ACROSS THE FOOTLIGHTS

Taranaki Daily News, 13 July 1929, Page 10

ACROSS THE FOOTLIGHTS

COMING EVENTS.

NEW PLYMOUTH OPERA HOUSE. To-night.—Taranaki Boxing Association (Donovan v. Hatton). July 19 and 20. —“Flesh and the Devil” (John Gilbert-Greta Garbo), M.G.M., Special Production. August 2 and 3. —“Annie Laurie” (Lillian Gish), Metro-Goldwyn-Mayer Special. August 2 and 3.—“ Anna Karenina” (John Gilbert-Great Garbo), AI.G.M. Special. August 10 and 13.—John Fuller and Son’s “Rio Rita” Company (pencilled). August 13 and 14. —William Heughan. EVERYBODY’S THEATRE. New Plymouth. Jjily 15 to 17. —“Show People” (Marion Davis-William Haines), M.G.M. Special, and a Famous Music Masters (Songs of Spain). July 18 to 20.—“Quinneys” (all star), British Dominion Films, and “Two Red Roses” (Liane Haid), First National. July 22 to 24. —“The Patsy” (Marion Davis-Conrad Nagel), M.G.M. and “It Can be Done (Glenn Tryon), Universal. July 25 to 27.—“ The Physician” (Miles Mander-Elga Brink), British Dominion Films, and “Adoration” (Billie Dove-Antoneo Moreno), First National; and a Music Master Series (“Songs of Italy.”) July 29 to 31.—“ Masks of the Devil” (John Gilbert), M.G.M., and “Eyes of the Underworld” (all star), Universal. August 1 to 3. —“The Last Command” (Emil Jannings), Paramount Special, and a Music Master Series (“Maty’s Little Lamb.”) THE PEOPLE’S, New Plymouth. To-night. —“Fazil” (Charles Farrell and Great Nissen), Fox Special, and “Tarzan the Mighty,” No. 8. July 16 and 17.—“ Wyoming” (Tim McCoy), M.G.M., and “The Harvest of Hate” (Jack Perrin and Rex), Universal. July 18 and 19.—“ Poppies of Flanders” (Jameson Thomas), Cinema Art Films. July 20 and 21.—“ Bare Knees” (Virginia Lee Corbin), Fox Films; and “Tarzan the Mighty,” No. 9 July 23 and 24. —“Sioux Blood” (Tim McCoy), M.G.M. July 25 ami 26. —“When Duty Calls” (all star), Cinema Art Films. July 27 and 29. —“The Sin Sister” (Sue Carol-Larry Kent), Fox Films, and “Tarzan the Mighty,” No. 10. July 30 and 31.—“ Telling the ’World” (William Haines), M.G.M. ft ft ft ft “SHOW PEOPLE.” If you’ve never visited a motion picture studio, don’t fail to go and see Metro-Goldwn-Mayer’s “Show People,” which will be released shortly. Marion Davies and William Haines are the costars, and the production offers the most interesting study of a motion picture studio ever drawn. Not that “Show People” hasn’t other attractions to offer: It has John Gilbert, Douglas Fairbanks, Mae Murray, Leatriee Joy, Norma Talmadge, Rod La Rocque, Charlie Chaplin, and many other great screen stars. It will probably rank as the best and most unusual comedy of the year. Marion Davies is easily America’s leading comedienne, and ’William Haines tops his own particular field. # # * » “QUINNEYS.” When Horace Annesley Vachell wrote “Quinneys,” that delightful romance written around the professional and domestic career f a successful dealer in antiques, he managed to infuse into the story the mellow atmosphere we usually associate with old and beautiful things. Maurice Elvey, producer of “Quinneys,” has achieved a triumph, for in some subtly clever manner the film has the quality of Mr. Vachell’s romance. The keen character studies in the novel de-, mand interpretation by artists -whose skill in this direction is unquestioned. John Longden, Alma Taylor and Cyril McLaglen (brother to the well-known Victor), head a notable cast in this British Dominions Films release. ft ft ft * “THE PATSY.” Marion Davies plays. the title role in “The Patsy.” This comedy-drama of a middle-class family of two daughters and their parents is just such a story as might happen anywhere. But Marion Davies invests it with so much humour and romance that “The Patsy” positively shines. In a perfectly wonderful manner Miss Davies burlesques three ladies who take themselves very seriously, the two princesses, Mdivani (Pola Negri and Mae Murray), and Miss Lillian Gish. The mimicry is perfect. The story is perfect. Jane Winton, as the spoiled and vamping elder daughter, is perfect. Lawrence Gray keeps well up with Patsy and her people. ft ft ft “IT CAN BE DONE.” Anyone who thinks he has an inferiority complex will be interested in seeing “It Can Be Done,” starring Glenn Tryon. It shows how a timid clerk, by reading a book on Success, was inspired to be a high-powered go-getter. His path, however, is strewn with humorous complications and hilarious incidents. All in all, there is plenty to laugh at in the picture. Pretty Sue Carol has the feminine lead. ft « ft * “FAZIL.” Glamorous scenes on the waters of Venice, in Parisian ballrooms and under Eastern skies, in Arabian palaces and harems, comprise the sweeping background of “Fazil,” Fox Films’ production, , featuring Greta Nissen and Charles Farrel. It is a colourful romance of an Arabian prince and a beautiful French girl, and the love scenes between the bronzed man of the desert and the pale Parisian blonde are effectively acted. There are many eye-filling scenes, also many moments of genuine thrill, among them the scene in which the French girl escapes from the Prince’s palace. ft ft ft ft ‘“WYOMING.” Interviewed for historical data purposes while making his newest picture

