ACROSS THE FOOTLIGHTS

Taranaki Daily News, 14 February 1931, Page 22 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. THE REGENT.. I > Monday and Tuesday.—“ The Storm” (Lupe Valez),, Universal special production. February 18 to 20.—“ The Big House” (all star), Metro-Goldwyn-Mayer special production. February 21 to 24.—“ Our Blushing Brides” (Joan Crawford-Anita Page and Robert Montgomery), Metro-Goldwyn-Mayer production. February 25 to 27—“ Show Girl in Hollywood” (Alice White), First National production; and “The Forward Pass” (Loretta Young-Doug-las Fairbanks Jnr.), Warner Bros, production. February 28 to March 3.—“ The Divorcee’’ (Norma Shearer), Metro-Gold-wyn-Mayer special production. EVERYBODY’S. JTo-night, Monday and Tuesday.- —‘‘Song of My Heart” (John McCormack), ; Fox Movietone super production. ' ebruary 18 to 20.—“ General .Crack” (John Barrymore), Warner Bros, and Vitaphone production. jhbruary 2l\ to 24.—“0n Approval” (Tom Walls), British production.. February 25 to 27.—“ The White Hell of Pitz Palu” (all star), Universal special attraction. . •February 28 to Mafch 4.—“ Song of the Flame” (Alexander Gray-Bernice Claire), First National special production. OPERAHOUSE. ■night.—“ Speedy” I (Harold Lloyd), Paramount production. ' .* * * * 1 . . “SPEEDY.” . , Mix up some merriment, 5 add - plenty of luscious laughs, roll it.in sugared romance, and serve with liberal ’portions of . thrills, that is “Speedy,” Harold Lloyd’s laugh-creation, showing at. the ' Opera House to-night. t It is just Tilled .with pep, served right' from the fountain. of fun by an expert. This is tasty entertainment as you are sure to like it. Get in at once —while you’re waiting,the laughs are mounting and you’ll never catch up. ' . ) * i'* “THE STORM.” ■ Universal’s powerful all-talking and intensely interesting dramatic attraction, “The Storm,” will commence at the Regent to-day at 2 and 8 p.m. “The Storm” has. been produced on a , (Very fine scale, It is replete with exciting scenes, which include a perilous canoe journey over seething rapids, made by the heroine in the face of ■grave danger; a great avalanche and landslide of thousands of tons of rock, c ice, and snow, which tumble down and troar into a valley where there are two meh and a girl —the eternal- triangle living in a cabin in which is taking place a storm of human hearts. The . characters of the play are exceptionally (well presented by Dupe Valez, a beautiiful orphan, and William Boyd and Paul Kavanagh. The story in itself is gripIping, but the splendid ability of the (players named adds materially to'its strength l and 'interest. ® ■' # ■ •. ♦ > . • “GENERAL CRACK.” Not only does the distinguished peer . of present day stage and' screen,-stars, John Barrymore, make his talking film debut in ‘‘General Crack,” the allItalking Vitaphone special coming to Everybody’s on Wednesday next, but he again proves himself the genius in this itale of romantic adventure in 18th. cenItury Europe. Mr. Barrymore, who. is (known to possess the finest speaking (voice of the