ACROSS THE FOOTLIGHTS

Taranaki Daily News, 12 October 1929, Page 26 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. OPERA HOUSE. New Plymouth. To-night.—Taranaki Boxing Association (Donovan v. Griffiths). October 17 to 19.—“ The Ringer” (all star), 'British Dominion Films — Edgar Wallace production; and “Why be Good” (Colleen Moore), First National. > October 23 and 24. —William Heushan. November 22 and 23.—“ The Desert Song” (J. C. Williamson’s Ltd.). EVERYBODY’S. “TALKIE” ATTRACTIONS. . / ' New Plymouth. To-day, to-night, also Monday and Tues- ... day.—“ The Wolf of Wall Street” (George - Bancroft-Nancy CarrollPaul Lukas), Paramount 100 per 4 cent Talking Picture. October 16 to 18.—“ The Wheel of Life” (Richard Dix-Esther Ralston), Paramonut AU Talking Production. October 19 to. 25.—“ The Canary Murder • Case” (William Pofrell-James HallLouise Brooks-Jean Arthur mount All Talking Special. THE PEOPLE’S. New Plymouth. To-night. — “Troublesome Wives” (Mabel Poulton), British Dominion Films; and “The Mystery Rider.” Chapter -6. October 14 to 16.—“ Points West.” (Hoot Gibson), Universal; and “The Flying Fleet” (Ramon Novarro), M.G.M. special production. October 17 and 18.—“ Toni” (Jack Buchanan), Cinema Art Films, British production. October 19. —“The Veiled Woman” (all star), Fox Films; and “The Mystery Rider,” Chapter 7. October 21 to 23,—“The Love Trap” (Laura La Plante), Universal; and “China Bound” (Karl Dane-George K. Arthur), M.G.M. ‘ October 24 arid 25. —“The Silent House” (Mabel Poulton), British Dominion Films; and “The Lawless Legion” (Ken Maynard), First National. October 26.—“ The One Woman Idea” .. (Rod La Rocque), Fox Films; and “The Mystery Rider,” Chapter 8. ***■«= THE FLYING FLEET. i Giant seaplanes ’.thundering in the skies; hawk-like fighting planes whirling in gyroscopic manoeuvres;, the wreck of a huge flying monster at sea and a sensational parachute jump from a blazing plane—these are some of the thrillfl that Ramon Novarro gives his ' audience in “The Flying

sational drama of the airmen of the Fleet,” Metro-Gold wyn-Mayer’s : sennavy. * * # # “POINTS WEST.” Hoot Gisbon took a company of fifty, including the Universal ranch riders, to Lone Pine, in the high Sierras, for several “shots” while filming “Points West,” Universal’s feature western production. Alberta Vaughn plays opposite Gibson in this new picture and Frank Campeau has the “heavy” role. It was directed by Arthur Rosson. * * ’ * * “THE RINGER.” Splendid character acting is one of the many features in the British Dominions film version of Edgar Wallace’s popular mystery book, “The Ringer.” A fine cast is headed by England’s leading character actor, Leslie Fabfrr. His performance as Dr. LomOnd is remarkably convincing. Annette Benson is a most fascinating Cora Ann, and both acts and wears her clothes admirably. Nigel Barrie, who has been seen in many American films, is also in the cast which includes Muriel Angelus, a new screen discovery, Lawson Butt, a brother of Dame Clara Butt, John Hamilton and Hayford Hobbs. The picture version of the play starts a little earlier and helps thereby to “plant” the main theme, but retains to the full the mounting mystery and suspense. * # * * “WHY BE GOOD.” • Colleen Moore’s latest picture, “Why Be Good,” is the story of a beautiful sales-girl who is gay but good, and whose gaiety frequently leads to doubts as to her goodness. After a day in the department store the girl, Pert Kelly, visits a popular hall, where she enjoys the reputation of beino- the “hottest” dancer. Here a romance develops with the son of the store owner, whcise subtle suggestions as to the sales-girl’s character are almost the caq.se of a quarrel between the young people? In the end Pert’s is proved. Colleen Moore is as attractive as she was in “Flaming Youth.” She makes Pert Kelly a very fast-stepping sophisticated and lovable little person. The beautiful frocking is a feature of the film. Seldom has Colleen Moore appeared in a greater variety of beautiful dance frocks. With her arc seen Neil Hamilton, who makes an admirable leading man. while Edward Martindel is very bland and mischief-mak-ing as the old-experienced father. The picture was directed by William Sciterand and pr< dimed by John McCormick.

