ritchie. He makes the fatal mistake of introducing her to his uncle, a millionaire ironmaster and a notorious philanderer. Tire latter thinks he sees in his nephew’s fiancee a wife who will be both an ornament in his home and a complacent figurehead to hide his multitudinous affairs. Barnes’s love is boundless, but his means run to a lipstick when his uncle can afford a chinchilla coat. Jeanie accepts the coat where she has refused the lipstick, and in a fit of pique Barnes gets drunk and rushes off to marry Jeanie’s sister. By reason of the acting the situation is not absurd. Yielding to the millionaire’s insistent requests Jeanie marries him for the sake of economic security rather than love. She soon learns of his secret affairs, and, surrounded by every conceivable luxury, but treated almost like an inanimate object by her husband, she is virtually entombed in “walls of gold.” Meanwhile her erstwhile lover has accepted a post in South America and her sister dies leaving her baby in Jeanie’s care. Her husband refuses to allow the baby in the home, but she defies him that she might retain it. He goes on with his intrigues which finally lead to his death. The film goes on shortly to its happy conclusion. Sally Eilers gives a very accomplished performance as the woman who plays with luxury only to find that its ease is not in its maintaining. She gives a very sincere portrayal of courageous endurance during the gratuitous insults from her husband. Ralph Morgan, is suitably sinister as the domineering ironmaster. He is indifferent to distinction, and very wickedly immaculate and charming. Norman makes the most of his part as the unfortunate one. Several excellent short items are. included in the programme. One is a record of some of the adventures experienced by a newsreel cameraman in obtaining pictures in many parts, of the world. Some particularly fine pictures of horse racing are included in the picture. “The Palm Caught,” which is one of those always very interesting “Ideal Sound Cinemagazines,” opens with a brilliant little study, in which hands alone act the play. A very clever Terry cartoon entitled “Oh, Susanna,” and two Fox newsreels complete the programme. The usual mid-week matinee takes place to-day. THE REGENT. MARY PICKFORD IN “SECRETS.” A CAST OF OLD FAVOURITES. Surrounded by one of the largest casts in her long career and directed by Frank Borzage, Mary Pickford comes to the Regent for a short season to-day in “Secrets,” an adaptation of the celebrated stage play by Rudolf Beiser and May Edginton. And thus, according to all advance reports, motion

picture fans will see the star m one of the best pictures she has made. To give an idea of its merit one cannot do better than quote a Sydney reviewer:—Mary Pickford, although absent from the screen for a long period, is still a box-office force, and it is significant of her position of leadership that to date no other actress has succeeded to her crown as “the world’s sweetheart.” In this picture Mary is not the sugar-sweet unsophisticate, but a mature actress, and her work is characterized by a variety and appeal which are certain to result in enthusiastic audience reaction. In the case of screen stars, absence does not, as a general rule, make fans’ love grow stronger, but with Mary it is the exception that proves the rule. The premiere of the picture at the Sydney Lyceum testified to that fact when the house played to turnaway business. “Secrets” as entertainment is splendid farce, and with its periodic action incorporating many elements of entertainment, from comedy to tragedy and sentimental appeal to poignant human interest, it has everything to find general favour. In weighing all factors present reviewer inclines that the picture will stand up well to top grading. “Secrets” has been particularly well cast, and in additon to the star there is Leslie Howard, who gives a sterling performance, while Blanche Frederici, Ned Sparks and Doris Lloyd are prominent. A notable feature of the cast is in the fact that it includes many who, in the silent era, were definite favourites. The appearance of such people as Bessie Barriscale, Ethel Clayton, Huntley Gordon, King Baggott, Theodore von Eltz, will have a sentimental interest to those whose memory thoughts of past glories. The neat direction of Frank Borzage also earns a bouquet. The story opens in 1860, Mary being the daughter of a wealthy shipowner who has set a marriage match for her. She is in love with John Colton, a clerk, and they elope, trekking across the continent to California. There they establish their home in the arid wilderness, their trouble.: being increased when their few head of cattle are stolen by rustlers, who also threaten Mary and her baby in John’s absence. He organizes the scattered settlers into a posse and they lynch several members of the rustlers’ band, but the most vicious escape. The gang corners Colton in his home, but both he and Mary put up a bitter and victorious fighr. However, the rustlers set fire to the home, and the row results in the death of their baby. Thus life starts anew for them, but in the ensuing years prosperity smiles and with the family reared, John has become a force in Washington politics. In the meantime he has been unfaithful, the scandal of an association with a notorious Spanish beauty threatening to defeat him in his efforts to win favour as the people’s choice for governor. Mary is big enough to realize the unimportance of John’s temporary lapse, and through her trust, he is enabled to emerge successfully. In fact she was aware of his indiscretions long before he bared his soul to her. The years again pass and in happy old age Mary and John see their family in maturity, realizing that once more they are children and that their happiness lies in living the “secrets” of the past for which purpose they leave the children and head for California again. EMPIRE PICTURES, RIVERTON. “MY LIPS BETRAY.” To-day and Saturday at 8 p.m. at Riverton Lilian Harvey will be presented in a Fox special production. It is a delightful romantic comedy in the Continental manner, played to the rhythm of lilting music. The story of “My Lips Betray” concerns the adventures of a young singer who becomes the king’s favourite through a mistake of his tipsy chauffeur. Much against her better judgment she is forced to accept the situation or arouse the condemnation of everyone. When the king finally decides to see his favourite for himself, he realty falls in love with her and, to a great extent, vice versa. Lilian Harvey gives a splendid portrayal, and John Boles, who plays opposite her, does equally well. The remaining members of the cast, which includes El Brendel, Irene Browne, Maude Eburne, Henry Stephenson and Herman Bing, acquit themselves with distinction.