stage has an unusually fine opportunity to display it in this picture, (which runs the scale of emotion. His strong characterisation in “General Crack,” which Alan Crosland directed ifor Warner Brothers, is that of a dual personality whose inherent characteristics take turns in dominating his loves and hates. Born- of a gypsy princess and a powerful nobleman, he is one moment Itfie spirited, carefree nomad, and the next the brilliant, fearless soldier. It is (when the fiery Roman blood in his veins loverpowers his royal self that he befcpines another Don Juan. An excellent supporting cast surrounds Barrymore ah this swift-moving story of royalty, fighting campaigns and gypsy love, iwhich includes Marian Nixon, Lowell iSherman, Hobart Bosworth, Armida, (Jacqueline Logan, Otto Matieson, Phillippe de Lacy, Andres de Segurola, Douglas Gerrard, William Von Brinken, JTheadore Lodi, Nick Thompson and Curt Rayfield. Walter Anthony prepared the Vitaphone- screen play from (the George Preedy novel of the same (name. Screen play and ■ dialogue are Iby J. Grubb Alexander. “General Crack” is partly in glowing technicoliour. •# * # * “THE BIG HOUSE.”. “The Big House,” Metro-Goldwyn-Mayer’s all-talking drama of penitentiary riots, coming to the Regent on Wednesday next, might, in a way, be •compared to “The Big Parade.” Three central characters work out a dramatic story against seething hates and a desperate prison riot quelled with machine guns and tanks. A sympathetic love istory of a boy and a girl is adroitly woven into the thrills, realisms, horrors and heart throbs of the massive play. (The three central characters are played iby Chester Morris, Wallace Beery and Robert Montgomery, as three cellmates in the penitentiary. Friendship, jealousy, the corrosion of souls, and regeneration through love and turmoil are elements of the picture. George Hill directed the production with the deft actualities that marked “Tell It to ,the Marines,” and ‘‘The Flying Fleet.” The story is by Frances Marion. Leila Hvams plays the heroine, and the cast includes Lewis Stone, Karl Dane, George Marion, J. C. Nugent, De Witt Jennings land Claire MacDowell. More than a (thousand ex-service men took part in (the prison yard and cell house scenes. (The thrills include gun battles, tanks battering down steel doors to quell the rioters, the mad demonstration in the cell house, the dramatic death scene of (Wallace Beery. Remarkable recording and effective light and shadows in phonography do much to heighten the effect of the unusual photoplay. * . “OUR BLUSHING BRIDES.” An engrossing story, strikingly beautiful backgrounds and superb performances upon the part of Joan Crawford, •Anita Page,. Dorothy Sebastian, Robert ■Montgomery, John Milan and _a large supporting cast contrive to make wur (Blushing Brides” effective entertainment from start to finish. The plot centres about three girls who work in (the same department store and share rooms. They are fed up with the monotony of their. lives, clock-punching, delij jcateSsen meals," made-over dresses and

