ACROSS THE FOOTLIGHTS

Taranaki Daily News, 18 October 1930, Page 10 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS.

THE REGENT.

New Plymouth.

'l'c-night, Monday and Tuesday-—Mon-tana Moon” (Joan Crawford), M.G. V M. all talking and singing produc-

tion. i October 22 to 24. —“Girl of the Port” ' (Sally O’Neill). Radio all-talking

production.. October 25 to 2'B.—“Jazz Heaven” (Sally , O’Neill), Radio all talking production; and “Mountain Jugfece” (Ken *. Maynard), Universal all talking production* . , October 29 to ’3l—“The' Girl From Woolwortbs” (Alice White), First i National all talking production.

EVERYBODY’S..

New Plymouth.

Jo-night, Monday, Tuesday and Wednesday.—" Paramount on Par-

ada” (all star). All-talking, sing-/ ing and dancing revue. ’ October 23 and 24.—“ The Hide Out” (James Murray), Universal all talking production. . . October 25. to 29.—“ High Society Blues” (Janet Gaynor—Chatles Farrell)

Fox Movietone musical production. October 30 and 31.—“ The Big Party” /(Sue Carol), Fox Movietone production.

OPERA HOUSE.

New Plymouth.

Jhwreday, Friday, Saturday, Monday, October 23, 24, 25, 27, New Plymouth Operatic Society—“ Going Up.”

INGLEWOOD TALKIES. ?

3V-night.—"All Quiet on the -Western Front,” a thrilling story by Erich Remarque. October 22.—“ Framed,” Radio Pictures’ ■. play, featuring Evelyn Brent and Regis Toomey. October 24 and 25.—“ Journey’s End,” British war story from the play by B, C. Sheriff.

"PARAMOUNT ON PARADE.”

How would you like to hear Buddy Rogers and Lillian Roth sing a bright and new catchy tune about what time is the right time to fall in love? The dialogue that would ensue if Philo Vance, Sherlock Holmes, Sergeant Heath and Dr. Fu Manchu should gather together to discuss a crime? With Jack Oakie as the victim. Kay Francis sing Garment With Harry Green as the Toreador. Jack Oakie instructing a girls’ gym. class and rousing the ire of his jealous sweetheart,. Zelma O’Neal? Ruth Chattertdn as a Montmartre girl in a Paris cafe, singing a ballad to four marines about her -Marine? Maurice Chevalier as a Paris cop? Little Mitzi, ■the "Honey” child,/: imitating Chevalier inoneof his songs? Clara Bow singing her new "It” hit, “I’m True to th© Navy Now,” with Jack Oakie, Skeets Gallagher and a chorus of forty-two sailors for an audience? 'A history lesson with Helen Kane as the teacher ? Tennis King’s goldeh voice in a stirring love song? Nancy Carroll-singing and hoofing a mad, merry jazz, dance to the music of Abe Lyman , and his Band? George Bancroft’s remarks at a swanky social function if he obeyed underworld impulses? The singing of a flock of Hollywood beauties, heard as they are Seen in intricate dances,' bright costumes and novel settings, many of the scenes in technicblour ? You . will'! You’ll hear all these things, and many others in "Paramount on Parade” which commences to-day at Everybody’s.at 2 p.m. ’ and. 8 p-m.

“MONTANA MOON.’’

A more mature Joan Crawford will be cm at the Regent Theatre to-day at 2 .p.m. and ,8 p.m. in,' “Montana Moon,” Metro-Goldwyn-Mayer’s musical [Western romance. As an Eastern society girl who marries a. cowpuncher employed', rm her lather’s ranch and- then discovers that he does not mix with her own ciriele, Miss Crawford gives a performance ■which is superior to anything eh© has ever offered the screen in the way; ofa sincere and moving portrayal. Others who do splendid work include John Mack ißrown, who plays opposite the star, Rioardo Cortez, as the “heavy,” Dorothy Sebastian, Karl Dane, Benny Rubin, Cliff Edwards and Lloyd Ingraham. Malcolm St. Qair made an able job of directing thejjpicture. 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. . ■ >

“GIRL OF THE PORT.”

