STRAND

Sun (Auckland), Volume II, Issue 336, 23 April 1928, Page 13

STRAND

CHARLIE’S LAST THREE DAYS “The Circus,” Charlie Chaplin’s only comedy in two years, continues to attract unprecedented crowds to the Strand Theatre, proving - , if any proof is necessary, that the popularity of this genius has not waned during his long absence from the silver sheet. A*bout this photo-play, one noted critic has written: “Whatever Charlie may have been doing during his long absence, he has not lost the art of being funny.” Picture-goers who may have been doubtful as to whether they would see the same ‘Charlie* and the same Chaplin antics of old, were reassured, as soon as he entered the story. Memories of ‘The Kid’ and ‘Shoulder Arms’ were at once revived. Gestures and movements, which have never been reproduced by any other screen comedian, came back to charm the fancy. Those who vee the picture will be delighted with the tramp who is, of course, Charlie himself. The Chaplin trousers, bowler hat and cane, are all there. He is not changed a whit. The flat-footed walk and run was again a source of whole-hearted amusement. The picture has a plot —the tramp, chased by a policeman, enters the ring in a circus, and his methods of eluding his pursuer throw everyone into a fever of delight. He joins the circus, and by his humour in upsetting the magician’s act and “doubling” for the tight-rope walker, he becomes the star turn. With this material at hand, the irrepressible Chaplin has indeed added to his fame as a comedy star. “He is the central figure in many vastly humorous scenes. Every available opportunity for comedy he has turned to advantage. There could be nothing better than this method of cajoling a baby to give him a bit of his food, and his ‘make- believe/ heroic manner of defending a girl from her cruel father. His adventures with a policeman and a pickpocket in the ‘ mirror maze’ at the circus are full of subtle humour ” An interesting supporting programme accompanies the picture, "Memories of the Old Country,” a film depicting some of Britain’s beauty spots and places of historical note being of great interest. A merry Aesop Fable Cartoon and an Eve’s Review, with the latest Parisian fashions, are also included. “The Tiny Tots’ Circus,” featuring the tiny talented pupils of Mme. Valeska, has a charm of its own, much praise being due to “Charlie Chaplin. Jun.,” portrayed by Dorothy' Katinu and "Jumbo,” the truly intelligent baby elephant. Eve Bentley’s popular Strand Symphony Orchestra renders a special miisical programme throughout the evening, and feature as their overture “Pot Pourri,” a delightful musical medley of favourite old gems.

One of the largest and most authentic castle interiors ever constructed forming the background for hundreds of extras costumed as Scottish chiefs and clansmen, is to be seen in “Annie Laurie,” Lillian Gish’s starring vehicle for Metro-Goldwyn-Mayer. The great hall, keep and other rooms in the stronghold are of gigantic proportions, and the walls are hung with ancient weapons and trophies of the chase. In every detail, the castle is an exact replica of the famous Glencoe castle. Norman Kerry. Hobart Bos worth. Patricia Avery and many other well-known players are included in the supporting casu _