all the other millstones of poverty, and each awaits the opportunity to escape from a humdrum existence. The outcome is sensational. * # * ♦ “ON APPROVAL.” When Frederick Lonsdale’s play, “On Approval,” was produced in London,, it ran for 13 months at tlie Fortuno Theatre. Now the stage play has been adapted to the needs of the talking picture screen by British Dominion Films, Ltd. With a wonderful cast of comedians and the female of the . species, “On Approval” is assured of a good run no matter what type of theatre it is shown (Walls, who also directs the production; in. The all-British cast includes Tom .Winifred Shotter as the delightful little flapper; Mary Brough and Robertson ■Hare, as housekeepers; and Edmund ■Breon, who was specially brought from Hollywood to re-enact the role he held ■in the stage play, that of Richard. ■Yvonne Arnuad is also a noted addition •to the cast. \ # ♦ * * “THE WHITE HELL OF PITZ PALU.” In. these days, when every new picture is announced with a flow of adjectives, it is difficult indeed to write convincingly concerning a .production of rare merit. ‘‘The White Hell of Pitz Palu,’’ a dramatic sound film of an alpine tragedy, has reached New Zealand and is drawing large attendances in .the centres. For sheer dramatic intensity, it is doubtful if this picture has ever been equalled. It shows man pitting his powers against colossal snowclad mountains, treacherous ravines and merciless avalanches. This striking picture of unequalled heroism, filmed in the midst of truly remarkable scenes, keeps one spellbound. It is one of those rare pictures that everyone should see. ’ ; « * * * • -j ■ “THE DIVORCEE.” • Perhaps the . only. 100 per cent, stage (supporting cast assembled for a motion •picture appears with Norma Shearer in “The Divorcee,” her new Metro-Gold-wyn-Mayer talking picture. Chester Morris,’one of the most popular figures on the Broadway stage before coming ■into pictures, plays opposite the star. •Robert Montgomery, who plays the role ■of the lover, was brought. from the stage, where he was-a favourite juvenile, to make’ his movie debut in “So This is College,” and recently _ played opposite Miss. Shearer in “Their Own •Desire.” Conrad Nagel, while identified with the screen for-some time, has an extensive, stage background, and Zelda 'Sears, who plays the part of the housekeeper, js one of the stage’s best-known -playwrights and actresses. Miss Shearer contrary to general belief never was on the stage, having gone directly into motion pictures after finishing'her education in schools in Montreal, Canada. ! MISCHA LEVITZKI COMING. JUNE 'VISIT TO DOMINION. Mr. E. J. Gravestock, the well-known entrepreneur, announces that he has arranged for Mischa Levitzki, the -world-famous Russian pianist, to make ■a tour of Australia and New Zealand during the year. Levitzki made a tour ■oi New Zealand ten years ago, with remarkable success, and his activities in Europe and America have kept him constantly employed since. Levitzki was ■born in Russia in 1898, and made his debut in -Berlin in January, 1914. He ■toured Central Europe and-Scandinavia in 1915-16, and made his first appearance in America in New York on October 17, 1916. He made am electrifying success; this 18-year-old pianist astounded the critics, and he quickly ‘became the rage of the United States. He five years touring this country, eventually being offered an enormous contract to visit Australia and New Zealand in ■1921. His success throughout was sensational; Levitzki holds the record for •attracting the biggest, audiences ever attracted to the Sydney Town Hall by a pianist. Hundreds were turned away for his final concert, and many who ■gained admission were content to stand, levitzki’s tour of the Orient, and subsequent visits to Europe witnessed his ■triumphant progress. His reappearance in New York early last year was his rise to greater successes. The New ■York Evening World says: “At one ■bound the art of Mischa Levitzki entered a new phase Saturday afternoon at ■the Carnegie Hall, where an enraptured audience unleashed tumultuous rounds of applause in recognition of the pianist’s unexpected revelation of transformed powers. So startling an advance in the direction of greatness cannot be accomplished over night. All the poetry of Mt. Levitzki’s early days had returned in full measure, but sublimated and guided by a more mature and profound intelligence.” Mr. Levitzki will visit New Zealand in June next. He Will commence his Australian tour in ■Melbourne in April. THE THEATRE’S RECOVERY. OBSERVATIONS IN LONDON. • That the theatre in London is showing signs of recovery after the setback it received from the popularity of the talkies is the opinion of Australians Who have recently returned from abroad “Two nights before sailing we went to Noel Coward’s new play, ‘Private Lives,’ * reads an interview in the Melbourne Herald, “and the house was packed with a most enthusiastic audience. It is sparkling and witty. Noel Coward himself and Gertrude Lawrence appear in it. Sir Gerald du Maurier’s play, ‘Cynara,’ was also going splendidly, and every theatre we went into seemed to be full. A new experience was to attend a meeting of the ‘Re-, hearsal Club,’ a club in London where chorus and ballet girls can rest, read, write, or have meals as they feel inclined while waiting between rehearsals. Sir Gerald du Maurier presided, and many famous stage personalities attended.” THE “BELLE” IN SYDNEY.

