ACROSS THE FOOTLIGHTS

Taranaki Daily News, 23 August 1930, Page 26 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. THE REGENT. New Plymouth. rJAugust 23 to 26.—“ Crazy that Way” (Joan Bennett), Fox Movietone production; and “Parade of the West” (Ken Maynard), Universal talking production. '(August’27 to 29.—“’Cameo Kirby” (J. Harold Murray-Norma Terris;, Fox Movietone production with songs. ’ 30 to September 2.—“ Such Men Are Dangerous;” (Warner Baxter) ” Fox Movietone all-talking special. {September 3 to 9.—“ Dynamite,” (all star) Metro-Goldwyn-Mayer all.talking super special. EVERYBODY'S. New Plymouth. '(August 23 to 26.-—“ Splinters” (all star), British special all-talking, singing production. 'August 27 to 29.—“ The Careless Age" (all star), First National all-talk-ing production. August 30 to September s.—“ Rookery Nook,” (all star), British all-talk-ing super production. September 6 to 9. —“Their Own Desire” (Norma Shearer), Metro-Gold-wyn-Mayer all-talking production. ' ' • “SPLINTERS.” ; To-day England finds that she posBesses the greatest “talkie voices," the best authors, and consequently, the very best material for the production of • the newly and universally accepted form of entertainment —the talking film. British Dominions Films have realised England’s new position in the film world, for they have made what is one of the greatest, if not the greatest, and most unusually entertaining films that has ever been made. This alltalking film isv “Splinters,” adapted from the famous war-time concert of that name. A big point of interest about the film is the fact that it is the first picture produced by British Dominions in conjunction with His Master’s Voice Gramophone Company. •'Splinters,” which will be released throughout Australasia by Greater Australasian Films, etars the original players, Hal Jones and Reg. Stone, besides (Nelson Keys, Lew Lake, and Sydney Howard. The picture was produced for British Dominions by Mr. Herbert Wilcox and directed by Jack Raymond. *The story simply shows how the original war-time concert party, under the direction of Sergeant Hal Jones, first started behind the lines in France during the Great War, and the film, as an insight into the real cockney character, is a gem. “Splinters” commences a special season of three-matinees and three nights at Everybody's Talkies to-day.

‘'CRAZY THAT WAY.” The story of a beautiful and wealthy girl who had a train of admirers con.stantly at her side, who cared for none Of them but made each think she did, and who eventually did fall in love with the one man who had no interest in her, is the story of “Crazy That Way.” This is a Fox Movietone production directed by Hamilton MaeFadden, who Won his screen spurs .with his handling of “Harmony at Home.” Joan Bennett, of a famed stag® family, is the girl with peculiar ideas of love, and Kenneth Mac Kenna, Regis Toomey, Jason Robards, Sharon Lynn and . Lumsden Hare have important roles in the production, which is based on Vincent Lawrence’s stage play, adapted to the screen !by MaeFadden and Marion Orth. .“Crazy That Way” commences at the Regent to-day. “THE CARELESS AGE.” x 'A love affair of the May-and-October type, with a startling and unexpected the basis of the First Na-tional-Vitaphone picture “The Careless iAge,” which comes to Everybody’s theatre next Wednesday with an all-star cast. • The picture was adapted from the Sensational stage play “Diversion,” by John van Druten, and has a background of the gay theatres and clubs of London and Lake Coma. Heading the cast are Douglas Fairbanks, Junr., as the boy, Cannel Myers as the sophisticated actress with whom lie becomes infatuated and Loretta (Young as a young English girl. . A splendid supporting cast will be seen, headed by such well-known play- . . ers as Holmes Herbert, Kenneth Thomson, Doris Lloyd and Wilfred Noy.

