ACROSS THE FOOTLIGHTS

Taranaki Daily News, 27 January 1934, Page 18 (Supplement)

ACROSS THE FOOTLIGHTS

COMING ATTRACTIONS PICTURES FOR NEW PLYMOUTH. THE OPERA HOUSE. To-day, January 29 and 30: “Charlie Chan’s Greatest Case,” Warner Oland, Heather AngeL January 31, February 1 and 2: “The Solitaire Man,” Herbert Marshall, Lionel Atwill, May Robson. February 3, 5 and 6: “Secrets,” Mary Pickford and Leslie Howard. THE REGENT THEATRE. To-day,'Monday and Tuesday: “Flaming Guns,” Tom Mix. January 31 to February 2: “Frisco Jenny,” Ruth Chatterton. February 3 to 6: “Mama Loves Papa,” Charles Ruggles, Lilyan Tashman. EVERYBODY’S THEATRE. ' • . I • To-day, January 29 and 30: “Yes Mr. Brown,” Jack Buchanan. January 31 to February 2: “Knight of the Garter,” Leslie Howard. February 3 to 6: “The Blarney Stone,” Tom Walls.' •' GENTLEMAN CROOK DRAMA POPULAR HERBERT MARSHALL. Herbert Marshall, Elizabeth Allan, Lionel Atwill and May Robson head the cast of “The Solitaire Man,” a thriller of crime and Scotland Yard. The “Solitaire Man,” is an almost legendary figure who deals in jewels and in big jewel robberies. A meeting, of .the opposing characters in the cabin of a passenger plane crossing the English Channel results in, a situation arising that has scarcely been equalled on the screen. The climax is a breathless defiance of death. In the feminine romantic lead Elizabeth Allan, the English actress, has a dramatic role. Comedy highlights are provided in the picture by Mary Boland. Her role is blended into the drama to provide relief for the terrific tension of the climax. Lionel Atwill, a screen “terror,” has a role of “double menace.” As a police informer he betrays Marshall while trying to. steal jewels himself. Dignity and convincing aristocratic atmosphere are provided by May Robson, in her part as a broken-down member of English gentility trying to make a living disposing of jewels as “family heirlooms.” Also featured prominently in the cast are Ralph Forbes, Lucille Gleason and Robert McWade. CHEERFUL ENTERTAINMENT GOOD SHOW FOR THE REGENT. < Picture-goers who like their entertainment cheerful will find much to their taste at The Regent next Saturday in “Mama Loves Papa,” starring Charlie Ruggles-and Mary Boland, a crazy interlude in the life of a middle-aged clerk who becomes mixed up in municipal politics. Mary Boland and Charlie Ruggles take front rank as a clever comedy team in “Mama . Loves Papa,” and the public will be looking for more pictures in which they are co-starred. There was nothing the matter with Wilbur Todd, who, as played by Ruggles, has his counterpart in many New Plymouth business offices. He was an elderly, pompous chief clerk, with a great pride in his own importance to the business, and a weakness for making weak puns. But 'Jessie Todd became imbued with “culture” and a long-haired lecturer convinced her that to propel her husband to success she must foster in him a pride in his appearance. The trouble started when she persuaded Wilbur to go to the office in a bowler hat and a morning coat, for everyone at the office jumped to the conclusion that it was a mourning coat, and the boss was so touched that he made Wilbur take the day off to recover from his grief. What could Wilbur do? He couldn’t go back home and report what had happened. Any married man will know why. And he wasn’t allowed to go back to work. This is where the fun starts. FIRST LADY OF THE SCREEN RUTH CHATTERTON’S LATEST. The film in> which the famous star Ruth Chatterton will appear at The Regent Theatre is a tale of the Barbary Coast of America through the last quarter century. “’Frisco Jenny” gives this emotional star the greatest opportunity Which she has had since “Madame X,” the film which won her great fame. It is the story of a woman who ruled the vice element of a city. The sweep of . the drama takes it across a quarter of a century of human life. Opening on the eve‘of the Great Fire that laid San Francisco waste in 190frr-the days when the Barbary Coast flourished in all its lawlessness—the picture traces the colourful career of a daughter of the old underworld as it luridly weaves itself through the changing life of the new San Francisco to the moment of supreme sacrifice that crowns the story. Very well produced the film is full of drama, tonr-Thing human qualities and colourful and quaint people. A final dramatic 'Court scene all make this picture an elaborate and unusual one. “ ’Frisco Jenny” shows at the Grand Theatre, Hawera, to-night “YES, MR. BROWN” COMEDY ' FUN IN MODERN VIENNA. “Yes, Mr. Brown,” to show to-day at Everybody’s Theatre, is a comedy in a ' delightfully refreshing style. The scene is Vienna—not with the conventional theatre atmosphere of the gay Austrian capital, with its dashing uniforms and Strauss waltzes, but with a more modern if not more logical air. The happy blend of Viennese night life and business has seldom been tried before, and has never succeeded in so convincing a manner. Jack Buchanan and Hartley Power excel themselves in those sparkling exchanges and that amusing foolery which are a ; feature of the piece. The ever-charming i Jack has every, opportunity to show his ] talents as a singer, a dancer and a star : of musical comedy, in all of which he is i equally famous. Assisting him are Elsie ] Randolph, partner in many of his most i popular London stage shows; Margaret j Graham, whose blonde beauty and daz- < zling personality are a real asset, and ; Vera Pearce, the droll and clever ’ burlesque dancer. 1