“THE WOLF OF WALL STREET.” One of the most spectacular oil well blazefs occurred recently at Santa Fe; a small town, situated a short distance from Hollywood. The flames shot up from the well to a great height, and so intense was the heat that the firemen could not approach near enough to quell the,blaze. Scenes from “The Wolf of Wall Street,” George Bancroft’s latest Paramount production, were being filmed at the Paramount studios, when a call was received from the scene of the fire, for wind machines to deflect the flames and heat. The wind machines are mounted on lorries, and are -similar to aeroplane propellers, driven by' aero motors. Several were being used for “The Wolf of Wall Street” at the time, and these were immediately dispatched to Santa Fe. The firemen were able to work under cover i* of the tremendous draught, which j drove both flames and heat from them, and they ■ succeeded in closing the i mouth of the well. The “Wolf of Wall Street” is 100 per cent, dialogue. $ & * # “TONI.” “Toni” is a picture which holds the j interest from beginning to end. The hair-raising adventures of Toni Marr, a young man of wealth and idleness, provide "endless opportunities for comedy. Toni follows a prescription of excitement and constant danger, given as.,ari • antidote to “soft living” by his doctor. He changes places with a famous detective, and is initiated into mystery and romance, when he falls in love with Eugenie, a princess of a small European kingdom, and later wins her for his wife. Jack Buchanan is Toni, and gives an inimitable characterisation. Princess, Eugenie is given a very charming personality by Dorothy Boyd, the two stars being assisted by Moore Marriott, Hayford Hobbs and'Forrester Harvey. * * # “CHINA BOUND.” . Karl Dane .and George K. Arthur are at their comedy best in “China Bound,” 'which, will shortly' be released by Metro-Goldwyn-Mayer, This film is a laugh riot from its opening scene to its sensational finish, and probably will be listed as the best of the five coriiedies in which Dane and Arthur have co-starred. The story is a splendid comedy, and provides many opportunities for the bulky antics of the huge Dane, who, in this picture, unlike others, is his partner’s'/pal, and not his rival, in love. Josephine Dunn makes a romantic feminine lead, and Polly Moran is seen as Dane’s somewhat neglected sweetheart. # * * # “THE CANARY MURDER CASE.” The construction of the main problem for a mystery story, is the longest

and most difficult part of the work of writing it, according-to S. S. Van Dine, the author of the well-known mystery tale, “The Canary Murder Caso,” which will be released shortly by Paramount as an all-talking picture. “Once the main problem is evolved, the writer is able to fill'out and amplify the story with comparatively little difficulty,” says Van Dine. “In ‘The Canary Murder Case’, the mystery centres round the murder of a Broadway show girl. There are seven suspects, and each has an almost perfect alibi.” William Powell has the role of the detective, Rliilo Vance, in “The Canary Murder Case.” Other parts are played by Louise Brooks, Jean Arthur, Lawrence Grant, aijd Eugene Pallctte. * * « * “THE VEILED WOMAN.” A story with real Parisian atmosphere, peopled by types that are peculiar to the French capital, is “The Veiled Woman,” which Emmett Flynn directed for Fox Films. Mr. Flynn spent two years in Paris, so that he is especially adapted to produce a picture of this type. The leading roles are played by two newcomers to the screen, ' who, in the opinion of Fox studio officials, are destined to become immensely popular with the motion picture public. They are Lia Tora, a beautiful young Brazilian, who comes to the screen through winning a beauty contest in Rio de Janeiro, and Paul Vincenti, a young Hungarian actor, who gained his experience on the stage in Budapest. # * # * “THE LOVE TRAP.” “The Love Trap” is a photoplay as vastly different from the, usual motion picture as it is beyond the ordinary in entertainment value. Starring beautiful Laura La Plante, the “personality girl” of the screen, it derives its title from the clever manner in which a young wife turns the tables of an undeserved reputation in order to clear her name. Neil Hamilton heads the big supporting cast.