“CAMEO KIRBY.” • The days of hoop skirts, starched multiple petticoats and Mary Ann slippers are brought back to colourful existence in “Cameo Kirby,” Fox Movietone romantic musical drama which will toe seen and heard soon at the Regent theatre. “Cameo Kirby,” from the famous play by Booth Tarkington and Harry Leon Wilson, recreates again the romantic days of 1850 along the lower Mississippi River, and is hailed as the toest by far of any costume play yet produced. J. Harold Murray and Norma Terris, the co-stars, are recent recruits from the Broadway musical stage and have ample opportunity to display their vocal talents. A number of songs (were written especially for this production by a great coterie of famous song writers, headed by Walter Donaldson and Edgar Leslie. They wrote all the music for “VVh6opee,” and many other Broadway shows. Others prominent in the cast include Douglas Gilmore, Myrna Loy, Stepin Fetchit, Robert Edeson, Mme. Daumery, John H yarns, George (MacFarlane and Charles Morton. “ROOKERY NOOK.” Unlike many famous stage plays that have been brought to the screen since the introduction of talking pictures, Mr. Ben Travers’ famous farce, “Rookery Nook,” has not been “lost in transit.” ‘‘Rookery Nook” retains every bit of the crisp humour and excruciatingly _ funny dialogue that made it the rage of London for one whole year. This film has the advantage of having the Original London stage players in its least. “Rookery Nook,” by the way, is ( |he second all-talking effort of the British Dominions Film Corporation, whose

first outstanding production “Splinters,’ is a triumphant success. From the point of view of recording and, in fact, general entertainment feature's, “Rookery Nook” is easily the. most refreshing talkie that has come from either America or England. “SUCH MEN ARE DANGEROUS." Adapted from Elinor Glyn’s sensational, romantic story, with Warner Baxter and Catherine Dale Owen in the leading roles, “Such Men Are Dangerous,” Fox Movietone production, will be seen and heard in New Plymouth shortly. “Such Men Are Dangerous” is heralded as one of the best pictures made since the screen began to talk, and embraces all the required elements of solid entertainment, suspense, thrills, drama and comedy with more intriguing twists than Miss Glyn has heretofore offered. Not’ since his splendid performance in “In Old Arizona,” in which he portrayed the character of “The Cisco Kid,” has Baxter* been more delightfully east. Catherine Dale Owen, acclaimed the most beautiful blonde of the films, recently supported John Gilbert in “His Glorious Night.” The cast includes such notables as Hedda Hopper, Albert Conti, Claude Allister and Bela Lugosi. It was directed by Kenneth Hawks.

KING'S THEATRE. Matinee .to-day, 1.30. —“Roaring Ranch” (Hoot Gibson). To-night and Monday—“ Roaring Ranch” (Hoot Gibson). Tuesday and Wednesday.—“ Sonny Boy” (Davey Lee). Thursday and Friday.—“ Montana Moon” (Joan Crawford), “TRAILING TROUBLE." Hoot Gibson again lives up to his appellation of “Th® Flying Cowboy” in his latest Universal action comedy “Trailing Trouble," coming to the screen of the King’s Theatre to-night and Monday. Although a. licensed pilot, Hoot keeps away from the controls in this picture, in order to go in for an even riskier piece of business. He becomes a stowaway in an aeroplane, and drops off for a parachute jump. In order to make the business more intricate he does the job with a small dog snuggled inside his shirt.

“SONNY BOY" Edward Everett Horton, who with Betty Bronson, Gertrude. Olmsted, John T. Murray, Tommy Dugan, Edmund Breese and Lucy Beaumont is seen in Warner Bros.’ first Davey Lee stellar picture, “Sonny Boy," showing at the King’s Theatre next Tuesday and Wednesday, is a very busy man. During the nine months preceding the completion of “Sonny Boy” he produced seven successful plays at the Vine Street Theatre iu Holly wood and in his spare time played featured roles in “Miss Information,", “The Terror" and ‘'Sonny Boy,” all Warner productions. Horton has had such well known screen loading ladies in his theatre as Lois Wilson, Ethel Grey Terry, Maude Fulton, Florence Eldridge, Flobelle Fairbanks and Lea trice Joy. “Sonny Boy” is a light and clever comedy-drama built around a marital falling out and efforts to obtain possession of the" child. The husband gets a court order giving him the .boy, but his wife has her sister come up from the country and kidnap the youngster right under the nose of a dumb, but very funny detective. Hearing that the husband’s attorney is leaving town, she picks his apartment as the ideal place to hide. Meanwhile his folks arrive and find her masquerading as his wife. The attorney arrives later and prepares to enjoy the situation to its fullest. ,

“MONTANA MOON.”. A more mature Joan Crawford will bo seen at the King’s Theatre next Thursday in “Montana Moon,” MetroGold wyn-Mayer’s musical Western romance. As an Eastern society girl who marries a cowpuncher employed on her father’s ranch and then discovers that he doefl not mix with her own circle, Miss Crawford gives a performance which is superior to anything she 1- ■;<■-. ever offered the screen in the way of a sincere and moving portrayal. Oi.iers who do splendid work include John Mack Brown, who plays opposite the star, Ricardo Cortez, as the “heavy,” Dorothy Sebastian, Karl Dane, Benny Rubin, Cliff Edwards and Lloyd Ingraham. Malcolm St. Clair made an able job of directing the picture. The settings of mountainous country, wide valleys and prairies with much of the picture depicting the activities of actual cowboys make this film something far superior. to the ordinary run of cinema productions.