“The Great Barnum” is the title of the film dramatising the life of P. T. Barnum, the world’s most famous showman. Wallace Beery plays the title role. .

MURDER IN HAWAII “CHARLIE CHAN’S GREATEST CASE.” The sunlit-islands of Hawaii do hot seem an appropriate setting for a murder mystery, but in “Charlie Chan’s Greatest Case,” which is the star attraction at the New Plymouth Opera House to-day, this beautiful and difficult setting is made by skilful direction to emphasise the realism and effect of the plot. Warner Oland appears in the role he has made famous, that of the astute and wily Chinese detective Charlie Chan. Chan’s talents are employed by tire Honolulu police to .unravel the mystery surrounding the death of Dan Winterslip, a member of an aristocratic Boston family. Winterslip’s circumstances and past life were such that many cheerfully would have seen him die. The task of solving the mystery with its many ramifications and paucity of clues, is pursued quietly and smoothly by Chan, who, when hurried by his superior officers, sagely observed, “The cat ..who chases two mice goes supperless.” Heather Angel, an actress whose vivacious personality and beautifully-modulated voice will earn for her a wide popularity takes the leading feminine role.

“NIGHT OF THE GARTER” A SYDNEY HOWARD PICTURE. “Night of the Garter,” a British comedy which opens at Everybody’s Theatre on Wednesday, is full of funny situations, unexpected episodes and smart dialogue. The story is about the efforts of a. bride to return to a former admirer, without her husband’s knowledge, a jewelled garter with the admirer’s photograph upon it. The good angel of the play, Bodger, a butler, is admirably played by Sydney Howard, a comedian with a style all his . own. Bodger’s adventures, in search of the missing garter are mainly unfolded in a haunted house, and are excruciatingly funny. An excellent cast includes Winifred Shotter, Elsie -Reynolds, Harold French and Marjorie Brooks. TOM MIX WESTERN SOMETHING NEW IN STORIES. Action, pictorial and feminine beauty, and a “different” Western story are the outstanding features of To; . Mix’s latest picture, “Flaming Guns,” the Peter B. Kyne epic which heads the programme at The Regent Theatre to-day. This latest Mix vehicle, from the opening, where Tom apears as an ex-sergeant of infantry during the World War, to the end, is a whirlwind of action. There is a spectacular stampede of cattle when Tom outwits the outlaws and captures them single-handed. Later, there is a stampede of motor-cycle policemen when they try to prevent Tom’s elopement. Those who like their amusement fast will enjoy this picture. The supports are •good and varied. J