A TIMELY ARRIVAL.

“The Belle of New York” Company arrived back from New Zealand, writes a Sydney correspondent, at a most opportune time (if it wasn’t sent for specially, which might be the case). “Turned Up” was just about turning its toes up, but they straightened the poor old fellow out and revived him by announcing that “The Belle” was in Sydney and waiting to smile her way in after “Turned Up” had been turned out. To make the cast stronger for ‘'The Belle,” it has been decided to postpone the Melbourne production of “Son_s o’ Guns” for a fortnight, and in this way both Cecil Kellaway and Leo Franklyn can play their original parts in “The Belle.” But some of the small part people are getting their chance to face the Sydney footlights in a more prominent way than they ever had before. Dulcie Davenport and Connie Hobbs are well placed in the Sydney cast.

THE MELTING POT.

HOLLYWOOD'S QUEER TRADES. The sun-kissed town of Hollywood is the melting pot of arts and crafts. If you have a unique trade or specialty, you are apt to find a market for it in a motion picture studio. It is not likely that your work will be before the camera or in any way connected with acting, directing, writing scenarios, or operating cameras. It is in the lesser - known arts of the studio that there is a slow but sure increase in the demand for skill and ingenuity in many unusual fields. A check-up conducted by the accounting department of RKO Radio Pictures discloses such freak occupations as these; Grass carpet “grower”; co'bweb spinning expert; expert dust and snow blower; “breakway” man, who makes resin glassware and balsa wood furniture and walls; wig-maker, whose specialties are eye-brows, moustaches and side-burns; table-setter, also an expert bed-maker; portrait painter, also adept as a “wax-cook” who makes wax flowers and fruit. A brickmaker from Paris who makes thin brick walls in plaster moulds. A man who tunes or silences musical instruments; .if he wishes to silence a violin, paraffin goes on the strings instead, of resin. The studio fire department puts out fires, and also has care of steam and fountain effects. Greenhouse men landscape the studio, supply cut flowers for offices and real and artificial flowers for pict/IITCS. Two miniature set-makers are exwatchmakers. One of them was a former “pearl-skinner.” He and a diamond cutter from Antwerp, who is now a studio animal director,- are also gem experts. The miniature sets are built as models to assist in constructing lifesize settings. A power and explosive expert was educated for the ministry. He also assists in studio-chemical effects. Major George Beaumont, who sent the “cease firing” message over the Western front and ended the World War, is a uniformed studio policeman. COMPANIES FOR THE DOMINION. WILLIAMSON ENTERPRISES. Devotees of the legitimate theatre will be glad to learn that several J. C. Williamson companies will visit New ‘Zealand shortly, following upon the recent success of the musical comedy company which played “New Moon and “Belle of New York.” The next company due in New Zealand is the pantomime “The House That Jack ■Built,” which, has been running in Melbourne for some time, and is still playing to capacity houses. The company is due in New Zealand on February 17, and a tour of both islands will follow. The company is due in New Zealand on The company will include some wellknown artists. It is seven years since the last Williamson pantomime visited New Zealand. A comedy company, which will include Miss Ethel Morrison, Mary MacGregor, J. B. Rowe and Leslie Victor, will be sent to New Zealand •play in" a trio of modern comedies, namely, “Bird in Hand,” (John Galsworthy), “The First Mrs. Fraser” (St. John Ervine), and “Mary Rose” (Sir James Barritf). All of these plays have been played to capacity houses in Melbourne and Sydney. At Easter, New Zealand will have another new musical comedy/ company playing “Follow Through” and “Mr. Cinders,” and later in the year, after the Australiap season has finished, “Sons of Guns,” a musical comedy which has been delighting Sydney audiences for months, will be sent across. MUSIC IN JAPAN. ASTONISHING PROGRESS. Efrem Zimbalist will play the Sibelius violin concerto at Leopold Stokowski’s second week with the Phil-harmonic-Symphony says the New York •Times. Mr. Zimbalist. has recently returned to America from his fourth tour of the Orient. He finds that the people of Japan have been playing and hearing Occidental music for a very brief time compared with the centuries devoted to it in the countries of Europe and the many years in America, and that they are making astonishing progress in its projection and interpretation, naturally not in the creation of a Western type of art which is to them a foreign tongue. In Tokyo and Yokohama Mr. Zimbalist played the most substantial works of the great European composers, Beethoven, Brahms, Bach and Mozart being required by these discriminating auditors. He was soloist in Tokyo with the New Symphony Orchestra of that city, a group organised about five years ago and consisting entirely of Japanese. Mr. Zimbalist played the (Brahms violin concerto with the orchestra, which played very capably. The other compositions on the programme were Beethoven’s “Erbica” sympony. and Liszt’s “Les Preludes.”

Most of the largest cities in Japan have capable music schools and the teachers are partly Japanese and partly •European and American. The number of native instructors is increasing steadily. Of the composers—and there are many writing music—-Yamada, said Mr. Zimbalist, is still outstanding. But Yamada is a pioneer, a ground-breaker, and the quality of musical creation is certain to grow better with the years. Mr. Zimbalist found no parallel conditions to those in Japan in China, where Occidental music is played chiefly by foreigners. BEST FILMS FOR 1930. TWO SYDNEY ESTIMATES. “Everyone’s,” a Sydney film journal, selects the ten beet pictures of 1930 as follows: —•