- KING’S THEATRE, STRATFORD. Matinee, to-day, 1.30 p.m. —“Confetti (Jack Buchannan-Anriette Benson), “Haunted Island,” Ep. 8. To-night only.—“ Confetti,” and “The Secret Hour” (Pola Negri) Monday only.—“A Woman Against the World” (Georgia Hale). Tuesday and Wednesday. —“Modern Love” (Jean Hersholt), and Collegians. Thursday and Friday.—“'Stand and Deliver” (Rod La Rocque). * * # * “HAUNTED ISLAND,” SERIAL. Escaping from the fury of the maddened gan<r of treasure seekers, Jack Daugherty and Helen Foster escaped last week into a secret passage, from which they emerged to find themselves trapped by a bush fire which was sweeping “Haunted Island,” the locale of the exciting ■chapterplay of that title. Jack would have stood a better chance

if he had fought it out single handed with the gang, for he is a hard bitter,, but even a hard hitter can’t be expected to walk through an acre of white heat with an armful of beautiful young womanhood Iranging limply on hifl arm. The land • forces of good and evil have three chapters in which to fight it out to see who owns the vast pirate treasure, but it woukb seem that the beautiful heiress to the buccaneer gold has been gobbled up in flames. The coming chapter, to be shown to-day and Monday night will tell all. ‘ # * * TO-NIGHT’S PROGRAMME.

. “Tlie Secret Hour,” starring Pola Negri, which will be seen at the King’s to-night, offers a powerful love drama against a gorgeous natural setting that has never really been taken advantage of in motion pictures. Jean Hersholt and Kenneth Thomson have the leading male roles. The settings in “Confetti,” the British .picture which Mr. J' H. Graham C'utts made for Fii’flt 'National,, at Nice, were designed by Mr. Norman G. Arnold, who lias certainly succeeded in conveying something of the faerie atmosphere of this Douglas Furber romance of carnival time. Jack Buchannan and Annette Benson have the leading roles. #,* * * “A WOMAN AGAINST THE WORLD.” In broad, smooth-running continuity the story tells of a young girl reporter who has come to New York to win her spurs in the journalistic line. A big murder mystery develops and every member of the staff is sent out to cover it, but the girl reporter who is sent to report a large and fashionable wedding. While at this affair she stumbles upon a clue, and rushes to uncover it. Despite her opinions, the man is convicted and sent to the death-house. Still believing in his innocence she plays a lone hand and through her efforts the real murderer is discovered and she is the means of saving the life of the man unjustly convicted. Excellent work ifl done by the cast which includes such well known screen players as Harrison Ford, Georgia Hale, Lee Moran, Harvey Clark and Gertrude Olmsted. * «= * ' “MODERN LOVE.”

Those who enjoy comedy at its best should see the Universal picture “Modern Love.” The story is based on modern marriage, that its, marriage on a fifty-fifty basis. However, it 'is only fair to state that in “Modern Love,” not only is the marriage a fifty-fifty business arrangement, but in order that the young wife might not lose her position, it had to be kept a secret. One wonders how so many amusing complications can be packed into one film without straining for effects and without overburdening it with innumerable gags. Jeqn Hersholt, Kathryn Crawford and Charley Chase play important roles. # * * * “STAND AND DELIVER.” “Stand and Deliver,” starring Rod La Rocque and Lupe Velez is a story of modern Greece. It tells the story of a young Englishman who joins the Grecian Cavalry in search of adventure, and gets far more than he expected, which will be screened Thursday and Friday.

N.Z. V7ELL CATERED FOR. JIM GERALD RETURNS. Smiling Jim Gerald, the well-known comedian°, is back in Auckland, and glad of the fact (says the Star). He confessed this much when he arrived in Auckland fresh from his Fullers’ season by the Maungani from Sydney. Jim has pleasant recollections of Auckland, and one of his greatest treasures is the illuminated address presented him by citizens on the occasion of his last visit in 1925, in appreciation of his efforts in raising money for charity. Discussing impressions picked up on his world’s °tour, Jim “figured” that the Australian and New. Zealand public were equally as well catered for theatrically as the audiences in England and America, for the reason that they got only the entertainments that had been tried and proven successes. Before firms in Australasia bought productions they knew their quality, he explained, for drawing the public. “We don’t get the failures that they get overseas,” he added. The cost of entertainment in the Dominions was also much cheaper, and he recalled the fact that he paid 60