MARY PICKFORD RETURNS STARRED WITH LESLIE HOWARD. “Secrets,” the Mary Pickford-Leslie Howard picture which . begins at the New Plymouth Opera House next Saturday, is a refreshing and charming film. “Secrets” has nothing of the problem play about it, nothing of the ultra-smart and ultra-sophisticated, but it has colour, poignancy, simple drama, polished acting of pleasant roles, and romance. It has interest in the linking of the old ideal and the new; the meeting of Leslie Howard, one of the most graceful actors pf the modem screen, and Mary Pickford, the idol of the “silents,” in the one production, and neither loses by the association. The story is human and gains colour from its pictiirisation of the development of life for two young people in love. They are not modem people, but they have their counterparts in every generation —struggling, but happy and confident of the future. The early stages of the film are of outstanding merit and if the latter portion lags somewhat it is the fault of the story and the direction and not of the acting, which throughout is of a very high standard. The success of Mary Pickford in this new role will give pleasure to her oldtime “fans,” as she lacks nothing of the charm that first made her famous. Leslie Howard is said to give a faultles portrayal in the leading male role. In the cast the names of Bessie Barriscale, Ethel Clayton, Allan Sears, Theodore von Eltz (all well-known “silent” stars) are shown against minor roles, while C. Auzrey Smith, Ned Sparks and Mona Maris are of the newer school.

RUTH CHATTERTON’S CAREER STAGE STAR AT SEVENTEEN YEARS Ruth Chatterton was a stage star at 17 and director of her own company at 20. One of her greatest stage triumphs was in “Mary Rose,” by' Sir James Barrie, she, along with Ethel Barrymore and Maude Adams being the only American actresses ever to be starred in one of Sir James’ plays. At the time of her advent into pictures she was one of the leading stars of the American stage. Her first film appearance was with Emil Jannings, the German actor who picked her as his leading lady, from a screen test without knowing who she was. Always a consummate actress and richly endowed with stage experience, she easily adapted herself to the changed conditions, of a screen role and was outstanding in her first effort in pictures. Since then she has gained even a greater popularity than she enjoyed as a stage star. Some of her screen successes were “Madame X,” “Sarah and Son,” “Once a Lady,” “The Rich Are Always With Us” and “The Crash.” George Brent, whom she recently married, was featured in the last two named pictures and it was during their filming that the romance between the two developed. Studio officials predict she will score another triumph as “Jenny in her current production, “ ’Frisco Jenny,” which opens at The Regent, New Plymouth, on Wednesday.

Emile Ludwig, the distinguished German biographer, has signed a contract to act as historical consultant on Warner’s “Napoleon,” in which Edward G. Robinson will play the title part. A complete Hollywood film unit will travel by air to Brazil to produce scenes for M.G.M.’s “Jungle Redman.” A direct flight is planned from Florida.

MUSICAL FILM REVIVAL DELUGE FROM HOLLYWOOD. EXPLOITING THE PUBLIC DEMAND. Some • who remembered the musical deluge that ended abruptly three years ago may feel some alarm at the prospect of a deluge of musical films from Hollywood. However, the return of the musical film is due not to any caprice on the part of talking-picture producers, but to a definite signal from 'filmgoers as a whole that such films are wanted. The beginning of the present wave of musical films is interesting. In April and May of this year, when the cinemas of America were practically empty—when, in fact, many of them had closed —three films saved American cinemas from disaster. These were “The Kid From Spain,” “42nd Street,” and “Tell Me To-night,” which was not made in America. Where dialogue films had played uneasily for one week, these films ran for two, three or four weeks. “The Kid From Spain,” which cost £300,000 to produce, ran for 18 weeks in London, and for 22 weeks in New York. In Britain alone 150,000 gramophone records of its music have already been sold. “42nd Street,” at the Strand Theatre in New York, earned £45,000, and was seen by 450,000 people in nine weeks.

Sales of sheet music in America had fallen below an average of 150,000 for really successful works. By the end of June the sales of the sheet music of “42nd Street” had exceeded 500,000. The average sale of gramophone records had fallen in many cases below 10,000 in America. By the end of June the gramophone records from “42nd Street” had exceeded 100,000. In the face of such facts, what could Hollywood do but go completely musical. These three films are interesting also in that they differ radically in type. “42nd Street” is the old back-stage formula definitely invigorated, but still being parochially American in outlook. “The Kid From Spain” is original in conception, and combines beautiful interiors with thrilling exterior settings. “Tell Me To-night” throws off the yoke of the stage. In all three of these films music is part of the drama. In the first musical deluge we saw many films with songs dragged in by the heels. Suddenly a singer would step in front of a microphone to be photographed in close-up while mouthing a song. The action of the story meanwhile had to stay, stock still, and once the action of a film is arrested it never gains full strength again. Holywood has learned that music must be part of the drama.