COMEDY TO TRAGEDY.. NELLIE BRAMLEY’S NEW ROLE. Nellie Bramley, after a career of unbroken comedy acting, lias made her bow as the tragedian in “The White Rat,” the new play at the Palace Theatre, Sydney. She plays as Mickey Elkins, almost a female Oliver Twist, in the power of an American bootlegger (George Cross) and at the beginning of the play she has very properly murdered Cross, ami is waiting to be hanged for the crime. Act two takes the audience back eight weeks to the events ;tliat led up to the shooting. This rather clumsy technique mars a drama which at times becomes quite thrilling. Act one, however, is very weak, and one has almost come to the conclusion that comedians cannot act serious parts when Cross makes a realistic success of his part of the villain in act two, and dies as a bootlegger should. LOSS ON NEW PLAY. A COURAGEOUS MANAGER. Maurice Browne, the producer, stated recently that the losses in a week on “Badger’s Green,” the new play by R. C. Sherrill at the Prince of Wales Theatre, •had been nearly £lOOO. The profits on Mr. Sheriff’s “Journey’s End” for the nine performances were between £l4OO and £1500; the losses on “Badger’s Green,” for the same time, have been between £l2OO and £l3OO. Mr. Browne is prepared to lose £lOOO a week for ten weeks if he sees the slightest chance of the play succeeding.

NEW PLAY BY SHERRIFF. TRUE PICTURE OF PEOPLE. How R. C. Sherriff was able to write “Journey’s End” was clearly shown by his new play, “Badger’s Green,” at the Prince of Wales Theatre (writes a London critic). All the .world has been told that “Badger’s ’Green” was written before the war play, and has since been revised and altered. Well, the spirit of this cricket comedy, and the wellobserved types of ordinary Englishmen, form almost a prologue to "Journey’s End.”

It was clearly shown, too, that there is no question of Sherriff being a oneplay author. The terseness and naturalness of dialogue which made “Journey’s End,” and the characterisation which made it easy to act, were not a fluke. A writer who can make characters rival themselves by dialogue and action is a dramatist.

In many ways “Badger’s Green” was more difficult to write than “Journey’s End.” For the war was a big subject. Tragedy was almost readymade in the reaction of the characters to its horrors. In “Badger’s Green’’ the author has had but little assistance from his subject. In fact, there are moments in the play before . the final excitement of the cricket match which ends the jealousies of Dr. Wetherby, president of the cricket club, and Major Forrester, its captain, when the play sags from the slightness of its material. The strength of the play lies in its characterisation and its unexaggerated humour. Dr. Wetherby, dictatorial and kindhearted; Major Forrester, a _ retired army man to the life; Mr. Twigg, the gentle secretary, given. to catching butterflies (not from blood-lust, as he carefully explains); the landlord of the Blue Board; Mr. Butler, the speculative builder; and a bewildered village maidservant, have been splendidly observed. We believe in them, and we live their lives, and feel quite indignant that Mr. Butler should desire to build a garden city round Badger’s Green. The play is as good as a day in the country. All who have played village cricket will feel their pulses stir in watching the telegraph board at the entrance to the tent, and will be delighted that the old doctor carried his bat, and that Mr. Butler, persuaded at the last minute to play, made the winning hit off his knuckles.

“A wonderful day,” murmurs the old doctor when he is alone in the tent, recovering from, his exertions. Yes, it has been a wonderful day, for not only has the match been won, but the speculative builder promises to find another site for his bungalow town. (

' Such is the ' humanising spirit of cricket. Horaces Hodges, as the doctor, and .Sebastian Smith, as the pathetic secretary, who injures his hand in making a hatstand, and cannot 'play, only to find that his work will not stand the weight of a coat, give performances which show what our English comedians can do. Louie Goodrich, Felix Aylmer, and Frederick Burtwell are excellent, too.-

AUDIBLE LIGHT.