.Radio Pictures’ “Girl of . the Port,” which- opens at the Pegent next Wedinesday, combines three parallel threads e£ intense interest. They are the romance ■between an English lord and an Irish ahow’ girl; the struggles of an ex-war veteran to throw off a fear of fire—a war curse; and a realistic, true-to-life portrayal of the .savage “firewalking” religious rites practiced by Fiji Islanders. The lovers are Reginald Sharland, English actor, in his first Walking-picture, and Sally O’Neil in one of her most satisfactory roles. They are supported by Mitchell Lewis, Duke Kahanamoku, Donald Mackenzie, Renee ■Macready, Gerald Barry, Arthur Clayton, Barrie O’Daniel?, John William Burt, Hugh Crumplin and o'thers A slice of life from the World War trenches depicting the hideous use of flammen-werfer (flame throwers), opens the picture —and establishes a motif for the hero’s war phobia, and subsequent actions. Sixty native men and women appear in the colorful ‘’fire-walk-ing” sequences. Following the weird knife, Maori and Fiji dances they walk through the fire, across a bed of red-hot stones.

“THE HIDE OUT.”

"A college picture with a totally different slant is “Hide-Out,” Universal's semantic drama coming to Everybody’s Theatre next Thursday and Friday. 'lt deals with the adventures of a crack college stroke oar who finds himself in danger of going to prison for his past misdeeds if his crew wins the race. James Murray and Kathryn Crawford are featured in this exciting picture, yyhich was directed by Reginald Barker.

“HIGH SOCIETY BLUES.”

It was a moonlight night. He was heir to millions but had no family prestige. She was heiress to social promiaencer—plenty of bad debts if her father played the market—and an engagement ring from a. real, live, titled count. In fact the moonlight was seductive. And the way that lad could make his like vibrate, and the way he could si.ng and the way that sweet miss could listen and si“h! From then on the trouble !began.° Laughs follow heartaches in «wift succession, making this newest Janet Gaynor, Charles Farrell musical (romance, “High Society Blues” the finest

effort yet,. produced with this perfect .pair of. screen sweethearts. They sing five Mtngp, which were written for them by tpoge masters of modern melodies, Joseph McCarthy and James F. Hanley. David Bptler made a masterpiece of “Sunny. Side Up”—-and 'High Society Blues” proves he’s one director who can repeat good things in Fox all-talking musical romance. ‘High Society Blues” comes to Everybody’s Theatre commencing Saturday, October 25.

“JAZZ HEAVEN.”

’ With Sally O’Neil singing for the first time on the screen, and John Mack Brown playing the piano in the role of a- -young composer, “Jazz Heaven,” 'bright, tuneful musical romance, is a Radio Pictures’ production which has been well received wherever shown all over'the country. The story deals with the efforts of Brown to whip his pet song into shape where it will interest publishers. Just when success seems farthest away, the girl in the next room, played by Sally O’Neil, comes to his rescue and since she is employed to .plug song's in a-music publishing house, the would-be song-writer is jubilant. However, he finds the road to success isn’t royal.; Sally.in her efforts to help, puts‘ herself into situations the boy misunderstands and when it looks as if he would abandon the whole thing, a silver lining shows itself in the clouds and success, love and all that go with them begin‘taking the whip hand. The supporting cast is notable, including Clyde Cook, Blanche Friderici, Joseph Cawthorn, Albert Conti, Henry Annetta, J. -Barney Sherry, Harry McCoy and others.

“GOING UP.”

A SHOW OF ATTRACTIONS.

All the essentials of bright entertainment have .been preserved hi the musical comedy play .which the New Plymouth Amateur Operatic .Society -will present for a, four nights’ season at the Opera House, commencing next Thursday.