“APE MAN” MARRIES BRIDE “HOT PEPPER” ACTRESS. To a cynic at least Hollywood’s ’latest romance must contain a distinct element of novelty, for neither Lupe Velez nor Johnny Weissmuller, whose intention to wed was announced recently, has Tso far as is publicly known) been married before. One can imagine the whoop of joy with which Hollywood's publicity writers must have greeted the news, blazoning it forth with such captions as “Ape-Man’s Romance,” or “Tarzan’s Bride Will be Hot-Cha Girl,” and so on. For both bride and bridgegroom are among the film capital’s most interesting residents. The real name of Lupe (“Hot Pepper”) Velez is Lupe Velez de Villalobos, and she was bom in San Louis Potosi, Mexico, on July 18, 1910, her father being a colonel in the Mexican army and her mother an opera singer named Josephine Velez. After experience in musical comedy in Mexico and the United States, the fiery little actress sky-rocketed to screen fame when Douglas Fairbanks cast her to appear opposite him in “The Gaucho.” Johnny Weissmuller whom the flappers and publicity writers of America have nick-named “What-a-Body Weissmuller,” is best known as a champion swimmer. His marvellous physique gained him the chance to interpret Edgar Rice Burroughs’ famous character of “Tarzan the’ Ape-Man” on the talking screen in the film of that, name made last year by M.G.M. Very appropriately, Weissmuller’s latest film is a sequel to the above entitled “Tarzan and his Mate,” but M.G.M. executives are probably now gritting their teeth in chagrin that Johnny and Lupe did not decide to marry some months ago. Instead of the role of the “mate” being filled now by Maureen Sullivan (who was the ApeMan’s Sweetheart in his first picture) it might then have been given to Lupe. What a chance for “human interest” stories that would have been!

Child actors and actresses do not miss the fun of those “kid” years, as some critics insist, according to Mary Komman, who entered films when she was five as leading lady of the original “Our Gang” comedies, and held that position for seven years. Now ninteen, Miss Kornman is making her grown-up debut in Paramount’s “College Humour,” with Bing Crosby, Richard Arlen and Jack Oakie. “Making those comedies wasn’t work for us children,” she declares. “Everything we did was play. We had more toys than any youngsters in the world, I guess, with all those queer things they -invented for us.”

THE EXCEPTIONAL PROMISED “JEW SUSS” . BEING FILMED. Work has begun on “Jew Suss.” Lothar Mendes is directing the picture and Conrad Veidt appears in the leading role. No effort will be spared to make this remarkable story into an exceptional film. The production is scheduled to cover three months and approximately £BO,OOO will be spent on it. “Jew Suss,” taken from the novel by Leon Feuchtwanger, is a story based on fact. It is a cross section of the history of one of the German States, namely Wurttemburg, in the first quarter of the eighteenth century. A brilliant financial brain, Jew Suss, having established himself in commerce, is introduced to Karl Alexander, the reigning Duke of Wurttemburg. His outstanding ability leads him to dizzy heights of power. He is the force behind the ducal throne. Intrigue threatens him. The treachery of his master imperils him. After a period of luxurious wealth and almost absolute authority over the State of Wurttemburg, he falls and dies on the gallows. Conrad Veidt will here have a unique opportunity to give further proof of his remarkable gifts as an actor. Supporting him is an immensely strong cast. Karl Alexander is played by Frank Vosper; Landauer, the financier friend of Suss, by Paul Gradtz, and Rabbi Gabriel, his uncle, by Cedric Hardwicke. Pamela Ostrer will have her first big part as Naomi, the daughter of Suss. « CYLINDER INSPECTION NEW APPLIANCE DEVISED. It has always been difficult correctly to gauge the smoothness of the cylinder walls of automobile engines, and consequently there is frequently a variation in the finish of the walls, particularly where the cylinders have been rebored. With a view to the elimination of uncertainty in this respect, two members of the University of Michigan have devised an apparatus known as the “profilograph,” which, by means of a photographic process, makes a record of the smoothness of the surface of cylinder walls. This instrument is actuated by a tracer point which moves over the surface of the metal and records and magnifies on a strip of sensitised paper any irregularities on the cylinder wall. As the magnification is about 200, any unevenness of the surface checked is apparent and beyond doubt. It is stated that, comparisons and records taken by the “profilograph” show that many rebored cylinders vary greatly with regard to the smoothness of their walls.