MARVEL OF TALKIE WORLD. Describing it as the newest factor in motion pictures and something that... will play an important part in the future of the industry, American trade publications just to hand carry detailed descriptions of “audible light,’’ a process designed to reproduce sound from Bound films through the light beamsthrown by the projector upon the screen, instead of from horns placed back-stage, thus dispensing with the necessity of wiring, states, an article in Everyone’s. The apparatus has been evolved by the General Electric Company of America after experiments in association with the Massachusetts Institute of Technology. Recently demonstrated m Boston to 1500 engineers, it is explained by the Exhibitors’ Herald-World, which says that light rays have sounds, ji:at as the invisible radio waves have, but hitherto these sounds could not be made audible to the human ear. Experiments prove that this difficulty has been overcome. Employing Neon lights of varying intensity, the demonstrator would produce broadcast music in far corners of the room merely by holding the Neon lights in another, but narrow, beam of light projected from the opposite side of the room. By alternating the intensity of the lights, different radio stations could be picked up. An “electric finger" held in a ray of light would emit different sounds when brought into contact with different objects. An “electric eye," placed anywhere in the room, would seek out and find the spot where music was coming from. An “electric tongue," when placed in different foods, would emit different sounds. The Exhibitors' Herald-World adds, “How far these experiments have advanced none of those engaged in the experimental work would say, but their assertion that they are of great importance to the motion picture industry leads to the belief that considerable advance has been made beyond the point already demonstrated." “Audible light” will be brought to Australia by a man well known in the Australian ’theatrical and picture industries. It is expected that he will leave London almost immediately.

“HALF SHOT AT SUNRISE.” WAR-TIME MUSICAL COMEDY. Hugh Trevor and Dorothy Lee have been assigned featured roles in “Half Shot at Sunrise.” This Radio picture is to be the talking screen's first wartime musical comedy. Trevor, who was the first player put under long term contract by Radio Pictures, has played numerous leading roles in the last year, including “Night Parade,” “The Cuckoos” and “Hawk Island.” “Half Shot” will provide Miss Lee with her third role as a featured player alongside Bert Wheeler and Robert Woolsey, having had much to do with the comedy situations in “Rio Rita,” “The Cuckoos," and now this production, The- musical comedy is co-authorised by James Ashmore Creelman and Cyrus Wood. Harry Tierney, who wrote the music for “Rio Rita,” “Irene,” ‘‘Kid Boots,” and Radio Pictures' original sound-screen operetta “Dixiana,” is composing the music for “Half Shot at Sunrise.”

WITH A TALKIE COMPANY.

GOING ON LOCATION.

(Exclusive to Daily News by Harry Spaulding.)

Whenever a large motion picture company goes on location, both Hollywood and the locality to which the film people go are agog with excitement. At the picture studio countless details, such as transportation, housing quarters and commissary needs for the actors and staff must be attended to before any movements may be made. At the location spot similar accommodation for the ’company must be arranged in addition to the construction of sets prior to the arrival of the film makers. It is seldom that a motion picture company goes on an extensive location jaunt in these days of mammoth sound-proof stages, wherein may 'be constructed sets of almost unbelievable size and authenticity. However, when such an occasion does come about the producers spare no effort or expense in insuring that the location scenes arc colossal and authentic in every detail. 'Perhaps the largest and most ambitious location set in the history of motion pictures is that recently constructed for the filming of Paramount's talking screen -ersion of Rex Beach’s “The Spoilers,” in which Gary Cooper is being starred. An impression of the importance of this setting may be gathered from the fact that this film, which will be Paramount’s biggest picture for the coming year, is being produced entirely on location, not one single scene being taken within the studio walls. I motored up to “The Spoilers’ ” camp at Point Hume, California, recently to review the situation and to witness the filming of the first scenes of the production. I was amazed. I -had expected to see a colourful location, but was surprised at and unprepared for the immense size of the camp. Four square miles are covered by the set and by the location camp housing the staff and cast. A wharf a quarter of a mile long has been built into the sea. Anchored off-shore were a three-masted schooner, an ancient GOOO-ton steamer, and other small boats. Once a bleak desolate stretch of salt marsh and sand dunes bordered by a strip of surf-pounded beach Point Hume is now the city of Nome, Alaska. Oldtimers at the camp, men who knew Nome of thirty years ago, never cease marvelling at the exactness of detail with which the old gold town has been duplicated. There are several of these oldsters in camp; men hired as technical assistants to guide Director Edwin Care we in his work. They have no trouble imagining themselves back there again.