The story is very amusing and furnishes good, entertainment, no matter in what medium it,is conveyed. The hero is a perfect example of a modest, unassuming chap who has “greatness thrust upon him.” He is also a fine example of what wonderful exploits a man will attempt provided.he has the correct inspiration. . . • , ■ ' V \ The dressing and mounting have been prepared with the idea that the keenest criticism will be disarmed. The arranging of each “picture” has been carefully studied, and a complete scheme of lighting .has been thoroughly prepared. Musically, the show can be measured against any of the society’s former achievements,, and again it is believed that/in this, department a big success will be recorded. A very fine orchestra has . put in a lot of intensive practice, and'the .many beautiful ballets will be danced to br’ght and merry melodies.

A wonderful series of ballet, numbers has- been arranged, and this year a big slice of. luck has been secured in the acquisition of a 'number of highly skilled dancers.’ Needless to say, this talent is ■ a welcome addition, and it is hoped that the dancing in “Going Up” will find immediate favour. '

Although the full cast of characters has not .yet been published it was completed several.weeks ago. Those weeks have been devoted to earnest preparation, and the remaining rehearsals will be. employed in adding the finishing touches.- ■?; —

''.Summing the show up, the amateurs believe that the result of. their labours this, year, will find favour with patrons, and the general feeling is that “Going Up” of 1930 will be generously supported not: only because of the happy recollections of .earlier shows, but by reason of sheer merit.and. entertainment value.

BETTER. DEMAND FOR BRITISH. ■NEW-TALKING FILMS ANNOUNCED

Up to a, recent date a, .total of 1860 theatres in the United Kingdom were showing talking films, and there are factors 'in' the- present situation which eeein to. indicate that better tipies may be approaching for producers.of British films. , For; one thing the popularity of British films in Europe has shown a definite This announcement is contained in a recent bulletin of British trade, a section of which is devoted to film-making. ; There seems little doubt that there is:a reaction in many territories against the;.averag.e American film, as the dialect,'- whether in speech or song, and whether Vjln'derstood or. not by'the hearers, seems to be'proving unduly harsh for ■ non-American audiences, states the bulletin. There is undoubtedly a tendency to-ward making talking pictures with an English rather than an American accent, and it is hoped that this tendency may lead ultimately to . increased production in the United Kingdom.

It .is quite clear at any rate that foreign audience's will ultimately demand talking films in languages which they can understand, and it seems Ijkely that Hollywood on the west coast of the United States will not prove so satisfactory a centre for producing multi-lingual films as either London or some Continental centre. The United .Kingdom is taking a leading part in the making of talking films in languages other than English. Among recent pictures shown to the trade, in London may be mentioned “The Brat,” in which Betty Balfour appear in one of those Cockney roles in which she has had much success in the past.

DIRECTOR OF LANGUAGES.

A NEW STUDIO OFFICER.

With the gradual widening of scope in the stories presented on the, talking screen, a new studio technician has com® into .being. He is known as a technical director of languages and his duties include the tutoring of the players in their lines as well as ascertaining that the inflection of foreign artists is correctly suited to the part they ray.Paramount, recently engaged a director of that nature in John Rengaw, and his first assignment was to furnish authenticity to the Spanish items in “The Texan,” Gary Cooper’s new Western talkie- In this capacity, he had to teach correct Spanish to Fay Wray and Emma. Dunn, so that they might speak with a slight Castilian inflection. He tutored Gary Cooper to speak with a border Mexican twang, and Oscar Apfel with a broad English accent. Five Spanish players in the picture, all of whom came from various places where that language differs, had to bo taught to- speak, with the inflection heard on . the north-western coast of South America. John Cromwell had charge of the direction of “The Texan,” which was recently completed at the Hollywood studios. Others in the supporting cast are James ' Marcus,. Veda Buckland and Donald Reed.

