ACROSS THE FOOTLIGHTS

Taranaki Daily News, 21 December 1929, Page 10 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. OPERA HOUSE. New Plymouth. JTo-night— "Modern Marriage” (Betty Bronson), First National; and "The Third Eye” (Dorothy Seacombe), British Dominion Films. December 23 and 24.—“ The Runaway ■ Princess” (Mady Christians), Metro-Goldwyn-Maycr. December 25. —No pictures. December 26, 27, 28. —“Tragic Hour” (all star), First National Continental Production; and "Matrimony” (all star), Cinema Art Films. Dectmber 30 to January I.—“ Where , East is East” (Lon Chaney), M.G. M.; and "Looping the Loop” (Warner Krauss), U.F.A. Production. January 2 to 4. —“Man and the Moment” (Billie Dove), First National; and "Smashing Through” (John Stuart), British Dominion Films, January 6 to B.—" Tho Single Standard” (Greta Garbo), M.G.M.; and “Picadilly” (Jamieson Thomas-Gilda Gray), British Dominion Films. January 9 to 11. —“The Whip” (all star, First National); and “The Alley Cat” (Mabel Poulton), British Dominion Films. EVERYBODY’S. December 21 to 27- (no pictures Xmas Day). — "Interference” (Evelyn Brent-Clive Brook-Dorris KenyonWilliam Powell), Paramount 100 per cent, talking special; Fox Movietone News; “That Party in Person” (Eddie Cantor, in short act); "Old Black Joe” (Paramount singing cartoon); "His College Chum (talking comedy), and “The Melbourne Cup” (the greatest race in the Southern Hemisphere in sight and sound). . December 28.—“ Close Harmony” (Buddy Rogers-Nancy Carroll), Paramount talking and singing special), "What ‘' ? Is It "Now and Then,” and "Daisy Bell” (Paramount Singing cartoon). . ‘ , January 1,2, 3.—“ The Studio Mystery" (all star), Paramount ’ all-talking production,'"Blue Songs,” "Humor- • ous Flights,” “Ye Old Melodies," and gazette. January 4.—-“ The Hometowners” (Doris ? Kenyon), Warner Bros.* Vitaphone attraction; “Waring’s Pennsylvanians’ orchestra) and the Howard Bros. January Bto 10.—" A Dangerous ,Wo-. man” (Baclanova), Paramount all talking production; “Vital Subjects”; “Moonshine” (talking comedy). January, 11 to 17.—“ The Black Watch” (Victor McLaglcn), Fox Movietone Super Special; ."Sound Your A” (talking comedy), and Fox Movietone News. January 18 to 24;—“The Desert Song.” THE PEOPLE’S. New Plymouth. December 21 to 24. —“The Man I Love” (Richard Arlen-Mary Brian), Paramount all-talking special; Lilian Roth and Piano Boys; “False Alarm Fire Coy”; and “Mother Pin a Rose” (Paramount singing cartoon). . ’ December 25. —No Pictures. December 26, 27.—“ Beware of Bachelors” (William Collier, junf.-Audrey Ferris), Warner Bros.’ Vitaphone attraction; Waring’s Pennsylvanians; Joe Browning; Bernado De' Pace, and "Moscow Art Ensemble.” v pecember 28, 30, 31.—“ The Letter” ' (Janne Eagels), Paramount alltalking special); “Radio Ry thm” (Rudee Valse and jazz orchestra); "Titto Schipa”; and "Schubert’s Friends” (introducing the songs, "Sweet Repose,” "Praise of Tears,” "C Major Symphony,” “Ave Maria,” and' “Seranade.”) January 1 to 3.—" Gentlemen of the Press”; “High Hat”; “Pushers in the Face” (talking comedy), and "Booklovers.”.’ January 4 to 10.—“ The Innocents of Paris” (Maurice Chevalier), Fox ; Movietone News; “Postmortems” (talking comedy starring Raymond Griffith); "Dixie” (Paramount singing cartoon); and “The Four Aristocrats” (vaudeville act), * * * • . “THE MAN I LOVE.”

