ACROSS THE FOOTLIGHTS

Taranaki Daily News, 2 September 1933, Page 18 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVENTS. NEW PLYMOUTH OPERA HOUSE. To-day, Monday and Tuesday: “Diplomaniacs” (Bert Wheeler, Robert Wolsey and Marjorie White). September 6, 7 and 8: “A Lady’s Profession” (Alison Skipworth, Roland Young and Sari Maritza). September 9, 11 and 12: “The King’s Vacation” (George- Arliss and Florence Arliss). EVERYBODY’S (ALL-BRITISH). To-day, Monday and Tuesday: “The Midshipmaid” (Jessie Matthews, A. W. Bascomb and Frederick Kerr). September 6, 7 and 8: “Money Talks” (Julian Rose, Judy Kelly and Gus McNaughton). September 9, 11 and 12: “For the Love of Mike” (Bobby Howes, Jimmy Godden and Constance Shorter). REGENT THEATRE. To-day, Monday and Tuesday: “The Conquering Horde” (Richard Arlen and Fay Wray). September 6, -.7. and 8: “Lucky Dog” (Charles “Chic” Sale); and “Private Jones” - (Lee Tracy). September 9, .11 and 12: “Best of Enemies” (Charles Rogers, Marion Nixon, Joseph Cawthom and Frank Mor--1 gan). # * * # "THE MIDSHIPMAID.”

The clever London comedienne, Jessie Matthews, who made a great hit recently in “There. Goes the Bride,” is the star of “The Midshipmaid,” which commences a season at Everybody’s to-day. She brings a delightful personality to the screen, combining great charm and a rare sense of comedy. She also sings effectively and dances with grace and spirit In “The Midshipmaid” she has full scope for the display of her varied gifts. It . is a. very entertaining film, With much romance and the most mirthprovoking dialogue and situations. The British Admiralty, usually against lending the Senior Service to the screen, collaborated in this film, so that tho scenes representing the fleet at Malta are authentic. The ideal behind “The Midshipmaid” would appeal to every naval man, for the Committee of Naval Economy appoints Sir Percy Newbiggin to go to Malta. Sir Percy sets off to see what he can do to save money, and is accompanied by his daughter, Celia, played by Jessie Matthews. Frederick Kerr, recently seen in Hollywood productions, is Sir Percy, and other English players are Anthony Bushel and Claude Allister. Once aboard the warship Celia begins to shake things up. She completely annihilates the midshipmen, and does considerable damage among the senior men. As Sir Percy insists upon economy, and the officers are in despair, it is decided to organise a concert, just to show what can be done without expenditure of any kind. Into the picture comes the extraordinarily funny A.B. Pook (played by A. W. Bascomb), and three or four other most diverting comedians. “The Midshipmaid” is under way, and the pest is one long laugh, with breathing spaces where Jessie Matthews dances and sings, and her romance with the handsome commander, Basil Sydney, is developed. « * * * "THE CONQUERING HORDE.” An era of history which was filled with an abundance of picturesque and exciting incidents will be portrayed by “The Conquering Horde,” Richard Arlen’s latest starring Paramount picture, which screens at the Regent to-day. "The Conquering Horde” is a story of Texas and her early “land-poor” pioneers. The period was one of great distress; when crooked lawyers victimised the impoverished ranchers by their cruel and usurious methods of forcing the ranchers to sell their properties at ridiculously reduced prices. Richard Arlen is starring in the picture, playing the role of Dan McMasters, the government secret-service agent who tracks down the guilty leader of the lawyers and brings him to justice. Fay Wray is the pretty and high-minded owner of one ©f the finest ranches in Texas. She has a fine herd of cattle —but they are valueless unless she can market them at the Western railroad terminus at Abilene, Kansas, nearly 1000 miles away. No one has ever made such a trip from Texas before. Arlen gets himself hired as guide to the outfit, and he leads the cattle across the wilderness, blazing a new trail after battling a band of crooked lawyers and their allies, the Indians, on the way. By a piece of clever generalship Arlen forces the Indians to turn against lan MacLaren, leader of tho lawyers, and thus effects his capture and execution. The success of the long cowtrek brings Arlen the promise of lifelong devotion from Miss Wray—and an advance to a colonelcy by the government at Washington. # * * # “FOR THE LOVE OF MIKE.” One of the biggest deluges of spontaneous laughter is “For the Love of Mike,” which will be screened at the Everybody’s Theatre next Saturday. The English comedian, Bobby Howes, though responsible for . a goodly share of the comedy work, is by no means the whole show in this riot of merriment—in fact, each supporting actor, in his or her own right, is an individual entertainment. There are some extremely effective scenes, but the highlights of the really brilliant hit must be acclaimed (1) the joyous farcical pantomiming of Howes, more particularly when he indulges in a remarkably clever burlesque of a gorilla, and (2) the scene in which a dour parson mesmerises an entire house-party and leads them, with the gayest abandon, in the haunting theme song, “Sing, Brothers and Sisters.” These two turns are alone worth the admission price. The plot itself, a substantial one, is difficult to detail—one has really to see . and hear it on the screen, and laugh 1 right through it This musical farce is ■ undoubtedly a sure antidote for the ; "blues,” and, rippling with fun and non- " sense, and sparkling with clever British ; humour, and indescribably comic situa- 1 tions, it cannot but keep the audience ' in the happiest of moods from first to ' last. 3 # # # * : “MONEY TALKS.” • 1 “Money Talks,” the high-spirited com- 1 edy which will begin a season at Everybody’s next Wednesday, is the first star- ' ring vehicle of that inimitable Hebrew ’ comedian, Julian Rose, who appears as 1 Abe Pilstein. Julian Rose’s Levinsky 1 records have amused tens of thousands « of people. Abe and his daughter Rosie ' run a dress establishment, but business £3 so bad that Schnitzer, their whole- 1 saler, sells them up. Hymie Burko- ’ witz, an old friend and rival, sorry for 1 Abe, gives him £5OO for the woodwill of 1 his business, but Rosie believes he is 1 behind all the trouble and snubs Hymie’s ( son, Morris, who is in love with her. t Abe moves to a boardinghouse, where he learns that he will inherit a fortune 11 from a rich aunt providing he is penni- ? less when the legacy arrives from Am- ’ erica, in 30 days’ time. At his wits’ end < to know what to do with his £5OO, Abe ’ finances the “dud” schemes put forward by his fellow boarders, who include a] - '