MODERNISM IN FURNISHINGS, MODERN ART EXPRESSES THE AGE (Exclusive-to Daily News by Nan Nest Polglaze, set Designer at Paramount Studios.) ■ To a great majority of people throughout ths° world, who at the same time like to consider themselves modern, the word modernism when applied to furnishiijgs .seems to convey an impression of something grotesque, strikingly out of proportion and uninteresting. That fact has always been a source of tremendous amusement to me, knowing that modernism expresses that which is timely and dignified in art, and knowing, too, how indignant those same persons would be if one dared suggest that they were not up to the times. Hollywood, ever the leader in that which is new, is now in the throes of a new modernism fad. The evidence of this tendency is to be found in the new homes, furniture, and even the motorcars of the film colony. It is even more clearly evident- in the present remodelling of old homes—staid old places that have withstood the influence of motion pictures and their constella•tions for years. There is. a definite reason behind this movement, that, in my opinion, throughly justifies the change. Most people will agree that beauty standards change with time. Venus de Milo . was ■ once the ideal of feminine beauty, but what chance would would she stand in a beauty contest of to-day? Modern art must be an expression of life as it> is to-day. The present age is one of great complexity. This complexity is confusing to most persons and they, turn to simplicity ‘ for relief. Simple 'lines are modern. ■ They are dignified, restful to .the eye, and they tend to cover up the complexity of the machine age. . This is a period in which artificiality has little place. Elaborate furnishings, decorations and furniture are as out of date as powdered wigs and lace collars. Yet how many- people have their homes stuffed with oldfashioned, period furniture, their walls covered with bilious looking paper and cluttered with pictures, ' the windows hung with all sorts of complicated drapes and curtains. , Modernistic furniture has several marked characteristics. It is built in flat surfaces and strong lines. The angles are decided and sharp, and the proportions, contrary to common belief, are well considered. Mouldings and panelling are avoided as much as possible in order to gain the effect of simplicity. Continuity of lirie, contrasts in colours and sharp contrasts in light and shadow and other modernistic fundamentals that must be strictly adhered to.

The modernistic touch is particularly evident in the motion picture settings. Whenever we .design a set for a-film with a modern background, every effort is expended by us to catch the spirit of the age and to provide that atmosphere of simple good taste so necessary to the times. One of our most recent assignments of this nature was the construction of a Palm Beach millionaire’s home for Clara’s Bow’s new Paramount picture, “Love Among the Millionaires.” While the scenes showing the interior of this magnificent house unquestionably convey an impression of tremendous wealth and luxury, the most striking feature about the rooms is their extreme simplicity. In the drawing room the high, straight walls of white plaster are almost devoid of pictures, yet no one could speak of them as being bare and lifeless. A deep skirting board of a slightly darker shade, tall heavy doors of rosewood and an occasional thick protruding. pillar with abruptly moulded corners give the room an appearance of strength and character impossible to obtain with ordinary decorations. Another splendid example of modernistic art is an expensive apartment designed as the principal setting for “Anybody’s Woman,” . the latest Paramount dramatic film in which Clive Brook and Ruth Chatterton are costarred. The most arresting feature of this setting is u-.a long entrance hall into the main living room. This has been made ' with a series -of five arched doorways, each severely plain, and resting upon thick buttresses protruding from the walls, which, extend to a tall ceiling far abpve the top of the arches. The walls and archways were-plastered in deep cream,, offering a striking contrast to the polished hardwood floor. A large flower vase on each side of the living room entrance, two chairs set against-the wall on one side, two costly prints hung above the chairs, and an arched French door, letting out on the verandah, relieve the passage way ,of any Intense, severity. Thus, as I have attempted to picture above, is modernism in interior decora-t'-ng expressed in ■ motion - picture settings. Except in period films, such as Cyril Maude’s picture, “Gumpy,” which has for its background the English ’country house of a gentleman of the old, school, and “The Virtuous Sin,” the story of court life in Russia during the Grea't War, in which Walter Huston and Kay Francis are featured, beaten paths of architecture are seldom followed. Modern stories must have genuine modern settings, and it is our earnest