“All Quiet on the Western Front,” “Gold Diggers of Broadway,” “Rookery Nook,” “Disraeli,” “Last of Mrs. Cheyncy,” “The Love Parade,” “Common Clay,” “The Trespasser,’’ “Rio Rita,” “Holiday.” Smith’s Weekly picks the following twelve best: —“Disraeli,” “General Crack,” “The Vagabond King,” “The Love Parade,” “Show Boat,’’ “All Quiet on the Western Front,” “Splinters,” “Song o’ My Heart,” “Whoopee,” “Monte Carlo,” “Forward March.” FILM PLAYERS WED. DOROTHY SEBASTIAN. - ‘ A British United Press message from Las Vegas, Nevada, the other day, announced the marriage of Miss Dorothy Sebastian and Mr. William Boyd. William Boyd’s first wife was Elinor Fair, to whom he proposed while they were appearing together in “The Volga Boatman.” She sued him for divorce last year on the grounds of mental cruelty. Miss Dorothy Sebastian made her first stage appearance in a fashion revue in New York and her film debut in “Sackcloth and Scarlet' in 1925. She has since appeared in important roles in several films, including “Bluebeard’s Seven Wives,” “You’d Be Surprised,” and “The Day of Souls.”

flocking to theatres. A NEW OPTIMISM. “£36, ooo—that’s a deal!” Mr. R. H. Gillespie, the managing director of Moss’ Empires and also of 87 theatres and 150 cinemas throughout Britain, in the above words clinched one of the biggest contracts completed with the representatives of the libraries, says a London ■paper. It covers a period of about six ■weeks over the Christmas holidays. Mr. Gillespie is responsible, on behalf of Moes’ Empires, for no fewer than four simultaneous successes—“ The Maid of the Mountains,” “Nippy,” “Aladdin,” and the “Chelsea Follies.” He said to a reporter: “People have been talking about depressions in industry, trade slumps, and shortage of money, but during the last fortnight or so we have been given a glimpse of an extraordinary new optimism. Three weeks ago there certainly was a slight easing up in theatrical bookings, but during the last 10 days things have altered. I do not know whether this new optimism is false or real; but we have been given tremendous encouragement by the inquiries from the libraries •as well as from the public. For the Christmas holidays, at any rate, people are determined to forget what is rumoured to be an industrial slump. “Apart from the optimism shown in London,” continued Mr. Gillespie, “for the production starring Jack Buchanan at Glasgow our advance bookings total about £10,000.”

, DEATH OF ALMA RUBENS,

STAR OF SILENT SCREEN.

A Los Angeles cable recently reported the death of Alma Rubens, former screen star. Death was due to pneumonia. The late Miss Rubens was one of the favourites of the silent film era. She quickly rose to an enviable position in the film world and soon became a star in her own right. Two years ago, Miss Rubens fell victim to the drug habit, following an illness, and was absent from the screen for many months as a result. She waged a heroic fight against the evil and eventually recovered. Her husband, Ricardo Cortez, refused all offers of engagement while she was struggling to overcome the craving for drugs, so that he might be at her side whenever she needed him. The actress recovered sufficiently to be able to play the role of Julie in the screen version of the “Show Boat,” one of the earliest sound films, and subsequently played a short season in a New York stage play. Latterly it was-reported that she resented her husband taking the credit for her recovery and was proposing to sue for a divorce.

BIGGEST SETTING ON RECORD.

PARAMOUNT’S UNDERTAKING.

The largest interior setting on record, which occupied two entire sound stages, the separating wall of which was removed for the purpose, was constructed at the Paramount Hollywood studios for the talking production of “The Spoilers.” The set was an authentic duplication of the notorious Northern saloon and dance hall in Nome, Alaska, during the gold rush days. The Northern was the centre of the wild community life in Nome 30 years ago, old miners recall. It was the largest building in the town; a rambling two-story affair hurriedly constructed from rough timber to provide the entertainment needs of the 30,000 people crowded into Nome at the time. Its main boast was a balcony over the dance floor, this balcony being divided into booths in which serving tabid- and chairs were placed. , “The Spoilers,” featuring Gary Cooper in the leading role, represents Paramount’s largest and most ambitious screen undertaking since the advent of sound. It was directed by Edwin Carewe, one of the industry's most famous producer-directors, with Kay Johnson, William Boyd, Betty Compson, Harry Green and James Kirkwood in prominent roles.

STATE-SUPPORTED THEATRE.

STOCKHOLM’S GOOD WORD.