broken bookmaker, an undertaker, a theatrical manager and a young boxer, Jimmy Dale, who has fallen in love with Rosie. Unfortunately all the investments turn out successfully, and the money rolls in, but at last Abe gets rid of it only to discover that his legacy has been swept away in a bank failure. His sub- ” j sequent adventures are as varied as they are hilarious. In the great cast of comedy players are Gus McNaughton, j • Jimmie Godden, Judy Kelly, and the famous boxer, Kid Berg. “Money Talks” is a really genuine comedy that one cannot help but enjoy. The plot has been thoroughly studied and the acting is said to be very much above that of the average comedy film. # * # # a “BEST OF ENEMIES.” "Best of Enemies,” starring Charles » Rogers and Marian Nixon, is due for ; early release at the Regent. It is described as a novel romance depicted , against as up-to-the-minute a back- . ground as has ever been seen. The story traces the development of a youthful love through the vagaries of events surrounding two youths. Differences between their families are brought out by ’ things over which they have no control L and barriers are set in their way. The central background being the passage and the return of beer, the situations accompanying the romance are said to be highly amusing. The story moves in locale from a city in the Middle West, inhabited by a great number of GermanAmericans who cannot give up habits of centuries, to Germany itself, where the young man of the romantic pair goes to study. The film has a distinctive musical accompaniment directed by Arthur ' Lange and dance sequences arranged by Sammy Lee. # # # #