Baclanova, whose artistry of performance has made her the most talked about Woman on the screen to-day, plays a motivating role in Paramount’s latest romantic drama, featuring Richard Arlen and Mary Brian, “The Man I Love.” Baclanova, in this picture, plays an exotic creature whose wiles beguile the {lopularity-drunk Arlen from his true ove, Mary Brian. The Russian actress’ success in films dates from her first day before the cameras. She went to Los Angeles as for Lady Diana Manners as tho Nun . in “The Miracle.” “The Man I' Love” is ' 100 per cent, all talking and commences at the Peoples talkies to-day at 2 p.m. and 8 p.m. «*« * ♦ “INTERFERENCE.” Only stage-trained voices will be heard in Paramount’s all-talking motion picture, “Interference,” winch opens at Everybody’s theatre to-day at 2 p.m. and 8 p.m. The four principals in the story are Clive Brook, Evelyn Brent, William Powell and Doris Kenyon, all of whom have had wide experience on the stage as well as in the films. The supporting cast, comprised of almost a dozen players, is one with stage experience both in America and in England, tho locale of the story. “Interference” was directed as 100 per cent, talking picture by Roy J. Pomeroy, and is based upon a Lothar Mendes production. Tho screen story and spoken dialogue were prepared by' Ernest Pascal from the famous stage play by Roland Pertwee and Harold Jlcardcu. *»♦<»* “MATRIMONY.” Lil Dagovor the star of “Matrimony,” Is a talented Continental actress, who lias starred successfully in several European pictures, amongst them being “Love is Blind,” “Hungarian Rhapsody” and ♦‘Tnrtuffe.’’ She is. seen in this picture ns a beautiful society girl who goes into tho backwoods of Sweden in search of a millionaire husband. In “Matrimony” she easily surpasses her previous roles, hence the engaging of her for tho big pictures . in which.she will shortly bo seen.

"THE THIRD EYE,” lan Harding, a successful young West End stage actor, co-stars witli Dorothy Seacombe in “The Third Eye,” which is to bo screened at the Opera House tonight. They are said to be perfectly suited, and both have benefited by a stage experience. Harding plays the role of Tom Kennedy, a young detective, who, endeavouring to discover a series of mysterious bank robberies, becomes implicated in a murder. How he finally proves his own innocence, discloses the thefts—winch incidentally were made possible by tho ingenious use of a television set—and reveals the murderer, offers an excellent role for this young actor’s debut, and of course provides an unusually entertaining plot. “The Third Eye” is described as the first television motion picture. # o e » “MODERN MARRIAGE.” In “Modern Marriage,” Alec B. Francis is co-fcatured with charming Betty Bronson. His part is not a showy one, but it is important to do with the way in which events turn out in the picture. He again demonstrates his ability to put a characterisation . across by quiet human methods, arousing the sympathy of the audiences who feel that he is a man that they would like to have for a friend. “Modern Matrimony” answers one of the most sensational questions that has ever faced humanity. • • » « "BEWARE OF BACHELORS.” The biggest man in Hollywood is not a producer, a director or a star. He is only an extra. But ho towers over the biggest of ’em, for he lacks but a few inches of being eight feet tall. “Tiny” Ward they call him. Ward’s gigantic figures is one of the interesting and amusing sights gathered by Director Roy Del Ruth for his latest Warner Bros.’ comedy, "Beware of Bachelors.” Ward and his dancing partner, tho “Bouncing Baby” from a beach amusement concession, present an original terpsichorean feature they call tho "Shiver-Shuffle.” “Beware of Bachelors” is a travesty on the early, stages of matrimony. Robert Lord did tho scenario from a story by Mark Canfield. Audrey Ferris and Wil-' Ham Collier, junior, are featured in a cast which includes Andre Beranger, Margaret Livingston, Clyde Cook and Dave Morris. • ' « * . # “THE RUNAWAY PRINCESS.” A notable mixture of drama, comedy, adventure, thrills and romance — ail occurring rapidly in the train of a Balkan Princess who rebclliously runs away from her monotonous Court life —make “The Runaway Princess,” a new Metro-Goldwyn-Mayer release, which commences at the Opera House on Monday next. Mady Christia.ns, who plays tho title role, is finding great favour with local audiences for her beauty, her sense of humour and dramatic ability, while Paul Cavanagh, who plays opposite her, is an equally impressive British player. Nora Baring, Fred Rains j and Claude H. Becrbohm are also featured in the capable cast. «• « # a "THE INNOCENTS OF PARIS.” Paramount will present.at the People’s talkies shortly the season’s all-talking special “Innocents of Paris,” starring that electric personality, Maurice Chevalier, idol of Paris, and magnet of millions. "Innocents of Paris” is Chevalier’s first talking picture, and from the reception accorded him on the opening night of this picture in Sydney and the days