The international character which the State-supported Royal Dramatic Theatre of Stockholm has assumed under the direction of Herr Eric Wettergen is its most remarkable feature, according to English critics. Nino French plays have been staged within the last two years, including “Topaze,” which has only now reached London. The selection is representative of Verneuil, Dumas,- Sardou and Moliere. Of the eight Swedish authors in the list Strindberg is alone familiar to British audiences. There are four American plays, including “What Price Glory” and O’Neil’s “Strange Interlude.” England is represented by Shakespeare, Shaw, Harwood and Bennett. Germany offers' Toller’s “Hopla Wir Leben” and Schiller. Norway has Ibsen, the Greeks introduce Aristophanes and Aeschylus, and the Austrians, Danes and Japanese are represented. Not a bad record for a national theatre in a town one-tenth the size of London! The importance of such work as a means of international enlightenment cann be over-estimated. In times of crisis economic rivalry speaks louder than cultural sympathy, but a scruple may turn the scale, and there may be a'decisive second’s hesitation against turning the machine-guns on the descendants of Dante, or bombing the countrymen of Moliere. A BRITISH SCREEN STAR. BEAUTIFUL AND TALENTED.

Madeleine Carroll is one of the most beautiful and talented of British screen stars. Born in Birmingham, of French and Irish parents, ever since she was a small child, she had an ambition to go on the stage. After taking her B.A. in languages at the Birmingham University, she taught school at Hove for three years solely to obtain enough money' to travel to London and find work.' For some time she toured the provinces at £3 a week, and eventually meeting Seymour Hicks, the famous actor-manager, -as given a part in his production. Her next step was a film contract, and her first appearance before the camera was in “Guns of Loos,” since when she has played in “The ■Triumph of the Scarlet Pimpernel,” “What Money Can Buy,” “The First ’Born,” “The Crooked Billet,” “Atlantic,” and “American Prisoner.” ORCHESTRAS COMING BACK. A LONDON PREDICTION. Cinema managers (says a London paper) are awakening to the necessity of brightening their programmes with music and other things of variety. There are still stubborn and shortsighted managers who cling to their “canned” noises, but the orchestras are definitely returning. Those which have been retained throughout this controversy are excellent, and in all the new theatres which are springing up in Lonlon an orchestra is regarded as an essential feature in the entertainment.

FAREWELL PERFORMANCES. SIR, HARRY LAUDER’S TALKIES. Sir Harry Lauder will soon be delighting New Zealand audiences with six more “farewell performances.” This time, however, it will be from the sound screens. The famous Scottish comedian is now engaged in a series of six British short films, each one featuring two of his inimitable songs. The names of the songs are:—“l Love a Lassie,” “The Saftest o’ the Family,” “Stop Your Tickling, Jock,’’ “Rising Early in the Morning,” “We Parted on the Shore,” “The Wedding of Sandy McNab,” “Waggle of the Kilt,” “Just got off the Chain,” “That’s the Reason Now I Wear a Kilt,” “I’m the Boss of the Hoose,” “When I was Twenty-one,” “Doughie the Baker,” “My Heather Belle,” and “Keep Right on to the End of the Road.” British Dominion Films, Ltd., will release these shorts in New Zealand. NASTY LANGUAGE. PLAYWRIGHT’S OBJECTION. St. John Ervine, the novelist and playwright, thinks that plays and novels are too full of phrases that nasty little boys used, shamefacedly, to scribble on hoardings. . He considers that at the theatre in London or New York one hears words lisped by young ladies that 1 were formerly spoken only in secrecy by men. He has heard epithets freely used on the stage and printed in novels that have hitherto been considered suitable for utterance only in back street public houses. He cuttingly comments on the use of common oaths and blasphemy with as much, ease as a comment on the weather, but is unable to determine whether the language is blameable on the author, or Is just gleaned from the conversation of the modern young people. The language of uneducated sewermen in moments of extreme exasperation, he considers, is not fit for use on the public stage or in novels.

ANNIE CROFT IN LONDON.

“MAID OF THE MOUNTAINS.”

“Maid of the Mountains” has been revived successfully in London. Of Annie Croft (welL remembered here as “The Girl Friend,” and in “Hit the Deck”) the London Era says:—“Whereas the Teresa of Jose Collins was individual and dramatic, Annie Croft s impersonation inclines rather to the lyrical and pensive, though she shows herself capable, when th- moment calls, of passionate and powerful . declamation. Her voice, too, has exquisite quality, and, in its high range a tonal purity that could hardly be Surpassed. She is just a different Teresa; and her rendering of the familiar numbers—familiar even to the younger generationearned her several encores—a double .one for the famous “Love Will Find a 'Way,’’ in which Miss Croft’s top note quite electrified her hearers. Douglas Herald, in New Zealand .with "The Desert Song,” was the sinister Carlo.