ROBESON PREFERS ENGLAND U.S.A. AUDIENCES UNSYMPATHETIC Paul Robeson, the, great negro actor and singer, has returned to England, and likes it, says the Daily Mail. He gave good sound reasons, thoughtful reasons, much better and more original than the rather stereotyped complaints which many visiting artists pay. There is not a word... in them about how splendid are the London police. “I certainly can make more, money in the United States,” says Mr. Robeson, “but I certainly can enjoy life more in England.” “You see over there, they expect you '■> be working at the top of your form u.l the time. In England, if you are not quite so good on the stage one night the people say ‘Oh, he’s a bit off-colour. He’ll be all right again in a day or two.’ They still believe in you, follow you. “But in the United States if you ‘flop’ one night the show is finished. Everybody talks of it as if it were dead.

“I remember what a terror it was when I was playing in ‘Show Boat* in New York, never to be able to relax the strain for one night for fear the whole play would have to come off. “It is the same idea of life for an artist in Hollywood. They take you, make you work at top pressure for three years, until there is not another ounce of energy left in you, and then throw you away. You are dead. You are no more use to them.

“Now in London I do not see why I should not be singing as well as ever to big audiences when I am 63, just like Chaliapin (Robeson is 45 now). “Three . years in the United States or 20 here! That is the choice, and that is why my choice is England, Of course it entails a lot of sacrifices —income tax (a sigh) and—or! well let it go, I’m happy here.” Robeson has been in the United States to make his first film —a screen version of “Emperor Jones.” As to his future activities, Robeson has no settled plans, but he wants to find a play about a great historical negro character who does not have to sing plantation songs.

* # * * George Raft was once a professional baseball player for a year.

H. G. Wells, the novelist, has never concealed his disapproval of film studios, and the results of some of his screen works may have made this attitude excusable. But since seeing “The Private Life of Henry VIIL”, he has realised the potentiality of the modem studio, and he is now negotiating with London Film Productions which will probably result in an original screen story.

' THE HAWERA THEATRES SOME EXCELLENT FIXTURES. HAWERA OPERA HOUSE. To-night and Monday: “The Working Man,” George Arliss. January 30 and 31: “Broadway to Hollywood,” Frank Morgan, Madge Evans, Jackie Cooper. February 1 and 2: “Innocents of Paris,” Maurice Chevalier. February 3, 5 and 6: “I Cover the Waterfront,” Claudette Colbert. GRAND THEATRE. To-night and Monday: “ ’Frisco Jenny,” Ruth Chatterton (reviewed elsewhere on page), and “Fighting for Justice,” Tim McCoy. AN ARRAY OF TALENT CAVALCADE OF THE THEATRE. A veritable “Who’s 'Who” of the stage and screen appears in “Broadway, to Hollywood,” pageant of half a century in the theatre in which the great names of Hollywood and Broadway unite. The Metro-Goldwyn-Mayer spectacle in which a story of human drama ik surrounded by the pageantry of theatredom from the earliest days to the modern talking film era shows at . the Hawera Opera House on January 30 and 31. Its aggregation of stars includes Alice Brady,

Jackie Cooper, Jimmy Durante, Frank Morgan, Madge Evans, Eddie Quillan, Fay Templeton, May Robson and Russell Hardie. The story starts in the first dawn of vaudeville and goes down time to the reign of Lillian Russell, showing three generations of “troupers” marching down the years. Fay Templeton sings the old-time song hit, “Rosie Posie.” There are dazzling Albertina Rasch ballets. The huge “March of Time” ballet with 500 dancers brings the film to a climax. These are all part of stage sequences and form an integral part of the story of three generations of a vaudeville family. A REPORTER’S ADVENTURE CALIFORNIAN COAST DRAMA. The late Ernest Torrence comes vividly and picturesquely back to life on the screen as Eli Kirk, the notorious smuggler, who forms the nucleus of the drama pictured in the United Artists’ screen version of Max Miller’s famous novel, “I Cover the Waterfront,” which is to be screened at the Hawera Opera House on February 3, 5 and 6. Torrence’s last appearance in films is said to mark the finest performance of his long and distinguished career as an actor. His characterisation of the tough old sea dog who makes a living for himself and his daughter Julie by smuggling human contraband into the United States is unforgettable. The picture concentrates on one of the many stirring adventures encountered by a newspaper reporter during his six years’ assignment to the waterfront of a southern California seafront. The adventure includes a romance between the reporter,- played by Ben Lyon, and Julie, the smuggler’s daughter, played by Claudette Colbert. The drama that ensures is vividly portrayed by the principals, and leads to a fine climax that combines romance, - excitement and human interest