following ho is destined to become immensely popular with Australian and New Zealand audiences. Chevalier sings six songs, two in French and four in English. His rendering of "Louise” and “On Top of the World Alone” arc remarkable for their clarity and intonation. Both should prove extremely popular with vocalists and song lovers.

“THE LETTER.” One of tho sensationally dramatic pictures that have ever come to the screen, will bo screened at the People’s talkies shortly. ' It is “The Letter,” from the play by W. Somerset Maugham, and tells of a letter written that in the hand of a 'vengeful rival threatened the life of t; woman who wrote it. Jeanne Eagels is tho woman who longed for companionship, and whoso husband neglected her. See what was in “The Letter” and what happened outside Singapore one night. ’ • THE OLD ORDER CHANGETH. How very true arc those words, “The old order changeth yielding place to new,” in the world of amusement today! To-day the screen occupies a place in .ne enthusiasm o fthe public that was never approached by tho stage in any Golden Ago of its history. Far from hampering dramatic properties with mechanical limitations, the screen now gives them a wider scope than has ever been possible behind the footlights. The camera is not confined to the boundaries of one small stage. Its range is as wide as the world. When a script calls for great outdoor background, motion pictures do not have to depend upon cleverly contrived artificial scenery. Nature’s greatest beauty becomes its stage.

STRATFORD. KING’S THEATRE. To-night and Monday.—“ The Waggon Master (Ken Maynard). Tuesday only. —“Tho Little Wildcat” (Audrey Ferris). Thursday and Friday. —“On Trial” (Pauline Frederick). # # • • “THE WAGGON MASTER.” Rapid-fire action characterises every minute of “Tho Waggon Master,” Ken Maynard’s Universal picture which opens at tho King’s theatre to-night. It is the first' Western with song and dialogue. Maynard, with tho aid of his famous horse “Tarzan” opens a new bag of riding tricks that confirm him in his position as a leading Western star. There is fighting and riding of every kind and variety throughoout tho picture. "The Waggon Master” is a story of the American waggon freighters, a bold and reckless breed of men who carried supplies to isolated mining camps and army posts in ’ tho days of tho ‘old west. The plot of tho picture concerns the efforts of Maynard, as "The Rambler” to break an unscrupulous monopoly that is starving 1 out tho camps of the region through the high prices charged for supplies. The film is featured by a whip fight between Maynard and Al Ferguson, his rival in love and trade. Edith Roberts makes a most attractive heroine. Others in the well balanced cast are Frederick Dana, Tom Santschi, little Jackie Hanlon, Bobby Dunn, the white horse and Frank Rice. “THE LITTLE WILD CAT.” - Modern youth has it innings in Warner Bros.' “Little Wildcat,” the all-star comedy which will bo shown at the King’s theatre on Tuesday. Three of the screen’s most promisfiig youngsters head tho cast. Audrey Ferris, Doris Dawson and James Murray make up the trio. The addition of these inimitable character actors, George Fawcett and Robert Edeson, and the ingratiating presence of Hallom Cooley, makes an unbeatable cast for this delightfur picture. Miss Ferris arid Miss Dawson appear as granddaughters of George Fawcett, who has the role of a cantankerous but lovable old southern gentleman whose fiery temper keeps the household in perpetual unrest. Commercial aviation is his pet aversion, and his granddaughters’ flirtatious efforts to capture a flier thus bring about a crisis in the old mansion. “The 1 Little Wildcat” is a comedy-drama of the fast-moving type, with many laughable situations hinging on the jealousy of tho two girls, and on ludicrous banterings of Fawcett and Edeson, appearing as the former's personal servant. "ON TRIAL,” ALL-TALKING FILM. The dramatic power of the story is brought out with an effectiveness which has never been approached by previous pictures. ..Courtroom scenes of the great murder trial, around which "On Trial” revolves, present a complete re-creation of the proceedings, which formerly would have been impossible without the intrusion of a long successio- of preparatory scenes —so many, in fact, as to completely deaden the action of the story. But with tho present play, every motion plays its part in heightening the interest* in tho scenes, and in presenting the sensational trial with all its amazing turns and twists. One of the most emotional of the scenes is the one in which Robert Strickland catches his wife in a lie, which she constantly elaborates in : an effort to make her unusual action seem plausible. So splendidly is the scene played that the audience actually suffers with both husband and wife. The • distinguished cast of "On Trial” includes Pauline Frederick, Bert Lytell, Lois Wil- ! son, Holmes Herbert, Jason Robards, •