“DIPLOMANIACS.” As a piece of sheer satirical burlesque, “Diplomaniacs,” which opens a season at the Opera House, New Plymouth, to-day, has never been excelled. Almost the entire programme has a basis of delightful comedy, but it is in the principal film that the fun reaches its highest point. Nothing matters in “Diplomaniacs,” except the antics of Wheeler and Woolsey. The story is a farce from start to finish and, being able to dispense with all rhyme and reason, the two inimitable comedians carry the picture along in a series of ludicrous incidents which give audiences little respite from laughter. Wheeler and Woolsey have been commissioned by the American Indians to represent them at Geneva, and the two set out in high spirits, armed with a million dollars each and a bundle of highly important documents. Before they reach Geneva, however, they go through a series of fantastic adventures, in which the intrigues of a munitions manufacturer play an important part Their voyage to Paris is extraordinary, for various influences induce the captain to steer an extremely erratic course, veering from the tropic- to the Polar regions. Further complications in a Paris night club present opportunities for more uproariously funny scenes, and eventually the two adventurers, clad in alpine costume, arrive in the Swiss city. The members of the' peace conference by this time are almost at blows, and the manner in which the two new peace delegates produce order and harmony is masterly. The film ends on a note which is fully in keeping with the delightful nature of the whole production. Among the amusing subsidiary touches of humour is a burlesque.in a short succession of scenes of the Lubitsch-Chevalier type of musical comedy, while in a supporting role Hugh Herbert gives a very amusing satire of the imitation “inscrutable Chinese” characterisation of many films. # # # * "THE KING’S VACATION.” Commencing next Saturday at the New Plymouth Opera House, the first gentleman of the screen, George Arliss, will ‘ be seen in the crowning achievement ' of his wonderful career, “The King’s Vacation.” Arliss makes a genial sovereign, a man who moves easily amid the ' pomp and dignity of life in a palace. 1 As King' Philip, in “The King’s Vaca- * tion,” he plays the part of a modern ‘ monarch shorn of his powers and merely the nominal ruler of a small kingdom of Europe. The scenes in the picture < show the brilliance of the court and give a hint of seething discontent among the people and incompetence in the conduct of affairs of State. In these circum- ’ stances the king’s sympathies are plain- , ly with his subjects, and his democratic • mind is set upon achieving a bloodless revolution. Even the act of a would- 1 be assassin does nothing to turn him * from his purpose and scarcely disturbs ' his outward calm. He insists upon inter- £ viewing the student who has attempted 1 to take his life, stays his execution and plans to leave the kingdom. The marriage with the queen is annulled and he f returns to his former wife and child, c whom he has not seen since he ascended f the throne. It is a change which fills 1 him with joyous anticipations of return r to the simple life, but disappointment is I ahead. His former wife has abandoned f the rose-covered cottage in which he a hoped to live and is the central figure i of society. The daughter, unlike her c mother, lacks social ambitions .and cher- i ishes love for a young mechanic. There y is no mistaking where the father’s syrn- a pathies lie, nor the uneasy state of his f, mind. Then comes a surprise meeting j between the ex-king and the queen, fol- y lowed by a happy shopping expedition in J which Mr. Arliss is in his lightest mood. v It is delightful entertainment. No less v pleasing is the closing scene, which gives r an unusual twist to the story. Altogether s it is a strange and enjoyable vacation. c Mr. Arliss has full scope for humour and his talent as an actor. He is surrounded by a cast of players distinguished on stage and screen. Particularly good are Dick Powell and Patricia Ellis in the juvenile roles. # # # # "A LADY’S PROFESSION.” There is a wealth of natural humour which provides refreshing entertainment in “A Lady’s Profession,” a Paramount production which will commence at the New Plymouth Opera House next Wednesday. The leading players in the cast, Alison Skipworth, Roland Young and Sari Maritza, dip at will into an inexhaustible fund of amusing remarks and supply to the series of events a naive aspect which is irresistible in its appeal. Each one of the principals is splendid, and in “A Lady’s Profession” heir acting is so well co-ordinated that ;he straight-forward story and entertaining situations are represented with a skill that only such an experienced director as Norman McLeod could attain, h addition to the three leading players, Sent Taylor, in the part of a millionure’s son wishing to be disinherited so that he can marry Cecily (Sari Maritza), and Warren Hymer, as “Nutty” 3olton, add to the success of the play, [he theme centres round the financial nisfortunes of an aristocratic English amily, Sir Reginald Withers, his sister, -ady Beulah Bonnell, anu his daughter, lecily. These three roles are ideal for he particular talents of the leading artists. Roland Young’s undisturbed deneanour in the midst of the most trying limes is superb, while Alison Skipworth’s adaptability to a sudden change if circumstances loses none of her aristocratic qualities, and charming Sari Maritza brings in an air of romance vith whimsical grace.