“Wyoming,” which shows over a thousand Red Indians as “extras” in the spectacular battle scenes, Tim McCoy, Metro-Goldwyn-Mayer star, expressed the opinion that the white man’s civilisation has definitely arrested the evolution of Red Indian language, signs and customs. The motion pictures have played a big part in this transition. Nevertheless, the Red men who figure in “Wyoming,” particularly three old chiefs who fought against white troops, were extremely pleased to re-enact. a thrilling chapter of the frontier history of Wyoming in the new picture —which, by the way, is undoubtedly McCoy’s best performance. Lovely Dorothy Sebastian and an able cast supports the star. ft ft ft * “THE HARVEST OF HATE.”

The greatest “motion picture cowboys” are frequently those who were born and raided in the East or Middle V est, it is said. Jack Perrin, Universal’s famous Western hero, appearing in support of Rex, king of wild horses, in “The Harvest of Hate,” names his birthplace as Three Rivers, Michigan. Perrin’s horse, Starlight, also has a featured role. Helen Foster is the heroine and Tom London the villain. Henry Macßae directed. ■ * ft * * “POPPIES OF FLANDERS.”

If there are still some who refuse to believe that Great Britain can produce films equal to, and in some cases better than tne best of foreign producers, “Poppies of Flanders,” the British nternational picture which will be released by Cinema Art Films, provides another and a very striking answer. Mr. Jameson Thomas, a celebrated English screen actor, has never had such a wonderful opportunity to show his gifts, and he gives a skilful and imaginative interpretation of his part, whilst the rest of the cast, an all-British one, is all that could be desired.

ft ft * * “BARE KNEES.”

Virginia Leo Corbin has the most opportunities and her characterisation of the “flapper” in “Bare Knees” is the most sane and sensible portrayal of this type we have ever seen. While she thinks everything in life is grounds for fun and while she is daring in her styles of clothes and actions, still, underneath, she is just the kind of girl one would like for a wife or sister.

* ft # ft “SIOUX BLOOD.”