Richard Tucker, Johnny Arthur, Vondell Darr, Edmund Breese, Edward Martindel, Fred Kelsey and Franklin Pangborn. FULLERS’ “GO TALKIE" THEATRES IN CENTRES TO BE WIRED. A new policy so far as the firm’s theatres in Auckland, Wellington, Christchurch, and Dunedin are concerned was announced recently by Mr. W. Burton, general manager in New Zealand for John Fuller and Sons. Mr. Burton stated that a contract has been signed with the Western Electric Corporation to equip the four theatres mentioned with the very latest equipment for sound films. The work is already under way in Auckland at tho St. James theatre, .which will commence the exhibition of talking and singing pictures on Boxing Night. His Majesty’s theatre, Wellington, will be ready for the change about the end of next month, Christchurch at the end of February, and Dunedin at the end of March.

It was also annoounced by Mr. Burton that tho company ho represents has secured the solo rights for 1930 for the Warner Bros.’ new technicolour pictures, which are said to mark a new era in screen productions. This change of policy, it is explained, does not mean a complete breakaway from the legitimate show, but talking pictures will bo tho regular faro, at the theatres mentioned, and tho visits of touring companies will bo less frequent, whilst tho quality of the same will be of a better standard than, in the immediate past.

CHALIAPIN IN LONDON. an AUDIENCE OF 7000. GREATEST SINGER IN THE WORLD Chaliapin sang at the Albert HalJ to an audience of some 7000, the largest of the season so far, says a London paper. He announced his songs, as his way is, one by one—thus, “Numbair feeftysevven!” —from the full repertory printed in the programme. He sang two groups of songs, about a dozen in all, mostly in Russian, but “Le Cor,” by Flegier (a rather empty piece, which, however, served well as scaffolding for his incomparable art) in French. Yes, Chaliapin remains incomparable. He had a cold and coughed a good deal. He also did some rather perverse things (chiefly in showing off that curious, thin head-tone of his, which is rather like a falsetto yet not quite). But in the variety and vividness of his art—whether in impassioned, commanding or comic music—as in the sheer musical quality of his tone, a viola-like tone, Chaliapin is the greatest singer of the present day world. Some things he had been known to do better, thus Rubinstein's “Persian Love Song,” which he pulled about till it was almost unrecognisable-leading the pianist, Mr. Rabinovitch. a very irj regular dance. But often he was as good as ever. In Dargomizhky’s little satirical song about the government clerk every touch was right. The great tragedian is also a priceless comic turn. But most remarkable and unanalysable was the way in which he turned a rather* common sentimental song into an expression of pure poetry ".nd suffering. A LOST FILM. The, most historic film e l . er taken is missing (says a London paper). ' This is the official War Office film of the Battle of the Somme, now the property of Dr. Dustin Maddick, who was Army Staff kinematographer in charge of the film. It was placed in Dr. Maddick’s safe on premises in Wardour Street, W. Recently Mr. Maddick decided to see his cherished property again. On inquiry, however, it appeared that dur- l ing a severe illness which he had four years ago the London County Council informed the owners of the premises that their regulations compelled all films to-be removed to the roofs of the houses in which they were stored. This was for safety. As Dr. Maddick was ■too ill to be informed of the situation, the safe had -to be drilled open without his consent and the films stored