OPERA HOUSE, HAWERA. To-night and Monday: “The Love Contract.” September 5 and 6: “First Affair.” September 7 and 8: “Trouble in Paradise.” GRAND THEATRE, HAWERA. To-night and Monday: “Under the Tonto Rim” and “From Hell to Heaven.” # # # =» NEW ENGLISH COMEDY.

Sparkling British comedy of a rather new type will be seen in “The Love Contract,” to be shown at the Hawera Opera House to-night and on Monday. Winifred Shorter, who will be well remembered as the demure heroine of the Ben Travers comedies and other Tom Walls films, has the principal feminine role, an appealing one. Opposite her is the London idol, Owen Nares, who has been a firm favourite since “The Middle Watch” and “Aren’t We All.” The new team does excellent work in its first picture, “The Love Contract,” and the success achieved may prompt a repetition of this combination.

#.# * * BACK TO ENGLAND.

Following the completion of his role in “Trouble in Paradise,” which shows at Hawera next week, Herbert Marshall returned to his native England to resume his stage career in London. Marshall, featured with Miriam Hopkins, Kay Francis, Charles Ruggles and Edward Everett Horton in “Trouble in Paradise,” is under contract to play in London until May, 1933. And, although producers, anxious to take advantage of his new popularity, tried to persuade him to remain in Hollywood, he was unable to do so. However, when the contract expires, he will return to Hollywood. In “Trouble in Paradise” Marshall is cast as a super-crook, whose activities are doubled after he enters into a professional and romantic union with Miss Hopkins, his feminine counterpart. « # # *. COMEDIAN’S PARLOUR TRICKS.

Stuart Erwin won’t brag about his parlour tricks any more now that he has seen two of them put into the Zane Grey picture, “Under the Tonto Rim,” which comes to Hawera next week, with Erwin, Fred Kohler, Raymond Hatton and Verna Hillie in'featured roles. Erwin told the whole studio that he knew how to roll a cigarette with one hand and how to play old-fashioned tunes on a mouthorgan. Jack Cunningham, scenarist, heard about it and incorporated the business in Erwin’s role in this 27th of the Zane Grey pictures to be screened.

«# 4 # # CAMERA* TWINS.

Carole Lombard is not twins, nor does she take two roles in “From Hell to Heaven,” which comes to Hawera next week. The public, however, will probably think so when they see the picture. Shirley Grey, who also has an important role in the picture, is almost Miss Lombard’s double. Carole, who is sft. 2in., and weighs 1121 b., has blonde hair and blue eyes. Shirley, slightly larger, is sft. 4in., weighs 1181 b., and has identical colouring. Though off the screen they are markedly different in appearance, the camera makes them look practically alike. “Lady for a Day.”

Columbia’s picturisation of Damon Runyon’s famous “Cosmopolitan Magazine” story, “Madame la Gimp,” now in production "under the direction of Frank Capra, has been permanently entitled “Lady for a Day.” This is a colourful drama of a lovable old apple-woman, who is patronised by both wealthy and underworld characters. This production is being brought to the screen by a cast headed by May Robson, with Glenda Farrell and Warren William.

“Frisco Jenny.” A remarkable transition in character, both physical and spiritual, is developed by Ruth Chatterton as “Frisco Jenny” in the First National picture of the same title. This transition covers 25 years of the character’s life, from the time she is 17 until she becomes a woman of maturity. The role is quite different from any that Miss Chatterton has recently depicted. “Frisco Jenny” is a dramatic story of a woman who does not hesitate at anything to secure her own ends, yet whose mother-love is so great that she sacrifices her own life to save her son from the knowledge of her shame.

“The Hollywood Party.” In addition to Joan Crawford, Jean Harlow, and Lupe Velez, seven new names have been added to the cast of “The Hollywood Party.” They are Marie Dressier, Jimmy Durante, Lee Tracy, Nils Asther, Charles Butterworth, Jean Hersholt, and Jack Pearl. Supplementary announcement is also made that a Walt Disney Silly Symphony will be incorporated in the new film revue. Varconi.