To facilitate directing the huge scenes Carewe employs an elaborate, loudspeaker system, which amplifies his voice many thousands of times, sending it bopming up and down the inile-long “street.” In this way ho handles his crowds without effort. Another-modern touch in “The Spoilers’ ” camp is a radio telephone equipment. With- it Carewe keeps in immediate communicaion with a small fleet of ships, barges and lighters, that are about a quarter of a mile out at sea as the off-shore “atmosphere.” The radio is a Government licensed set, operating as station W6XAR over a wave length of 125 1-10 metres. After work at night the operators amuse themselves by listening to London talk to New York and Australia.

The little town of Oxnard, California, which is located near Point Hume, has naturally “gone Hollywood.” The boys who hang around the billiard parlours at night talk in terms of camera angles, the high school girls argue the advantage of No. 7 make-up base over No. G grease, and Mum and Dad, sitting at home over the supper dishes, discuss their big scenes of -the day. The people of this little town and their neighbours are being used as extras. Each morning at six they drive out in their cars, line up at a big gate a mile from the camp, receive their wardrobe checks, and iile down the long, dusty road towards their day’s work. Half an. hour later they are bearded miners, blue-uniformed cavalry men, or dance hall girls. At noon they get a big modern meal in a big modern mess tent almost as large as a circus top. At night they draw their pay for the day's work before the cameras and go home to talk about its Location life is almost as rustic and hard as that which the original characters lived. The tents in which the principals are housed are like two roomed bungalows of canvas. In each there is a dividing wall, which separates living room from bed-room. In one corner of the bed-room is a little shower room supplied with hot and cold running water. The hot water for the camp is supplied from a big boiler, set out in the

open near the centre of things, and fired by wood hauled for the purpose. The camp is awakened each morning at 5.30 by a shrieking siren on the mess hall. By 9.30 a-t night actors and staff are ready for bed. Life is a bit less hectic there than in Hollywood. The feeding of the hundreds of persons employed in the making of the picture is a colossal task, for “The ■Spoilers” company, working from dawn to dusk within sound of the sea, is a hungry throng. Earl Bartlett, camp steward, revealed that 400 pounds of meat are consumed each day along with 300 pounds of Hour, 200 pounds of sugar, 70 gallons of milk and cream, nine crates of assorted fresh fruits, 110 pies and 130 loaves of bread. All vegetables used are fresh, and they are brought in by the wagon load. Gary Cooper has the big role in the

production. He looks lean, tanned and hard, for he has been training intensively. “Sailor” Vincent, retired lightweight boxing champion of the navy, is preparing Gary for the fight that has always been the traditional high-spot of “The Spoilers.” Cooper will battle with William Boyd, big-chested and broad-shouldered actor from the New York stage. Each is prepared and expecting to get hurt when the fight scene conies. The whole company realises that Gary and Boyd will have tn out-do the fight in tho 'original screen production. Kay Johnson and Betty Compson are the featured actresses. They live in adjoining tents and have a horse-back ride along the beach together every morning. At night they play bridge with Slim Summerville and the wife of one of the cameramen. Five former

motion picture directors are featured in important roles. Lloyd Ingram, who is Judge Stillman of the story, once directed some of the industry’s biggest stars. Slim Summerville was long a director of comedies. James Kirkwood, George Oscar Apfel also have directed. The Nome, Alaska, of Paramount's creation" is a busy and happy place. “The Spoilers” company will probably be marooned there for many weeks to come, Tor the really big pictures are not made in a hurry. However, neither the studio executive nor the cast are worrying about time and expense. AH realise that an abundance of time and money are necessary ingredients for the making of a really successful production, and it is their intention to create in “The Spoilers" the motion picture success of the age.

AUTHORITIES IN CONFLICT. ■STATE BANS “LUMMOX” FILM. At Canberra the Alinister of Customs, Mr. Fenton, recently made available for publication the unanimous report by the Commonwealth Film Censorship Appeal Board, when the cinematograph film “Lummox” came before it for review. The Chief Secretary of New South Wales (Mr. Chaffey) has since placed a ban on the exhibition of the picture. The Appeal Board's report was as follow: —

“Sex immorality is not lightly treated in the film. It appeals not to the thoughtless and depraved, but to the thoughtful and the honourably tolerant. The chief character is a woman more sinned against than sinning, and no sympathy is excited for her seducer. She atones for her one false step—the momentary weakness that wrecks her happiness, and wins respect by her subsequent long-suffering, self-sacrifice. “The other girl in the story is saved by Lummox from a life degradation, to which she seemed almost fated by the unfortunate circumstances of her early life. She is raised from the depths, her self-respect is restored, and she wins the honourable love of a man who knows and understands, and who accepts her for what she is, not what she has been.