upstairs. When Dr. Maddick asked for his property a few days ago no one could lay hands on it. Since then a feverish search has been made, but so far without result. The film includes pictures of the Buffs, Bedfords, Suffolks and the Royal Welsh Fusiliers moving up to the attack, just before July I, 1916. r It shows the morning of the attack, the attack itself, the rescue of a private who died half an hour later, an unsuccessful German- counter-attack, “mopping up” by the Royal Fusiliers, the arrival of the King in France, and his tour of the front, and hundreds of other dramatic incidents. The loss of this film, if it is lost, is clearly of national importance. MR. H. P. MULLER. MANAGER FOR WILLIAMSON’S. Mr. Harry P. Muller, who has been i ippointcd the general manager in New Zealand for J. C. Williamson, Ltd., in succession to the late Mr. Bert Royle, las had a long and successful conneccion with the theatrical profession since he first joined it in a subordinate position.' He is an old Palmerston North boy, and was partly educated in that district. At the conclusion of his educational training, he studied law, and was managing clerk in a prominent legal office. After a further study of law for several years he found attraction in the theatrical profession, in which he had always manifested a deep interest, and, rising rapidly, became manager of the old Theatre Royal in Palmerston. He was associated with other theatrical firms for a number of years, and was then enrolled under the J. C. Williamson banner. Mr. Muller manifested a keen interest in the profession, and also became proficient on the business side, and was eventually appointed representative for J. C. Williamson in San Francisco, where he has been located for the last five years. Upon the death of Mr. Bert Royle, who had been New Zealand representative of the firm for many years, Mr. Muller was selected for his present appointment. With Mrs. Muller and son. he recently returned from San Francisco, and; though his stay in New Zealand was but brief, he received a most cordial reception from a large number of friends, who have derived great pleasure from his steady advancement and eventual appointment to one of the most important and responsible positions in the firm. Mr. and Mrs. Muller are looking forward to again settling in their own country, and it is a surety that under his capable management the high prestige that J. C. Williamson and J. and N. Tait have achieved will be strengthened. After his brief stay in New Zealand Mr. Muller proceeded to Australia to consult the heads of the firm, and returned to the Dominion by the “Uli- j maroa” last week. |

A FASCINATING PICTURE. “In New Guinea Wilds,” the most absorbing and enchanting picture that Sydney has seen for years —personally, I have never seen anything on the screen more fascinating—has just closed after a month at the Savoy Theatre (writes the Sydney correspondent of the Auckland Star). It was arranged for, financed and filmed by William Jackson, who gives the covering lecture, the film being in the nature of a travelogue, but with all the life and movement of a first-class movie. Mr. Jackson is the owner of the film and the manager of his own enterprise, and before coming to Sydney he had a most successful season in Melbourne, where the Board of Education stood shoulder to shoulder with him and arranged for parties from the schools to witness the film. It covers a great part of our own Mandated Territory, and goes off the beaten track, giving us glimpses into the land and the natives’ private lives that no one else has been able to do so far. .. The photography is outstanding and the continuity excellent.