FOUR STORIES IN ONE.

“BEYOND VICTORY.”

“Beyond Victory,” an all-star special which Pa the produced under the direction of John Robertson, has been completed. “Beyond Victory” marks . the departure from the beaten path of film dramal Instead of one story it tells four, each complete, in itself and unrelated to the others. These are held together with a war sequence where the lives of the principal masculine characters come into contact. Headed by William Boyd, the cast has James Gleason, Russell Gleason, Lew Cody, Fred Scott, Helen Twelvetrees, Zasu Pitts, Dorothy Burgess, June Collyer, Richard Tucker, Bert Roach, Wade Boteler, William Holden, Rockcliffe Fellowes, George Stone, Purnell Pratt, Lora Baxter, Elinor Millard, Paul Weigel, E. H. Calvert and others.

FILM STAR’S NIECE.

A DISAPPOINTMENT.

When it comes to competition, Hollywood is the “last word” in the opinion of Miss Helena McLaglen, niece of Victor McLaglen, the film star. Miss McLaglen sailed recently for her home in °Australia, writes a San Francisco correspondent, after a year and two months’ struggle to break into motion pictures. She has given up the idea of a talkie career and plans to go into business. , “Hollywood was both a big thrill-and a big disappointment to me,” she said just before she sailed. “I had hoped to land a place in the talkies,. but Hollywood has the fiercest competition in the world. There are a hundred persons for every movie position.” Miss McLaglen eaid that her uncle was planning a holiday in. Europe when his contract terminated in June. He has sent his children to Switzerland to school. He is tired of playing Bowery roles and is now taking the part of a Russian aristocrat in a new film entitled “Dishonour,” she said.

ELGAR’S NEW MARCH.

SIR HENRY WOOD PLEASED.

The public heard a new composition by Sir Edward Elgar for the first time since Lady Elgar died nine years ago, when the fifth of the “Pomp and Circumstance” marches was played ‘by the 8.8. C. Symphony Orchestra, conducted by Sir Henry Wood, at the Queen’s Hall, states a London newspaper. It is more brilliant than any of the previous four, and is in fact buoyant and breezy, though through it runs a slow melody with almost as strong a lilt as “Land of Hope and Glory,” which came from the first march. One of the biggest Saturday night audiences of the season accepted it rapturously, and Sir Henry Wood expressed himself well pleased with it. TALKING PICTURES BETTER. DEVELOPMENT IN RECORDING. Improvements are constantly being made in the recording of dialogue and sound for talking films, according to Mr. T. D. Thompson, of the Western Electric Corporation, who arrived at Auckland by the Aorangi on Sunday. Mr. Thompson was stationed in Australia recently and after a business trip to the United States has been appointed supervising engineer in Australia and ■New Zealand.“In the past some trouble has been experienced with what are termed the ground noises in talking films,” Mr. Thompson said. “When there was a ■break in the dialogue or sound, a crackling noise could still be heard, but after a series of experiments we have practically succeeded in eliminating it. With the new methods of recording and slight adjustments to the reproducing apparatus, the ground noises are scarcely

■audible and only the sounds desired to be recorded are heard. “This latest development has made talking pictures much more natural and ■it has also increased the dramatic effect when words are spoken or sounds are ■heard after a moment of almost perfect ■silence. The first films made under the ■new process should be released in New •Zealand shortly.” £2OO A MONTH. AND NOT A “GOOD KISS,” A session of the court at Los Angeles lasting 15 minutes at the bddside of Mr. Hugh Leighton, the fourth husband of Pauline Frederick, the film actress, resulted in the annulment of the marriage. , Mr, Leighton, a wealthy hotel owner, said he had not even had a “good kiss” during the whole eight months he had been married, though he had been paying his wife at least £2OO a month. The suit was heard at Mr. Leighton’s - edside because he is suffering from nerve trouble. Miss Pauline F-ederick divorced her three previous husbands. She married Mr. Leighton last April, and he brought the annulment suit.