“One is inevitably reminded of the words spoken by Christ to the woman taken in adultery: ‘Go, and sin no more,’ and of His reproach to the Pharisees: ‘I say unto you that like-wise joy shall be in Heaven over- one sinner that repenteth, more than over ninety and nine just persons which need no repentance.’ ■ “There is nothing in the film that represents vice as other than it is to the enlightened mind, horrifying and degrading. Christian ethical principles are deliberately kept in view, and chari- „ table sympathy with the weak and unfortunate is encouraged. The general moral effect is enhanced by the excellence of the acting. Everything shown in the picture is necessary in relation to the dramatic presentation of the . events. . If there be any parts that might be offensive if presented by themselves, they cannot be so regarded in relation to the artistic and moral effect of the whole film.”

ACTORS AND ACTRESSES.

OLGA LINDO’S COAIMENT. Olga Lindo, the London actress, who is at present touring South Africa, told some home truths to a Maritzberg audience. In the course of an address she said that the theatre was never more able to produce the finest art than it was to-day. ; “But,” she said, “society has entered our ranks and we mummers, we rogues and vagabonds, have entered the ranks of society. Some of our actors and actresses of to-day are so essentialy ladies and gentlemen that jthoy have ceased to.be actors and, although they have adopted the stage as a profession, they can never become actors.

“Secondly, our dramatists, in pandering to the alleged public taste, have acquired so much pseudo-culture that they, are : afraid €o be real, and it is this canker we have to destroy before the theatre can become one of t’he greatest forces in the world of art. “Thirdly. • and I think this is the greatest pity, we have, during the last 1-5 years, mislaid classic romance and poetic drama.” Speaking on the talkies, Miss Lindo said: “I .think films have perhaps a greater appeal than stage plays to the general public to-day, for they are not afraid of being colourful and romantic, and even a little unreal, and arc, therefore, sometimes more entertaining.”

MOTION PICTURE IDEALS.

DEFENCE OF AMERICAN METHODS

The rejection of an article defending the motion picture industry against charges contained in a series of stories printed recently in tho Christian Cen-' tury, of Chicago, has resulted in a criticism of the magazine by Carl E. Milliken, executive secretary of the Motion Picture Producers and Distributors of America. Mr. Milliken asserts that r,he Christian Century articles were “based largely on casual opinions submitted by correspondents, on statistics quoted out of relation to their significance, ou statements taken out of context from the’ general purport of the complete declarations and upon testimony chosen purely upon the basis of partiality.” In the published articles, he says the main points seemed to be that the industry had made no progress during the past eight ’ years; that motion pictures caused child delinquency; that the motion’ picture screen presents an unrelieved background of crime and violence; ■ that American pictures are ambassadors of “ill-will" to other nations, and that, as such, they have been criticised in official circles.

In his rejected article Mr. Milliken makes the following observations: — “Since men differ in their interpretation of holy writ, there is no reason to expect that any form of entertainment, code or no code, self-discipline or otherwise, -will ever be free from criticism. No medium of expression so uniformly portrays right triumphant, virtue rewarded and evil punished as does the average motion picture. But by citing incomplete figures which wive dramatic incidents and events out of all relation to the purpose or moral of the story told on the screen, the writer of the Christian Century articles presents violence, crime and alleged immorality as rife on the screen. What an opportunity this opens for. demand that the Bible' be placed under political censorship! “The responsibility of any popular form of entertainment which appeals to the entire family group must bo regulated to some extent by the needs of° .childhood. But nothing could bo more absurd or prejudicial to public interest than to attempt to key all motion picture entertainment to the child mind.