iilltlltf IlKtttltllllll IlMilllllHHlllinilllllt desire to catch something of the spirit of ■ the picture in each set we design. The fact that Hollywood and its motion pictures must, lead the way in this new modernistic movement does not mean that another passing fad has been evolved for a lot of unbalanced movie people—a fad that might be all right for a film colony, but out of the question for ordinary folk. On the contrary, it means mer-jly that Hollywood has .been the first to catch toe spirit of modern art, the first to realise how completely, it answers the. present dav demand for good taste, simplicity, and restfulness in the home. Modernism to a. degree is easily attained in any home, from that of the millionaire to that of the labourer. It simply means that the old, multicoloured paper must give way -to that which is plain and bright; that a few of the pictures around the walls must be packed away in the attic; and in short, that the room must be made brighter, less congested and considerably more simple in appearance. The result is well worth the effort, combining easier housekeeping with more pleasant surroundings.

THEATRE’S GODFATHER. STORIES OF OTHER DAYS. Sir Frank Benson, who was knighted with a property sword at Drury Lane by the King in 1916, has just completed his memoirs. Writing of them in a London journal, St. John Ervine. says that they justify him in calling. Sir Frank the godfather of the theatre. Sir Frank was educated at Winchester and New College, Oxford. It was while he was at New. that, an undergraduate, called Bickersteth, who subsequently becarne a highly-placed ecclesiastic, asked him to play the part of Clytemne.stra in a performance of the “Agamemnon” in Greek. In this way his stage career began. At that time there was great argument on the worth of the dead languages, and Sir Frank reports the current belief that the performance of the “Agamemnon” had postponed the removal of Greek from the lists of compulsory studies for many years:— “One of the elderly and learned Grecians stopped me in the High Street. ‘Sir, I should like to shake you. by the hand; you have done more for the study of Greek in 50 minqtes than we professors have done in 50 years’—and yet a short time afterward this kindly old gentleman found it in his. heart to gulf me in final Greats.”

Irving saw the performance, and invited B.enson and another member of the company to visit him at the Lyceum, and there,, presumably . in 1882 —for Sir Frank, who really is provokingly careless about dates, does not mention the year, although he mentions the day and the month—the young player from Oxford began to be a professional actor, taking the part of Paris in “Romeo and Juliet.” The book is rich in information for the apprentice player and not the least rich part of it is ■ the advice given to players by Mrs. Stirling, who said: “You will never be an actor .until you have learned to get through your part though the snow, coines through the roof; with an audience consisting of only two or three drunks, who are not listening; while the sparrows twitter and flutter round the auditorium before settlincr to roost in the flies; while rats trot across the footlights carrying off your pet powder-puff in their mouths. You have got to learn to act though none of the company, except yourself, is sober; when no one gives you your proper cue; when’you have not had a square meal for a month and will probably get no salary on Saturday; when you are sent on to play a part of two or three hundred lines with one night’s study and no proper rehearsal. When you can do this, and not dry up, but hold an audience, great or small, drunk or sober, stalls or gallery or Royal. Box, whether the play is good or bad, and your part actor-proof or impossible, then and not till then may you call yourself an actor.” Sir Frank tells us how he started as a new man in a company. “Regardless of cues, which I did not get, I pounded out my sentences in a resistless, continuous .flow, and was rewarded with rounds of applause, from the audience.” If an actor could not remember Shakespeare’s words, he used his own. The work of Irving, in London, and Sir Frank Benson, in the provinces, has sometimes been derided for its gentility. “The ruin of the stage,” said Miss Alice Denvil, “began when an actress had an evening dress.” And, indeed, there are some players who are more ambitious to be perfect gentlemen than they are to ba actors.

RIVAL MEXICANS.

HOLLYWOOD LOOKS ON.