Victor Varconi, son of a Hungarian father and an Italian mother, has the distinction of being a film star equally famous in America and Europe, though he makes his British debut in B.LP.’s new production, “She Wanted Her Man.” It was originally intended that he should follow his father’s example and become a prosperous farmer, but after graduating from the university he preferred a city life to a rural one, and became an insurance clerk. This did not satisfy the young man who secretly fostered stage ambitions, and he finally left the office for the Academy of Acting in Budapest. His aims were justified, and within two years he was a permanent member of Hungary’s National Theatre. His career was interesting, for at least three times weekly he played leading Shakespearean roles —his Mark Antony in “Julius Caesar” bringing him fame throughout the country.

TROUBADOUR AWHEEL 60,000 MILES ON BICYCLE. AUSTRALIAN’S ADVENTURE. With a stoutly-built but battered bicycle that is about 10 years older than himself, Eric Malpas, a 24-year-old Australian, has almost completed a 60,000mile journey about the world. Four years ago Mr. Malpas left Melbourne in the true spirit of the ancient wandering minstrel, determined to adventure afar and earn an itinerant living by singing as he went. A few days ago this “globe-trotting troubadour,” as he calls himself, arrived in Wellington from Overseas, homeward bound. ■ . . He has visited many countries in his wanderings, having sung his way through Ceylon, Arabia, Egypt, the British Isles, France, Canada and the United States. He has worked his passage on the sea, and on the land his voice has managed to earn him just enough for his needs, and those of his bicycle. The bicycle itself has been a not inconsiderable expense. It has been ridden over 37,000 miles of land, in spite of its age, and has required 34 tyres, seven sets of pedals and five saddles. On its. handlebar is a rabbit’s foot, for luck. Mr. Malpas worked his passage over from America on the Port Fremantle, which arrived in Wellington on Friday, and he intends to end his troubadouring days when ■he reaches Melbourne.' .In the meantime, however, he is continuing in the same manner as at the?beginning of his rambles, for during the-week-end

he has been singing from his repertoire of Australian and Irish ballads, together with some of .his own making, in the city streets, clad in an open khaki shirt, English shorts and topee. He began his adventures by being more than two days without water in the Central Australian desert. He discovered and took back to Sydney parts of the aeroplane in which Smith and Shears, the Australian aviators, crashed in Northern Australia. He lunched with the revue star Gracie" Fields, in London. In America he became a centre of Texas publicity, when news appeared in the papers that he had been ordered out of El Paso because the police had banned his shorts. Speaking of the hospitality he had encountered on his travels, he told the Dominion recently that he found Aberdonians the most generous people among all he met. “A Southern Maid.”

Preparations for 8.1.P.’s spectacular musical production, “A Southern Maid,” have now reached ■ the final stages, and it is expected that with the completion of his cast Harry Huges, who is to direct, will “take the floor” within the next week. In the title role will be Bebe Daniels, who, having completed work in her first British film, “She Wanted Her Man,” will thus continue under the 8.1. P. banner. With her will be many distinguished players, and Harry Welchman will also star in this film. Opposite Miss Daniels will be that talented light comedian, Clifford Mollison and Nancy (“Maid of the Mountains”) Brown has an important role.

“The March of Time.” M-G-M’s famous old-timers’ revue, “The March of Time,” has gone into production at the Metro-Gbldwyn-Mayer studios under the direction' of Willard Mack. Alice Brady, Frank Morgan, Madge Evans, Eddie Quillan, Russell Hardie and others are .in the cast of the story itself, to which the “old-timers” form a vivid background. The veterans of vaudeville, in their original acts, will comprise Marie Dressier , and Willie Collier, Weber and Fields, Barney Fagan, Fay Templeton and others.