“The denouement of every motion picture story since 1922 has been that ‘right must triumph.’ The charge that movies are a cause of crime is denied by such leading authorities as Dr. George W. Kirchwey, formerly dean of Columbia Law School and Warden of Sing Sing prison. “The code adopted by the motion picture industry relating to the production of talking pictures contains specific pr®’isions for the presentation of any subject dealing with sex. But r man-made code or man-made provision will even remove the suggestions only apparent to the evil-minded.” Mr. Milliken quotes James E. West, chief executive of the Boy Scouts of America, as saying:—“l am thankful that there is an increasing number of wholesome, clean pictures, full of thrills and fine ideals of the out-of-doors, pictures . that educate and do build the right sore of character.” Concerning the charge that the Government 0 admits motion pictures are “ill-will ambassadors,” Mr. Milliken quotes a speech made by President Hoover when he was Secretary of Commerce. Mr. Hoover said: — “We have had a score of pictures of different lands in recent years, each year coming nearer and nearer to the highest ideals of dramatic art. They carry a fund of universal humour, of gaiety and appeal to the human heart. Thev* brim* dreamland to the boy in the ’ fitreet° and the lonely herdsman on the plain.' They, can carry with it all a friendly acquaintance and understanding * between . neighbours, and nations,' a confidence in right-minded-ness and an inspiration-to f riendliness.” In conclusion, Mr. Milliken asseits that narrow-minded, intolerant attacks upon motion picture entertainment can only lead to counter-prejudice, which. he adds, would be a great misfortune, for “construcive leadership of the church has been one of the w’tal influences in the progress of American motion pictures.”

MISS MARIE NEY’S WEDDING.

NO ONE IN LONDON KNE W.

Miss Marie Ney, the well-known and very successful New Zealand actress, has’been married in London. The ceremony took place on June 18. it is remarkable that a lady so much in the limelight, so popular with a vast thea-tre-eohte' public, and having such bests of friends, could arrange to be married ■ without anyone in London knowing. The marriage notice would read something like this:— Menzies —Fix —At the Church of St. Ethelreda, Ely Place, Loudon, on June 18, Thomas Hutchison Menzies of Kua a Lumpur, to Marie Agnes Fix, daughter of tho late William Fix, of VVelJington, New Zealand, and of Mio. Fix, who is now in the Dominion. Mr. Menzies has long known Miss Nev and her mother, whom be has met on‘his intervals of leave from the Malay States, and Miss Ney has more than once been the guest of his people in Scotland. Very cleverly they conceived and completed their plan, having no desire for publicity. They were married by Father Bernard Roc, at the beautiful old Church of St. Ethelreda, situated in a quiet byway in busy London, near Holborn Circus. They were accompanied by a friend, Mr. Jacpmb, as witness. The day was Wednesday. Immediately after the ceremony there was just time for “tiffen,” and the bride went on to Drury Lane to play her lead as, “Milady” in “The- Three Musketeers.” In the evening she appeared again, and she lias been carrying on there, stated a London correspondent on July 11, as usual ever since, with her secret still her own.

Mr. Menzies lias spent a great number of years in Malaya in conircction with rubber plantations. He is an authority on the subject, and is at present what is known as a visiting agent. His period of leave will expire in October, and he will go East again. But Mrs. Menzies will not, according to present plans, accompany him on this occasion. She is tremendously wrapped up in her professional work, and she is one whom the stage can ill spare. Mr. and Mrs. Menzies hope to have a month or six weeks’ holiday in Scotland, at the conclusion of the present Drury Lane season. And then, New Zealand’s very successful actress will have no further object in keeping her secret, for she will be out of reach of tinkling telephones and of people desirous to pick up “stories” for the newspapers of the Metropolis,

SIR ARTHUR PINERO.

EXCELLENT STAGE TECHNIQUE.