Hollywood has always had interesting stories of rival actresses since the historic days of Gloria gwanson and Pola Negri. The fights of Swanson and Negri -over the status of- the studio cats, over their respective titles of Countess and Marquise, their gowns, their jewels and social successes,, still are retold with as much interest as ever. To-day the most interesting ■ set of rivals are Dolores Del' Rio and Lupe Velez, reports a Hollywood writer. Both have been United Artists stars, and this business of two girls of the-same nationality, and somewhat the same type, working at the same studio, engendered the rivalry. . Del Rio, born and bred the lady, has ’ cen nettled frequently at the antics of. the madcap Ipipe, who has never missed an opportunity, publje or. private, to do a “takeoff” of the patriqian Mexican. With mincing steps, head held extremely high, aiid an exaggerated imitation of Del Rio’s mannerisms, Lupe will prance into an opening not too far behind Hie statuesque. Del Rio. Perhaps the' funniest imitations of all are those that Dupe gives of the phonograph records made by Del Rio a couple of years ago, and here . Lqpe has the best of' her, for' Del' Rio’s singing. voice does not compare with the melodious voice of the little Velez. ■ To hear ths friends of Del Rio heatedly state the case, Lupe is a little lowbrow, and to ■ hear- Lupe render it in

fluent Mexican, Del Rio is something positively alarming. She is Yaqui, she is a bad singer, she is a. bad dancer, and goodness knows, how bad an actress. Incidentally all Mexican actresses say the other Mexican girls are Yaqun All of these, things disturb the aplomb 6f Del Rio very little, except when an occasional shaft of the little madcap hits the spot. The most recent triumph of. Lupe concerns her playing of the same role in “Resurrection” as a talkie for Universal that Del Rio played successfully in the silent version for United Artists. The same director that directed Del Rio’s destinies for so long a time, Edwin Carewe, will direct Lupe. Until recently, Lupe had the same Press agent, Harry Wilson, that’ made Del Rio famous. The really funny thing about the situation is that Lupe should be getting the roles of Del Rio, for Del Rio lias turned guttersnipe for the screen and played a typical Lupe role in “The Bad . Otic,” recently.' Whether it is funnier to see Lupe act like a “lady” or to see Del Rio acting like a hoyden ho ■** ■

“YOUNG WOODLEY.” BRITISH FILM BANNED. The English talkie version of the play “Young Woodley,” has been rejected by the Australian Commonwealth Chief denser, Mr. Cresswell O’Reilly. An appeal has been lodged against the decision ,by the importers, Union Theatres Feature Exchange. Regarding the banning, of the film, Mr. O’ReilTy- would give no information. when interviewed by the Sydney Sun. “What we do has nothing to do with the -newspapers,” he said. He added, with emphasis, “I decline to say even if we have seen the film.” The film has been banned under regulation 14 (e), which refers to a production which “depicts any matter the exhibition of . which is undesirable in the public interest.” “Young Woodley” was produced in the British International Studios, Elstree, and directed by Thomas Bentley, with Frank Lawton, an English stage star, in the lead, and Madeline Carroll, well-known for her performance in “Atlantic,” as Laura. The Sunday Pictoral described the film as “the most authentic English talking picture yet l

made,” and the Morning Post said it was “one of the best, and most intimately appealing.” “!■ am at a loss to .understand the reason for the rejection,” said Mr. Gordon Ellis, general sales manager for Union Theatres feature exchange, “in view of the 1 warm approval of the British- Press and the report of our agent in London that it is' ‘equal to any American film of similar type.’ ” So seriously is, the treatment by the Commonwealth censor of - British films regarded, that, the question of whether it would not be better for British International Pictures, Limited, to abandon the Australian market is being discussed. The loss of revenue to British and Australian distributors through the banning of the film “Young Woodley” is. estimated at. £15,000. It is pointed out this film has been eagerly accepted, even in .countries outside the British Empire, such as America, France, Germany, and Austria, yet Australia, which can. offer only a comparatively small market, has rejected it. : i < The Chief Censor- objects, it is understood, to the theme -of the play, and, threfore, unless , the Appeal Board varies his judgment, there can be> no question of cutting the film to conform with-his requirements. Photographs of the scenes in. the film have been passed by . the censor and duty has been paid on-’them-to the .Customs Department. ?‘ls there'.any other power to whom one .can appeal -. against this unfair preference for the American film, so often depicting all.that is revolting.to the educated Britisher, - not to mention the harsh tone and unedifying slang of the average -American film artist?” a married woman has written to Mr. Gordon Elljs, manager of- Union Theatres,. Limited, Feature Exchange. “Wo want British .films and British and ; Australian film news, which we scarcely get. I am one of many who go to the picture theatre specially showing British films, as we know that we. will get a good and wholesome show, 'and hear English spoken, as it should be.” / •

BRITISH PICTURES.