CHEVALIER FILM RETURNS POPULAR “INNOCENTS OF PARIS.” Arrangements have been completed for the screening of the Paramount picture, “Innocents of Paris,” starring Maurice Chevalier, at the Hawera Opera House on February 1 and 2. The picture is not new to the Dominion, as it has been previously shown in almost every town throughout New Zealand. So popular has the picture been,, however, that theatre patrons were inquiring if it would return.- It is estimated that 200,000 New Zealanders have seen “Innocents of Paris” since its first release some' four years ago. The picture held the record of popularity against all other productions after its New Zealand premiere at the Grand Opera House, Wellington, in which city it has been shown in no less than five theatres. The public had “demanded” its return time and time again. The three principal and well-remembered song numbers in “Innocents of Paris” are “Louise,” “It’s a Habit of Mine” and “On Top of the World, Alone.” # # * « When “Frisco Jenny,” a dramatic picture of the old Barbary Coast of San Francisco, which opens at The Regent, was in production at the First National studios in North Hollywood, a swanky new car was noted standing outside, bearing the initials R.C.B. No one knew who this could stand for until Ruth Chatterton, star of the picture, stepped into it. She had registered the car as R. C. Brent, the name of her new husband, and placed the initials on the car.

STORIES ABOUT DOUBLES HOW ONE WOMAN BENEFITED. History has recorded many strange instances of persons looking so much alike that “even their own mothers could not tell them apart.” It was only recently that Mistinguett, famous French actress, whose legs are insured for 100,000 dollars, was made very unhappy by the appearance of a double in her native Paris. The entire affairs went back to Mistinguett’s quarrel with the manager of the music hall, who, knowing something of the law of doubles went in search for one. He found her in the person of a girl whom he named Mismarquett, a girl who was not only the exact double of the famous. Parisian star, but who had pretty legs and a splendid voice as well. She was set up in one of Paris’ leading theatres and the entire French capital flocked to see her, the while Mistinguett sulked and went into helpless rage. She was powerless to stop her rival’s appearance, and she certainly could not control the laws of nature which often fashion one person in exact duplication of another.

For that matter, a little closer home there is Mr. Edward Carroll, a perfectly respectable restaurant keeper in Lawrenceville, Ind., who« was cast in the exact mould as that of Abraham Lincoln. So famous did Mr. Carroll become as he grew older that he closed his restaurant and now makes far more money travelling up and down the land showing school children “how Lincoln really looked.”

Feodor Chaliapine, who makes his first talkie apearance in “Don Quixote,” keeps all his money in gold in Paris. He lost estates worth £lOO,OOO in Russia and is running no further risks. Chaliapine’s house in the Vladimir district of Moscow was taken from him in 1927 by order of the Presidium of the Central Executive Committee of the Soviet Republic.

ACROSS THE FOOTLIGHTS * • I - STARS AT WORK AND PLAY. /— . . LATEST NEWS FROM EVERYWHERE. In the picture “Only Yesterday,” : a booking for the New Plymouth Opera House shortly, there are 93 featured stars. » # * • ; “Silent Coins” were used in a gambling room scene for ‘.‘The Solitaire Man,” featuring Herbert Marshall to be shown shortly at the Opera House.- When ordinary metal discs were used for coins they made. a loud metallic sound that interfered with dialogue. An enterprising property man coated them with rubber cement which made them noiseless when handled on the table. # * * • “Floating” a camera by a delicate series of counter weights was the means of obtaining unusual screen effects for “The Solitaire Man,” Continental drama featuring Herbert Marshall, filmed by the Metro-Goldwyn-Mayer studios, showing at The Regent Theatre shortly. When this camera was mounted in the cabin of an airplane, every dip and plunge of the ship was recorded as the floating device kept the camera on a constant axis with the earth. • * # ♦ • It was black eye No. 1347 that Wally Westmore administered to Charlie Ruggles during the filming of “Mama Loves Papa,” which opens at The Regent Theatre shortly. Like black eyes from No. 1 to No. 1346, Westmore’s No. 1347 was administered painlessly "and ’ pleasantly. Ruggles had to have the shiner for a scene in the picture, and Westmore, the Paramount make-up artist, had to paint it on. A couple of jabs with eyebrow pencil and a few touches of mascara did the job. When the scene was over, Ruggles washed it off and went home.