YOUTH AND DRAMA URGE FOR SELF-EXPRESSION. VIEWS OF ADJUDICATOR. As a teacher of dramatic art Mr. J. W. Bailey, of Auckland, considers that a member of his profession, to be of value to the community, must be something more than a retailer of other men’s discovered ideas of fancy and fact. Realising that all the arts come into one close relationship in the final analysis, Mr. Bailey has sung in opera in America, appearing in six of Gilbert and Sullivan’s operas, also in “Firefly,” “Babes in Toyland” and “Waltz Dream.” In the United States, said Mr. Bailey, open-air theatres have come into use for the summer performances, and in one such place, with seating accommodation for more than 9000, the first opera of the season, “Firefly,” was produced by Charles Sinclair, producer for the New York Hippodrome, and the musical director and celebrated violinist, Max Bendix. In this huge theatre, looking like a Roman amphitheatre before the blaze of light which flooded the stage, the fireflies flitted over the heads of the audience like miniature stars twinkling on their rmeven way. “In my particular study of the doings and ways of people I have watched the beggar, the Cockney, the pavement artist, the match-seller, the man at the barrow, and the woman at the flower stall, catching odd conversation here and there during a two-years’ sojourn in London,” said Mr.' Bailey. “In America

I the negro claimed my attention. They seemed to extract a good deal of pleasure from life, some of them riding in costly cars, showily dressed, yet returning to a two-storey tenement which they called, home. The. windows were curtained with the bright colours they love, but often the homes were falling to pieces through age. “Frequently they lived in houses that in years gone by had been the homes of the elite, but when a property was secured ,by a negro through a third party, the white population migrated to quarters new, and their old homes deteriorated and became negro quarters.” There was to-day a remarkable return to the study of the drama, said Mr. Bailey, and never before in New Zealand or abroad had there been such a wave of practical interest. The societies in New Zealand had good memberships of players and associates. There was an urge for self-expression among New Zealand’s youth, the tragedy of the war and the past years of nation-wide difficulties having stemmed the stream of easy-going, confident assurance. There was accumulating a flood of imaginative thought which would find an outlet. He felt disposed to predict that the next decade or so would produce a worldfamous dramatist.

“It is certain,” concluded Mr. Bailey, "that the Competitions Society should have the support of all your citizens and that parents should realise just what it means to their children. Most avenues for self-expression are now closed. No longer are there the opportunities for the valuable training that is possible with such a society. It is imperative and desirable that children should be given every chance to cultivate a love for the beautiful in life as an antidote to the many chances they have of acquiring tastes for the opposite.” For First Time.

"The Late Christopher Bean” will be co-starring vehicle for Marie Dressier and Lionel [Barrymore, according to announcement from the Metro-Goldwyn-Mayer studios. Sam Wood has been assigned to direct.

BRITISH FILM INDUSTRY MARKED PROGRESS MADE. HIGHER SALARIES PAID. “England is at last able to offer cinema actors very high salaries,” said Mr. Ernest Turnbull, of Melbourne, managing director of British Dominions Films, Ltd., who arrived at Auckland by . the Wanganella from Sydney last week to supervise alterations and sound installations at the Majestic Theatre, which is shortly to inaugurate a policy of showing all-British films. High salaries were possible in the British film industry, said Mr. Turnbull, because British pictures were now, obtaining good support throughout all the English-speaking countries. The studios were close to London, and actors could make their films and also play in the West End theatres. The situation a few years ago, when leading English actors were flocking to Hollywood to make films, was now completely reversed; American actors were going in growing numbers to England to make films. Mr. Turnbull, who is the originator of the all-British picture-theatre policy in Australia and New Zealand, said he was amazed, during a recent visit to England, to note the remarkable progress in the making of British films. While weather conditions in Britain imposed a definite limit on outdoor scenes, recent pictures had made practical use of the beautiful English countryside, with very impressive effect. Another interesting development was the AngloGerman picture alliance, involving an agreement between the Gaumont and U.FA. organisations, which comprised German camera technique with English casts. In 1928, said Mr. Turnbull, the New Zealand British Film Quota Act came into force, and provided that five per cent of British pictures should be screened, as against 95 per cent, of the foreign product. The provision was not made obligatory, as the exhibitors of the country voluntarily agreed to screen the allotted quota or more. Now the position had changed. Mr. W. R. Kemball, well-known in New Zealand’s picture world, estimated that 50 per cent instead of five per cent of the talking pictures screened in New Zealand during the coming year would be British. “And just as it is in New Zealand, so, also, is it in England and other parts of the British Empire,” said Mr. Turnbull. “British films have won their place in the sun not by patriotism, but by sheer merit—the only real avenue to success—and they are forging ahead to still greater excellence every day.”