England’s matinee idol, Owen Nares, is' the' star of tjxe British International talkie, “Loose Ends.” . Edna Best is feminiqe lead 1 . - --. . ; ■ Shooting' has "commenced on the British Lion production, “Should a Doctor Tell?” with Basil Gill, Norah Baring, and Maurice Evans, who played, in “White Cargo ”'Other'roles of im-portance-will be filled by Gladys Jennings, Walter Sondes, Harvey Braban, and A. G- Poulton.

“Escape,” made from the John Galsworthy play of the same name, has been completed under the direction of Ba sil Dean as the first of three Associated Radio Pictures to be released in Great Britain and abroad. Sir Gerald Du Maurier has the role Leslie Howard ■played in the stage production- Others in.- the cast claimed to be the most notable ever assembled for a British picture, ar© Mabel Poulton, lan Hunter, George Curzon, Gordon Harker, Raymond Massey, H. St. Barbe, Edna Best, Phyllis Konstam, Horace Hodges, Ben Feld, Lawrence Hanray, Margaret Varde, Jean Cadell, Eric Cowley, Nigel Bruce, David Hawthorne, Neil Porter, j Lawrence Bascorpbe, Lewis Casson, Anna Casson,. Madeline Carroll, Austin Trevor, Miles MaUeson. Felix Aylmer, and Edward Fitzclarence. . With the release of the British Dominions attraction “Greek Street,” an Australian will be actually starred in talking pictures for the first time in either° America or England. William Freshman, a Sydney boy, born at Darling. Point, is the player in question. Freshman started in the picture business in England as a general utility man around the Gaumont Co.’s studios. He caught the eye' of one of the company’s executives and he was given numerous roles in English silent pictures. Sinclair Hill, the director, gave Freshman the role of Riki, the young Soho cafe proprietor, in “Greek Street” on account of his looks, his voice and his suitability to the part. Jacqueline Logan has been cast for the featured role in “The Middle Watch,” from the farce written by Commander King-Hall. Owen Nares, Jack Rame, Dodo Watts and Molly Lamont complete the main roles in this film. Miss Logan is already well known for her work in American films. Betty Balfour, for long the best known star, of . the- British screen, has completed her first talkie in “Raise the. Roof.” In this talkie, of back stage .life she plays the role of a chorus girl with a travelling musical comedy company and ' sings several songs!. Jack Raine, Doris' Evans and Maurice Evans are the supporting players in this talkie. Important Tiffany productions, released in. the Antipodes by Australian and - New Zealand Pictures Ltd., which were recently trade screened in England, came in for favourable comment. Of these, “Peacock Alley,” a. talk-song production featuring Mae Murray, well remembered as one of the greatest successes of the silent period, is largepicture in which he had a part.

— ly filmed in colour. Another, an Irish romance, “Kathleen Mavourneen,” has Sally O’Neil in the title role. Described by the producers: “The Irish brogue and Irish atmosphere have been faithfully captured; and fair scenes and the singing of Irish ballads are in every way convincing.” A new Edgar Wallace story to be made into a talkie is “The Yellow Mask.” British International is producing. Lupino Lane, remembered by talkie-goers 'for his work in “The Love Parade,” has the leading role, while Harry Lachman is directing. Martin Lewis, distinguished English actor, who makes his talkie debut in the B.D.F. musical romance, “Greek Street,” also enacts a. dramatic role in “The Stronger Sex,” a British film drama of' the English collieries. Lewis was saved from a stockbroker’s career by Sir George Alexander, who designated him for a boy’s role in “Old Heidelberg.” Since then he has appeared prominently in all parts of the British Empire, acting with Irene Vanbrugh and Dion Boucicault on the English stage and tinting tours of Australia, U.S.A., and Soqth Africa. , Brian Aherne stars in the British International Pictures, “The W. Plan, a story of espionage during the Great War. Besides Aherne. Madeline Car- ' roll and Gibb Mcuaughlin are also cast.