J. C. WILLIAMSON’S WILL. ] ,£414/)00 ESTATE. QUESTIONS FOR JUDGE. The will of J. C. Williamson, who left an estate of £414,000, when he died, in 1913, is the subject of litigation to determine certain questions of interpretation, and further argument was heard before Mr. Justice Harvey in Equity at Sydney. « His Honour was asked to determine, amoncr other things, whether certain I Oo 9 I

accumulations of income, invested by the trustees from the time of the death of . Mr. Williamson, in 1913, till March 28, 1927 —the .latter dhte being the marriage of Aimee Williamson, youngest daughter of the testator, to William Wallace Horsley—were equally divisable between Aimee Horsley and Corrie Lindsay Browne, infant daughter of Marjorie Mary (Tootles) Browne. The matter came before the court on an originating summons, the plaintiffs being Reginald Charles Allen, Edward Harold Major, and the Permanent Trustee Company of New South Wales, and the defendants, Lindsay Browne, Aimee Horsley, Pamela Corrie Lindsay Browne, James Bruce Horsley and Mary Horsley. His Honour held that Lindsay Browne, father of Pamela Corrie Lindsay Browne, took no interest in the accumulations. His Honour confirmed the questions with regard to the divisibleness of the income out of the accumulations between Mrs. Aimee Horsley and Pamela Lindsay Browne. The judge then heard argument by Mr. Dudley Williams, counsel for the trustees of the estate, with regard to certain assets and stamp duty. • £400,000 ALIMONY. Constance Bennett was screening right up to the time of her marriage to Philip Plant, the millionaire, about four years ago. But those four years are not lost to her, because the basis of divorce settlement with Plant is a trifle of £400,000. She. receives half when the suit commences and the rest when the decree nisi becomes absolute. Those facts were revealed when Constance refused £lOOO a week. to appear in “Hell’s Angels.” The producer, Howard Hughes, doubled the offer, but still she turned it down. No wonder, when,’ for simply taking a trip to Paris and murmuring to an attorney, she could collect the first half of that £400,000. As soon as she returns' film contracts will be ready for her. EFFECT OF TALKIES ON STAGE. Jane Cowl, one of America’s leading dramatic actresses, started something when she said that owing to talkies, radio and ill-bred audiences, the theatre was on its last legs. Hotly the stage players replied. - “Bosh —just bosh!” was Pauline Frederick’s comment; but then "Pauline has dropped temporarily out of films, and now heads her own stage company in ‘‘The Queen was in the Parlour.” “As long as you have a play in which people are interested the people will go to see it,”, she said. “Talkies are awakening the public to the value of the spoken drama.” Guy Bates Post,- who was in New Zealand a few years ago, admitted a slight decrease of interest in stage plays, but-did not consider the talkies to blame. “The stage had been slumbering for three years before the talkies came,” Post declared. “What we need now is the revival of melodrama, or a good biblical play.”

CHINA BOYCOTTS THE FAIRBANKS. Mary Pickford and Douglas Fairbanks are on a tour of the Far East. Their visit is arousing the greatest excitement among the Chinese at Shanghai, but a social boycott of the famous couple has been decreed by prominent Chinese organisations. Certain scenes in Fairbanks' film, “The Thief of Bagdad,” are held to have depicted the Chinese in an unsavoury role, thereby prejudicing the nation’s prestige in the eyes of tho world. " Chinese film companies have been ordered to refrain from entertaining the visitors, under threat of cancellation 'of their privileges. * a # * Paul Muni will enact the role of Rasputin in the all-talking Fox Movietone production, “The Holy Devil.” Muni and Berthold Viertal have hit it off so well as star and director in “Seven Faces,” now nearing completion, that Viertal has been assigned to direct him in his new picture. Muni’s desire to portray the role of tho mad monk is based on the world’s knowledge of the man who had a hypnotic power fiver women, men and nations, as described by Rene FuldpMiller in his book. •

| MUSICIANS TOURS. FAILURE IN NEW ZEALAND. UNSAFE TO BRING ARTISTS. So disappointing were the Christchurch seasons of Dusolina Giannini and other musicians whom he has brought recently to New Zealand that Mr. E. J.. Gravestock doubts very much whether he will include the southern city in the I Dominion tour next month'of the famous pianist Wilhelm Backhaus (says the Christchurch Sun). In the meantime