Among the most important of Britisli playwrights of the late Victorian-Geor-gian period, which includes the “eighties” to the present day, is Sir Arthur Pinero. While his plays, as a rule, have not the intense humanity, .of Barrie’s, they do not go so deep into the heart. Nevertheless, they are admirable examples of contemporary English dramatic literature, full of wit and observation, and a sense of the theatre. Many of them we have seen and admired, for there is not one which is not acceptable to the cultivated intelligence, and some of them must, from their literary and human qualities, live. Yet lie has made mistakes in taste. Some of us remember the uproar caused by an incident in “The Wife Without a Smile.” ID pen was sometimes trivial, as in “Preserving Mr. Panmure,” but in such dramas as “The Second Mrs. Tanqueray,”. “Sweet Lavender,” and ‘‘The Benefit of the Doubt,” dramas of very varied character, he established himself as a playwright of the first rank. He is a satirist who looks at the petty tragedies of life with a certain coldness which repels the romantic playgoer who loves Barrie. ■' -In “His House in Order,” played some years ago with Irene ,Vanbrugh as Nina, Pinero reached a pitch of perfection in stage technique which has never been, excelled by any British dramatist. The smoothness and skill with which the incidents follow each other, and the edges are joined, makes this play an example of craftsmanship to young and aspiring playwrights. These plays, and the many very fine actors and actresses, the flower of the British stage, who have played in them, are discussed by Mr. Hamilton Fyfe in diis book, “Sir Arthur Pinero —His Plays and Players.” Some few of these players, Miss Vanbrugh, Dion i Boucicault, Lewis Waller, have been seen in Australia and New Zealand, but to scan the names of the multitude we have never seen makes us realise how far we are from London, and how little we have been, catered for in the very .best the British stages has produced during the past half-century. • •<

“BITTER SWEET” FOR AUSTRALIA.

NOEL COWARD'S INTENTION.

Hugh D. Mclntosh, at one time a prominent figure in the theatrical world in Australia, has announced his intention of returning to the field of theatre production. All forms of star entertainment are promised by Mr. Mclntosh, who has announced that toward the end of the year he would bring out to Australis 1 an English company to play Noe: Coward's operetta “Bitter Sweet. 4 This has been "an enormous success in London. Noel Coward . himself • intends to visit Australia with a small company to present some of his plays. Charles B. Cochran first produced “Bitter Sweet” in London. - Mr. McIntosh states that he is able to. obtain. all of Cochran’s productions for Australia. ’■ ’

The company for “Bitter Sweet” will be selected by Noel Coward in association with Mr. Mclntosh, who says that the names, of several prominent London players available for Australia have already been mentioned in cable advices.

Mr. Mclntosh intends z to present shows in Melbourne, Sydney and Adelaide. Though no arrangements have yet been made for drama or comedy, he will stage all kinds of playa eventually.

Mr. Mclntosh is not one of thoss who thinks the stage must suffer by -the advent of the talkies. “The stage has survived trying times in the past and will continue to Jive,” he declares. “Canned music and shadows will never usurp the place of human beings. But productions must be good, prices mu t be reasonable and the public must have comfortable accommodation.” -/ . • In accordance with this view,. the remodelling, of the Sydney Tivoli is already contemplated.

“JOURNEY'S END."

FILM ADAPTATION.

When James Whale was making the picture “Journey’s End” for Tiffany, he and Supervisor George 'Pcarson used meticulous care to keep the playeis in the mood of the story, reports an American writer. - The action, as all .know who have seen either play or picture, is confined to a dug-out at the front lines, and the muddy, crude dim trenches. The light in the dug-out, supplied by a few candles, is vague and- uncertain. i - To maintain the mood of the story all the business connected with the making of the picture was transacted in the°dug-out and trenches. Staff conferences, production business, rehearsal! were held therein, so that the actor; becaine thoroughly familiar with .theii surrounding’s and felt easy and at home (when the camera was grinding and the picture being photographed. Charles Gerrard, who plays Mason, the cook for the officers, was made to stick to his quarters, the kitchen, pit, a little ”oom off-"the dugout proper.. He remained there when oft the set in that cold, dismal, cramped little space, so when he appears on the scene he looks just as though he had been in such a hole as Mason would have occupied in real warfare. Another thing the director and supervisor insisted on was the names of the players. They were not allowed to address one another by their real names, but by those they have in the picture. Colin Clive was no: Colin or Clive to the others, even off the scene, but Stanhope, the character he plays. And lan Maclaren was spoken to as Osborne. This gave ease and naturalness to the speech before the microphone.

ENGLISH ACTOR’S DEATH. TWICE VISITED AUSTRALIA. Clifton Alderson, who twice visited Australia, died in England recently at the age of G 6. Sydney first saw him on September 19, 1891, as Pierre in “Proof,” at Hbr Majesty’s. Julius Knight was the juvenile lead, and was then hailed as u coming man. Laura Villiers was the star. Alderson madea great hit during the season as the Duke of Guisebery in Jones’ play, ‘‘The Dancing Girl.” He also appeared in the lead of “Fedora” and “Wood barrow Farm.” His second visit was in 1894, when he played Felix in “The New Boy,” and ether comedies, at the Lyceum in Pitt Street.