In “Sioux Blood,” a remarkable story of the fate that befalls two brothers as the result of an Indian massacre in their childhood, the outdoor romance is enhanced in its interest for local picture patrons by reason of the fact that Marion Douglas (formerly Ena Gregory, of Manly, N.S.W.) appears in the leading feminine role. “Sioux Blood” is packed 'with interest, adventure, drama and love, and the supporting cast is uncommonly good. Tim McCoy is the star. # i> # ft “FLESH AND THE DEVtt..”

George Fawcett, one of the pioneers of the screen, and previously an actor of the legitimate stage, was known throughout the world for his work in Shakespearean drama. He has a powerful role in the dramatic picture “Flesh and the Devil.” As Pastor Voss, he preaches a sermon overwhelmingly dramatic and forceful in an attempt to avert a scandal that is developing under his eyes. John Gilbert, Greta Garbo, and Lars Hanson have the principal roles in this drama. # ft ft ft “TWO RED ROSES.”

A timid young man finds the language of flowers a most useful one as he is able to convey his adoration for a loved one by the simple method of presenting her with flowers denoting his feelings. In the delightful, romantic drama “Two Red Roses,” the First National picture presented by Defu, a number of humorous incidents of this type are taken advantage of. All of them occur in a florist’s where the heroine of the story serves behind the counter. She is able to advise the would-be lovers. Other customers more often than not ask for two red roses, a floral decoration which has become all the rage through a song success. Strange to relate, the compose! of the song “Two Red Roses, ’ which causes the demand, is a particular friend of- the maiden. How the girl’s heart is captured elsewhere, at least time, and how the composer sacrifices " feei ings time and again to look afLi* her, forms a most entertaining screen story which will appeal to all movie patrons who delight in romance.. The leading characters are played by three wellknown continental stars, chief of whom is Liane Haid, who will be remembered for her excellent work in “The Last Waltz.”

KING’S THEATRE, STRATFORD. To-night only.—“ The Case of Lena Smith” (Esther Ralston); “M’Ue Parley Vous” (a British picture); Episode 8 of “Trail of the Tigei serial. . t. • » Monday only. —“Plastered in Pains (Sammy Cohen). Tuesday and Wednesday. —“The Charlatan” (Holmes Herbert). Thursday and Friday. —“lour Sons (Margaret Mann). * # * * DOUBLE FEATURE PROGRAMME.

“The Case of Lena Smith” marks Esther Ralston’s twenty-first picture foi Paramount, and it offers her the greatest opportunity of her career for real dramatic portrayal. It is a story .of mother-love and her character requires her to appear as a young girl of 20, as a harassed young mother of 22, and as a woman of 40. The second feature picture will bo “M’lle Parley Vous,” an all British production with an all star cast headed by Estelle Brody. Episode 8 of “The Trail of the Tiger” serial will also be screened.

ft ft * * “PLASTERED IN PARIS.”

Humour, thrills, suspense and then more humour click like clockwork during the unfolding of “Plastered in Paris,” super comedy released by Fox Films and showing at the King’s theatre on Monday night only. Sammy Cohen and Jack Pennick, new Fox comedy team, portray American Legionnaires on a visit to Paris, where they get hustled into the French Foreign Legion and a consequent campaign against the. Riffs. The picture, according to the critics, is even funnier than “The Gay Retreat,”

heretofore acclaimed the last word in cinema humour. ft . ft ft ft “THE CHARLATAN.” Universal’s mystery of a fake fortune teller, “The Charlatan,” has been scheduled by the King’s theatre and will open on Tuesday. The picture is an “inside story” of the workings of a Hindu fortune teller, who, in this case, is an American masquerading in the role. The trust that many women often place in such fakirs, revealing the innermost secrets of their hearts, is one of the entertaining features of the picture. “The Charlatan” is an adaptation of the stage success of the same name. George Melford directed the picture. Carl Laemmle, junr., supervised it. The cast is a notable one, with Holmes Herbert, Rockliffo Fellowes, Margaret Livingston and Fred Mackaye in the leading roles.

ft # ft 'ft “FOUR SONS.”