Mr. Gravestock’s proposal to organise concerts on a subscription basis has been abandoned. • • . '' ' ' The whole Dominion tour of Gian-, nini was disappointing, Mr.” Gravestock said, but the season in Christchurch.was most disappointing of all. . . In a city of 120,000 people only 1200 paid for admission to all three .concerts of this great soprano.'Proportionately this was 30 per cent, less than in Wellington and 25 per. cent, less -than in Auckland. “The position is that it is now unsafe to bring any musician here unless his nariie is hallowed by the ages and he himself is practically doddering,” said Mr. Gravestock. “Whatever our promises, the public won’t support an artist who is young and comparatively unknown.” ... . ; The last two visits to Christchurch, by Giannini and Cherkassky, have been definitely failures. Time after time profits in Australia were lost in New Zealand. At present to conduct a musical tour of the Dominion called for a philanthropist, not for a concert-man-ager. • Mr. Gravestock did not think that the talkies were stifling, good music. Many of the talkie theatres seemed to be doing little better. He was aware, too, that the past year has been one' of great activity among‘the musical societies in Christchurch. At the same time, concert tours were failing consistently. , “Unless some definite guarantee . of support is forthcoming I shall not feel justified in bringing Backhaus to Christchurch next year,” said Mr. Gravestock. “The entertainer Alexander Watson willbe here at the end of February, but at present my intention is not to bring Backhaus.” Cherkassky and Giannini had both won remarkable successes in Australia, and both had failed in New Zealand. The quality of each of these artists could not be in doubt; the reason for their failure was simply public apathy.

The remedy; thought Mr. Gravestock, lay in the formation of musical clubs and a general co-operation of musical interests. Sydney and Melbourne, ho instanced, had many musical clubs, which guaranteed support for visiting artists. “There is no centre in the musical life in New Zealand,” he eaid. “The need is for a conservatorium, which would serve as a foundation for building up musical appreciation and performances of music among the public.”

Tho playgrounds of the stars in Hollywood, their favourite haunts, their customs and social activities will bo the background of a screen musical revue being prepared by Fox Movietone Films. It is to bo called, “Hollywood Nights.” Frank Styayer has been assigned to direct tho picture. Scheduled for the leads aro Nola Lane, Stuart Erwin, Dixie Lee, Sharon Lynn, David Rollins and Whispering Jack Smith, the (baritone of Radio fame.

A PALATIAL HOME. Harold Lloyd’s million-dollar estate near Beverley Hills is nearing completion (writes a Hollywood correspondent). The palatial new home of the comedian, with twenty-six rooms, is only one feature of the, magnificent show place. Three years have been spent landscaping the grounds with their golf course, gardens, running brooks and waterfalls. Even little Gloria Lloyd has her own building among the numerous structures dotting the estate. That Harold’s admirers around the world are keenly interested in the new home is attested by their offers. One, in far-off China, wants to send him a tiger, but Harold has made no provision for pets with such large claws.. Another, in Europe, would like to send a pair of peacocks, but to actors the peafowl is an omen of dire luck. Other offers are so numerous that it won’t be the fans’ fault if the extensive place isn’t furnished “to the hilt.” Despite the income which permits Harold to indulge in luxuries, he works as hard at the daily grind as when he was struggling up from poverty. COLOUR PHOTOGRAPHY. A high speed process for colour photography, which makes it possible to photograph in natural colours the swiftest movements, has recently been perfected by Paramount camera experts. The improved process was used for the first time during the filming of “The Vagabond King,” Paramount’s allcolour romance, starring Dennis King. By the use of the improvement, it was possible, during the production of “The Vagabond King,” to photograph action in colour which was too abrupt for even the, ordinary motion picture camera to catch in black and white.- “The Vagabond King,” which is produced on a most lavish scale, was recently completed at the Hollywood, studios. GENERAL FILM NEWS. The veteran William Collier, senior, one of Broadway’s celebrated playwrights and stars, and Charlotte Henry, make their talkie debut simultaneously in the Fox Movietone all-talking picture “Harmony at Home.” Work, has started on the production under the direction of Russell Bridwell. « o a • . ■ J. Harold Murray and' Norma Terris, Broadway musical comedy stars now under contract to Fox Movietone, hardly had returned, to Hollywood from New York, Murray from a vacation and Miss Terris from her. honeymoon, before they were whisked away to Sacramento to begin making their next Fox Movietone production. “Cameo Kirby.” 0 0 O . ' ® : Douglas Gilmore, who, .recently . completed, a principal role in the race track comedy-drama, z “ A Song of Kentucky,” as his first assignment under a long term contract with Fox films, is a protege of John Golden, the playwright and stage producer. Gilmore had no more. idea of becoming an actor than he had of becoming a flagpole sitter until he met Golden, on a railroad train one. day. Struck by Gilmore’s appearance, the producer engaged him in conversation and asked him to call on him in his New York office if .he ever decided to go on the stage. The young man thought little of the.suggestion until one day oht of a job and. broke in New. York, he .paid. Golden a visit. lie was immediately given a small part in “Lightnin' ”, with the late Frank Bacon./ He. had only 36 words to speak but it was a start, and not long after was> playing opposite Helen Hays, Elsie Ferguson and others. Heappeared. in’“White Cargo.” “The Bad Man,” “We Moderns,” and other stage plays before going to Hollywood for talking pictures.