dollars to; see the. .“Show Boat” America. A show of his calibre in th® United States would run the theatregoer into from five dollars to six dollars fifty cents. In America, of' course, they got the best and the worst entertainments. In his opinion the Australian and New Zealand audiences were more critical than those abroad and just as appreciative of a good turn. WAGNER SECRETS. LETTERS TO FIRST WIFE. Having lain untouched in a London safe deposit for a generation, there is now a prospect that the Burrell Collection of Wagner documents, which embraces a large number of sensational Wagner letters, will be published. A catalogue of the documents has just been published privately by the Nonpareil Press, and it is understood

that a book to be titled “The Truth About Wagner,” will appear later in the year from the pens of two Americans who sought and found the Burrell documentfl three months ago. An anonymous introduction to the catalogue says that its authors “consider that if all the documents were published in full . . . it would, constitute an exceptionally accurate and vivid life of Wagner.” They add that “both the official view promulgated by his family and the popular view transmitted by tradition are untrue.” THE “BEYREUTH TRADITION.” The anonymous authors of the introduction assert that what Wagner’s biogra-pliers politely call the “Beyreuth tradition” had been carefully built up in order tiiat the world should take a view of Wagner’fl life wholly favourable to his second wife, formerly Cosima von Bulow, who is living still at Beyrouth. ? It is then related how Wagner was induced in his lifetime to dictate his autobiography, and how lie set to work to recover important letters scattered over Germany. The scheme, however, was unconsciously foiled by Natalie, who, when Wagner married Minna (Minna Planer, his first wife), was a little girl of nine, “nominally her sister, really her daughter.” “CREAM OF CORRESPONDENCE.”

Wagner secured from Natalie, after minna’s death, 300 of his letters to Minna, but Natalie, to whom all Minna’s papers ■ had been bequeathed, withheld about 100 letters which were the cream of Wagner’fl correspondence. These letters now form part of the Burrell collection just catalogued. Mrfl. Burrell, the daughter of Sir John Banks, Regius Professor of Medicine at Trinity College, Dublin, was a great lover of Wagner’s music, and for 15 years collected documents relating to the composer. When she died in 1898 her treasures passed into the hands of her husband.

The collection consists of 400 autographed communications, letters and telegrams, all hitherto unpublished, and about 600 pages of manuscript"music. Among the oldest items in the collection are some of Wagner’s early love

letters to Minna, in which he implores her to marry him. In one letter he signs himself “Your Bridegroom,” and one begins “My Sweet Bridge.” She ran away from him, and he wrote another letter swearing to take her by force. Letters of the pair’s deep poverty. in Paris in 1840 reveal that at one point they had betwen them only three sous. “ALWAYS MY WIFE.” A letter dated 1863 shows that when Wagner and Minna separated he had not intention of marrying again. “She will always be my wife,” he wrote. “I will remain alone and nobody will take, her place . . . My fate is loneliness and my life is work.” An unpublished letter of 1808 shows Wagner claiming back, in almost threat-

enina language, letters he had written to Minna and which she had left to Natalie. Mrs. Burrell met Natalie, then resident in a sort of ladies’ almhouse, by chance, states the introduction. Natalie was at first suspicious, but her suspicions yielded to the sincerity of the other, and gradually all her papers passed in the collection' of Mrs. Burrell.

FILM GOSSIP \ - t - FROM ALL QUARTERS. Mark Hambourg, the famous Russian pianist and virtuoso, has agreed to appear as Beethoven in a forthcoming British and Dominions talk-and-music presentation of the complete life-story of the composer. The film will be made in the new sound studios at -Elstree, under the auspices of Mr. Herbert Wilcox, in co-operation with the new film department of the Gramophone Company, for whom Mr. Hambourg has made many successful records, including, of course, the “Moonlight Sonata.” He made his musical debut in Moscow, as a child prodigy of ten, in 1889.

“Black Waters,” the first British talking feature to ,be made, has arrived hi New Zealand and has passed the Censor. Those who were privileged to witness a private screening of the production recently are most enthusiastic, It is adapted from the Broadway stage success, “Fog,” a mystery play. Not only, is the story ingeniously constructed but it is interpreted by a competent cast which brings full effect to the proceedings. James Kirkwood givefl a really fine performance as Kelly, alias Larrabee. “Black Waters” will be released at a very early date by British Dominions Filriis.