Guest. Herbert Mundin, comedian, who has one of the chief supporting roles in “The Devil’s in Love,” a new Fox picture costarring Victor Jory and Loretta Young, is shying at all invitations to dinner these days. The other night half a dozen pals insisted that Mundin be their guest at a restaurant. They insisted on pinning a large card with the word “guest” printed on it upon his coat lapel. After they had eaten, one by one, the hosts excused themselves, until at last Mundin was the only one left. A waiter presented the bill. “But I’m the guest,” Mundin protested, pointing to his card. “Sure, I know,” the waiter humoured him. “They told me the gent with the card was giving the party.” “The Bowery.” “The Bowery,” starring Wallace Beery and Clark Gable, will be the first picture to be filmed by Twentieth Century Pictures, the new United Artists’ producing unit, headed by Joseph M. Schenck and Darryl Francis Zanuck. It will be directed by Raoul Walsh. “The Bowery” will be of the same scope and magnitude as “What Price Glory” and “Sadie Thompson,” both directed by Walsh. Howard [Estabrook and James Gleason are now adapting the script from the novel, “Chuck Connors,” by Martin Simmons and B. R. Solomon. Beery will appear as Connors in “The Bowery,” with Gable filling the role of Steve Brodie. In Production. “The Dancing Lady” will go into production immediately at the Metro-Gold-wyn-Mayer studios with Joan Crawford and Clark Gable in starring roles. Frank Morgan, Grant Mitchell, Franchot Tone, Winnie Lightner, Ted Healy and Jean Malin have also been assigned featured parts in this picture, which is adapted from James Warner Bellah’s story of the same name. Robert Z. Leonard will direct.

“Racing Rivals.” Lew Ayres’ latest production, which was recently completed, has now been definitely titled. It will be released as “Racing Rivals.” In this romance of the race-track, Ayres is supported _by the vivacious Ginger Rogers, and included in the cast are several other well-known beauties, such as Shirley Grey and Merna Kennedy.

“The Masquerader.” To the complicated problems of directing Ronald Colman in the dual roles of “The' Masquerader,” Richard Wallace brought a distinguished record of successes. Among them are the “Shopworn Angel,” “To-morrow and To-morrow,” “Innocents of Paris” and “Seven Days Leave.” He is one of'the few consistently successful free-lance directors United Artists will release this picture

“Counsel’s Opinion.” “Counsel’s Opinion,” the new Paramount release, is said to be one of the most entertaining comedies yet. made for the screen. It is a screen version of the famous stage success, and will undoubtedly prove as big a success as its famous stage predecessor. An interesting feature of this film is the faithful legal atmosphere, which is correct in every detail. On account of the special privileges which were allowed the producers by the authorities, special exterior shots of the Law Courts and Temple Gardens, as well as interior scenes were taken under the supervision of experts, whose services were lent to the studios by permission of the authorities. The cast of “Counsel’s Opinion” includes Binnie Barnes, Henry Kendall, Cyril Maude, Lawrence Grossmith, Francis Lister and Harry Tate. “42nd Street.”

“42nd Street” marks a definite trend towards the reappearance of musical comedies which some two years ago fell away in public favour, in preference to a more sophisticated type of entertainment. It is, however, of a different type from its predecessors, for it contains nol only catchy musical hits but a powerful story, novel dance numbers, and hundreds of beautiful girls. The cast of 10 well-known stage and screen stars contains Warner Baxter, Bebe Daniels, Ruby Keeler (Al Jolson’s wife), George Brent, Una Merkel, Guy Kibbee, Ned Sparks, Dick Powell, Ginger Rogers and Allen Jenkins. Perhaps the least known to the picture-going public of these players is Ruby Keeler. She is, however, famous as a Broadway musical comedy star.

“Don Quixote.” English Press reports now coming to hand glow with enthusiasm over Chaliapin in “Don Quixote.” The following excerpt is taken from the London Daily Express: “Feador Chaliapin in ‘Don Quixote’ is the most magnificent figure in the entire world of entertainment. His performance is a triumph rarely surpassed in film history—photographically, I have never seen any film to approach ‘Don Quixote.’ ” “Don Quixote” is a United Artists release.