Charles Wakefield Cadman, well-known composer of concert and operatic music, plans to make sound pictures his major sphere of activities in the future, lie sees present trends and possibilities to come in the audible films which ho believes warrant serious musicians in devoting the whole of their time to the field. The composer revealed his decision in an interview in Now York recently. “The time is coming when grand opera will bo given screen presentation successfully,” Dr. Cadman said. “There are difficulties in the way, but they are being overcome one by one. My immediate ambition is to compose a screen operetta to test my theories.” The composer has drawn his conclusions from experience. Several monthe. ag < he signed a contract to write scores for the Fox film Corporation. Il is first work under the contract was a composition titled “A Song of Courage,” for the air picture, “The Sky Hawk,” retitled, “The World Moves On.” Then he wrote another for “Harmony at Home,” an adaption from Harry Delph’s play, “The Family Upstairs.” Recently he has been working on songs for the picture in which John McCormack, a personal friend for years, will make his talking picture debut. Shortly before he left Hollywood for New Ybrk, Dr. Cadman had his first experience as an actor. It was in a sequence of “Harmony at Home.” One of the pieces, which he played in the concert scene was the song, “From the Land of the Sky Blue Waters,” which with, “At Dawning,” constitutes probably his 'best-known ivork.

Clare Kummer is writing the scenario and dialogue for the Fox Movietone allt .ing, singing, picture, “New Orleans Frolic.” The highlight of this picture is a minstrel show played by some, of tho screens greatest actors. They include Will Rogers, Tom Patricola, SLepin Fetehit, Victor McLagleri, Walter Catlett, Willi -- Collier, senior, Charles Farrell, Georgo O’Brien, Nick . Stuart, Richard Keene, J. Harold Runmay, Clifford Pcinpscy, John Garrick, George Jesscll ai;d Joe Wagstaff, in fact as stated before nearly every important player on the Fox Movietone foster.

A feature of the remarkable development of tho English drama in the last generation has been the improvement in tho one-act play. There was a time when the one-act play was regarded purely as a curtain-raiser to much more important productions. It was used in London West End theatres tb fill in part of tho gap between the fashionable dinner hour and the rising of the curtain on the main entertainment. The piece was generally slight and the action was rudely interrupted by |he entry of. selfish late-comers into the stalls. Of late years, however, the one-act play has been treated as a serious art medium, a large number of first-class one-act pieces have been written, and some of the foremost dramatists of the day have' used this form. So good judge as Mr. Granville Barker has / that Barrie’s “Tho Twelve-Pound Look, is the finest one-act play in the laiigu age.