"THE GHOST TALKS" AT THE MAJESTIC

Sun (Auckland), Volume III, Issue 840, 7 December 1929, Page 18

"THE GHOST TALKS" AT THE MAJESTIC

RETURN OF ORCHESTRA A queer, creepy building; a gang of criminals with their eyes on the valuables concealed therein; a young man burdened with the belief that he is an improved reincarnation of Sherlock Holmes. What better material for a comedy thriller than this? "The Ghost Talks” opened last evening at the Majestic and demonstrated forcibly that the vogue for laughter mixed with shivers is by no means on the wane. Furthermore, the film deserved fully the success with which It was met. We have had haunted-theatre thrillers. apd haunted-ship thrillers, and haunted-castlo thrillers. Now comes tho "huuntie,” as the Americans describe such a picture, with an hotel atmosphere. The film introduces in excellent circumstances a young New Yorker, one of the many stage players who have been drawn West by the lure of big Hollywood cheques. Charles Eaton is an excellent actor of a type on© associates instinctively with the modern legitimate comedy stage in this “pick-the-type-to-fit-the-character” age, and one that, hitherto, has been foreign to motion pictures. He appears right from the first scene as Franklyn Green, who would be a detective if he did not happen to be an hotel clerk. Vocation repression produces a strange effect, for he turns his job into a kind of unofficial inquiry system, and subjects each guest to a close and embarrassing scrutiny. Her© enters the heroine in the person of Miriam Holt, alias Helen Twelve trees. It is unnecessary to explain to enthusiastic theatre followers that Miss Twelvetrees is also in the first flight of the younger New York stag© people, but her name is as unfamiliar to picture followers as that of Charles Eaton. ‘'The Ghost Talks” indicates, however, that her reputation in lier new sphere will swiftly become as great as that in her old. The unfolding of this delightful screen tale leads to hilarious happenings, whic.h result from Green “taking up the case.” Of course, he is everything that a real detective should not be, although he follows closely the instructions from the “School of Scientific Detection, lowa.”

Speed, sparkle, and infinite zest is lent to the production when the happy face of that wonderful character comedian, Stepin Fetchit, of “Fox Follies,” appears in a prominent part. He is supported ably by Baby Mack, a funmaking foil who gives liis work added punch.”

There is a liveliness and rapidity of action in “The Ghost Talks” that is remarkable even in these days of rapid-fire comedy films. The story grips admirably from the outset and speeds forward over the ski-run of good comedy to the exhiliarating toboggan-slide of pure farce. In addition to the • principals mentioned there is a strong cast of supporting players. The talking in “The Ghost Talks” is clear, and the dialogue clever, the production as a whole automatically slipping into the shelf on which on© places mentally the Majestic’s greatest talkie successes.

A welcome interlude was provided last evening by the reappearance of Mr. J. Whiteford Waugh and his Majestic Orchestra. Both leader and players were greeted as long-lost friends, and their programme was a delightful one, given in costume, on a specially-mounted stage. The supporting pictures included a magnificent tribute to Abraham Lincoln in the form of a one-act talking play, “Marching On”; also an excellent Fox Movietone News budget and a travelogue. The first Australian Fox Movietone film was also heard, this being an excellent “interview” with the Prime Minister, Mr. J. IT. Scullin.