Radio Pictures has appropriated a million dollars to make several of its forthcoming productions by the RCA Spoor process of stereoscopic photography. The swiftness with which radio has gone into the Spoor process is due, in a large measure, to the fact that it has a number of big musical productions under way, among these being “Rio Rita,” .“Hit the Deck,” “The Vagabond Lover,” “Radio Revels,” “High River,” and “Night Parade.”*?’ The Spoor process would enable radio to “shoot” these big shows in their natural perspective, showing complete choruses, the full width of a fifty-two-foot screen or even larger, and fully, thirty feet' high, with all the actions of a stage production as naturally as it is seen in three dimensions behind the footlights.

Talking picture comedies have created a new difficulty on sound stages. Often the lines of dialogue have proved so amusing that extras and others round the “set” have had the utmost difficulty in restraining their laughter. The slightest sound would ruin the scene. The difficulty was particularly noticeable during the filming of “The Coconuts,” when the four Marx brothers, famous comedians of the Broadway stage, were going through their antics in front of the sound picture camera. Profiting by the experience gained during the making of “The Coconuts,” Paramount studio officials gave “extras” engaged for the production of “Kibitzer,” a unique test'. They were shown several funny, scenes in rehearsal. Those who had difficulty in restraining their laughter were weeded out. The ones who could maintain their natural expressions without difficulty got the jobs. In making “Madame X,” Metro-Gold-wyn-Mayer’s Spectacular all-talking filmiflation of the famous stage favourite, which will be seen shortly, Lionel Barrymore, the director, worked from a script by Willard Mack,. New York playright, in which every speech was condensed to the least number of words possible, making the action progress at rapid fire speed through the use of quick, diversified episodes, a thing almost impossible in stage practice, and never before attempted on the talking screen. The longest speech in it, the defender's address to the jury, lasts just one and one-eighth minutes. “Speech of itself, means nothing,” said Barrymore, “but what is said, counts. If it'earries the story forcefully enough, it does not need to be a long drawn-out declaration. It is long speeches' which retard the action on the screen, and has been one of the main faults so far ascribed -to motion picture dialogue. ‘Madame X’ has none of that holding up of action, for the sake of dialogue. The result is that it moves with as much rapidity as any silent film.” Ruth Chatterton, Lewis Stone and Raymond Hackett -give splendid Tjerformances in this production.

According to Government --statistics, there are over 300,000 persons engaged in making, selling and showing pictures in the United States. In twenty-five years the picture industry has accumulated a total investment of over 3,000,000,000 dollars. This investment will be increased by another billion through the work of. equipping the world’s theati'es for the projection of sound. The motion picture industry was rated the fourth largest in the United States before the advent of the talkies. It is expected before long to be third in industrial importance. According to an article in Variety, industrial experts claim for the pictures that they are worth the services of 100,000 salesmen in boosting United States trade abroad. The Department of Commerce estimates that for every foot of film exhibited American industry in general obtains a return of one dollar in trade.

Have motion pictures been a “playground of youth,” and will the talkies make it less advantageous to sweet sixteen?- Hollywood is buzzing with this question. Scores of “experts” contend that older players, long since discarded from the movie procession, will come back —and that voice excellence will displace the lure of a perfect figure or a nifty profile. Others contend that the public demands youth—-and will demand it just as strongly, in the new “talkies.” Willard Mack, Metro-Gold-wyn-Mayer director, says, “The public doesn’t care how old a player is, if that player can maintain the illusion of youth. Scores of actors "who look their age in silent pictures will come in to their own in talkies. With the magic of a trained voice their personalities will overcome the disadvantages of a changing physical appearance; disadvantages that have never meant a thing to a stage star. As an example you will recall John Drew and Sarah Bernhardt played romantic leads . at fifty and over.” The opinion of Cecil De Mille, creator of many great stars is that “Youth is the greatest commodity of the motion picture. We shall have to supply it in talkies just as we have done in the silent films.” Fred Niblo, director of . “Ben Hur,” says, “We still need youth; but youth must be more intelligently alert than in the past. It is very obvious that 1 a pretty and young face must be supported by a clever brain.”