“Four Sons,” the big Fox picture, will be screened at the King’s theatre on Thursday and Friday. It tells of a mother’s abiding faith in her four sons and in the world. Their home, happy at first, is clouded with the coming of the war. The old mother is torn between her sons in the German army and her one son in the American army. With the exception of one scene on the battlefield, in which brother fights brother, the war itself is not projected into the story, except as an off-screen background. Rather, it is the tale of a mother the sons leave behind, her struggles and her heartaches, told with honesty and simplicity and at all times with the utmost dramatic effect. John Ford, noted director of “Mother Machree,” “The Iron Horse” and many other screen triumphs, also directed “Four Sons.” Included in the cast are Margaret Mann, playing the mother; James Hall, Charles Morton, George Meeker and Francis X. Bushman, junr., son of the celebrated screen star, playing the sons; Earle Foxe and June Collyer. All give remarkable performances. ELTHAM MUNICIPAL THEATRE.

LOOT GIBSON, “THE LARIAT KID.”

Hoot Gibson, popular western star, whose latest Universal production, “The Lariat Kid,” will screen at the Eltham Municipal theatre to-night, is one of the most skilled riders on the screen. The story upon which the screen version is based, is from the pen of Burleigh Oxford, and concerns a young cow-pnn-cher’s fight against a band of cut-throats and his lone-handed battle to avenge the death of his father. It is packed 1 wrh breath-taking sunts and. exhilarating thrills from the opening scene to the final fadeout. A really good supporting programme is also provided.

Band of H.M. Grenadier Guards. Columbia 02830.

While Sir Edward German is famous chiefly for the light opera “Merrio England,” there are many sparkling gems of melody in his other works. “A Princess of Kensington” is full of them, including the delightful “Four Jolly Sailormen.” The Grenadier Guards give their usual bright and tuney performance, trolling out the music with infectious dash and vigour. The “Hornpipe,” in particular, has an irresistible lilt. THE SAXOPHONE KING. (1) “Melodie” (Tchaikovsky); (2) “Serenade Badine” (Gabrie-Marie). Saxophone solos by Rudy Wiedoft. Columbia 01472. The saxophone has been used for so long as the chief instrument of torture in a jazz band, that one is apt to forget that Adolphe Sax designed it as a serious instrument. As such, even Bizet was satisfied to use it. Rudy Wiedoft plays it with telling effect in two well-known themes. The Tchaikovsky melody comes out with particular richness. Oscar Levant gives a - brilliant piano accompani* ment, ART OF McCORMACK. ' Once again we have the beautiful art of the great lyric tenor, John McCormack, who this month gives “Silver Threads Among the Gold” and “When You and I Were Young.” The caressing notes and the miraculous light and shade lift these old songs tv a high

plane. McCormack is said to be th© highest paid singer in the world to-dayj in fact his fee is too formidable for ■ Australian entrepreneurs, but through the medium of the gramophone we may hear his voice, and because of the faithfulness of reproduction feel his personality’'. (H.M.V., DAB 23). “THE SHOW BOAT.” , . Towards the end of the month two TO* cords of unusual interest will be issued. Paul Whiteman, with his concert orchestra, together with Paul Robeson and mixed chorus record, “OF Man River.’ This number has easily proved to be the most popular in the Drury Lane success. On the other side of the record will be a selection of vocal gems from the “Show Boat.” On the second record “OP Man River” will be sung by the Revellers, the famous male voice quin- , tet. The reverse side of this record is taken up with Helen Morgan, the wellknown comedienne, singing “Can’t Help Lovin’ Dat Man.” It is interesting to , note that Miss M-.’gan is the owner of probably the most famous night club in New York—she has recently appeared at the Cafe Anglais in London. (11.M.V.)