UNHAPPY STAR. INCIDENT IN HOSPITAL. ■ Mary Nolan, known throughout the United States as “the girl who lived down her past,” hopes that the latest chapter of her misfortunes has been closed by the recent decision of the Government agents to drop the charge against her of being a drug addict. °ln the hospital where she is being treated for excessive sunburn, the film actress told the narcotics inspector that she was the victim of a plot to blackmail her under a threat to destroy her reputation, says the Daily Mail. Two former nurses swore affidavits that for two weeks past Mary Nolan had been indulging in an orgy of drug taking, but the inspector, after examining her. wrote across the search warrants, “She is not a drug addict.” Bad luck has dogged her since the start of her career. At the age of 16 she won meteoric success in the Ziegfeld Follies under the name of Imogene Wilson. This triumph was ruined by her association with Frank Tinney, the comedian. The professional future of Tinney and herself appeared to have

been blasted, but, under her own name of Mary Robertson, she sought work in Europe. Her gifts made her a star in Germanofilms, and an American producer recommended her for ah engagement in Hollywood. Changing her name again to Mary Nolan, it °was not until she was acclaimed a star at Hollywood that she was recognised as the former Imogene Wilson.

SIXTEEN-YEAR-OLD BLOND.

FOX MOVIETONE’S DANCER.

The youngest and probably the smallest and blondest player signed by Fox Films ‘in its recent raid on Broadway talent is.-. Leslie Mae, 16 years old, who arrived at Movietone City recently, accompanied by. her grandmother. Leslie is a specialty- dancer, and began her career 'in Baltimore when she was 13. She is one of eight children, all of whom had. their caps set for movie careers, so she met no parental opposition when she went from the Roger- Kemp Dancing Academy in Baltimore to the stages of local theatres. One of her sisters, Willie Mae, was already in New York qn the stage. '- A vaudeville agent saw Leslie in Baltimore and suggested that she go to New York. She followed the suggestion a. -year ago. Since then she has been a specialty dancer in vaudeville with Texas Guinan’s act, and more recently with the Pat Rooney act. It was in the latter that a Fox Movietone scout saw her. “ .

CAREER IN JAZZ.

PAUL WHITEMAN’S RECORD.

It was from San Francisco that Paul Whiteman, now starring in “King of Jazz,” set out on a musical tour that led him to the top of his profession. Back in 1915, he was only “one of the boys” in an hotel orchestra. It was discovered quite suddenly that he was—well, clever, and his employer decided to back him in a musical venture. He formed another orchestra ' and sent Whiteman with it to play in the Hotel Alexandria at Los Angeles. Whiteman did well there and went East with nine men, increasing the number by four more on arrival in New York. The Whiteman Thirteen proved so popular tfiere that they were booked for nine weeks at the Keith Palace Theatre. That led'to Ziegfeld Follies and fame.

LEON ERROL’S START.

STAGE STAR IN TALKIES.

Most recent of Broadway stars to desert the. stage for the talking screen Is Leon Errol, seen as one of the novel masters of ceremonies in “Paramount on Parade.” He was born in Sydney. New South Wales, and early in his vouth decided to become a surgeon. Toward this end he studied at St. Joseph s College and Sydney University. Upon the urging of his fellow students, Errol decided to become aln entertainer, and he took to the stage before he was 20. For 10 years he toured throughout Australia and New Zealand in vaudeville, light opera, musical comedy and revues until he received an order to come to America in 1910. He made his American debut at the Jardin de Paris and scored an instant hit, for Florenz Zeigfeld signed him at once for the Follies of that season. Later he appeared in “The Winsome IVidow,” “The Century Girl,” “Hitcky Koo,” “Joy Bells,” and then “Sally,” - — - ■ J3l