Believe it or not, Ned Sparks claims he went home in a Western make-up one day during the filming ’of Mary Pickford’s latest picture “Secrets” and his pet dog failed to recognise him and bit him. As proof of his claim Ned displayed the wound. Frank Borzage the director of “Secrets” suggested he put in a claim for the Pulitzer prize for having a new version of the famous Horace Greeley wheeze that it is not news when a dog bites a man but only when a man bites a dog. Frank claims it is always news if a dog bites an actor. *i* » * • Herbert Marshall, who plays Oliver Lane in “The Solitaire Man,” Continental drama at the Opera House, was born in London, England, and , started his theatrical career at the Old Buxton Opera House in a play titled “The Adventure of Lady Ursula.” The World War started shortly afterward and Marshall was severely woimded while serving with the British forces. After the war he scored in “The Younger Generation,” “Abraham Lincoln,” “As You Like It,” “The Crossing” and other plays in London. In New York he appeared in “These Charming People,” “The High Road,” “Paris Bound”’and “To-morrow and To-morrow.” His pictures include “Michael and Mary,” “Trouble in Paradise” and recently “Blonde Venus.” Princess Irian, wife of Prince Felix Yousoupouff, who in legal papers is said to be a cousin of King George of the former Kaiser, and of Tsar Nicholas, has filed a libel suit for 2,000,000 dollars against the Metro-Goldwyn-Mayer Fflm » Corporation, producers of the film “Rasputin and the Empress.” She alleges that a character in the film, Princes Natash, who in it introduces the monk into the Tsar’s household, and then becomes his mistress, is so thinly veiled that persons throughout the world have recognised the character as herself. She further _ charges that the’ foreword to the film declares: “Few of the characters are still alive. The rest have met death by violence,” and that she and her husband are the only ones involved in the action now living. *** - * Hollywood is preparing to welcome back the veteran George Arliss, who is returning from an extended vacation in England to start his new starring contract with 20th Century Pictures. His first production will be “The House of Rothschild,” based on the history of the famous European money barons. In the huge cast that will support Arliss, there will be 86 characters representing actual figures who made Europe what it is today, all woven into a story which reveals their family secrets, their loves and their plotting for empire. Among these historical figures will be the Duke of .Wellington, Napoleon and the whole-, Rothschild family. Arliss, himself, will, • for the first time, play a dual role. He will portray both the patriarch -.who founded the Rothschild dynasty and Nathan the eldest son. ♦ * * • Getting savages to act in the movies has its obstacles. Ward Wing, director of “Samarang,” United Artists’ romantic spectacle of life among the pearl divers of the Indian Ocean, wanted to use the Sakai tribe, reputed to be cannibals. They, live on snakes, rats and mopkeys and an occasional tiger. Only one man could be found who could Speak the Sakai language, but he was Chinese and knew no English, so a Malay who spoke Chinese - was found, but he, in turn, could not speak English, so Wing had to -tell an English-speaking Malay what he wanted* The Malay would tell the Malay-speak-ing Chinese, who would tell the Chinaman, who would tell the Sakais. This lengthy procedure had its difficulties, for by the time so many people had translated Wing’s directions, they were sometimes entirely different. Eddie Cantor, elfin and fawn-like, Has new complications and dangers this year to make his beady eyes pop in “Roman Scandals,” his fourth annual screen musical comedy for Samuel Goldwyn, with Ruth Etting, Gloria Stuart, David Manners and this year’s prize collection of Goldwyn beauties. The year’s fastest stepping and its merriest tunes are promised in a rollicking yarn bf adventure among the slave girls, the Caesars and their lions, winding up in a chariot that is as thrillingly breathless as Eddie’s bull fight was last year in ’ “The Kid From Spain.” Eddie has a lively and gay song in “Keep Young and Beautiful.” The dancing feet of a hundred of Goldwyn’s ace beauties pound out- the fast and happy rhythm of Eddie’s ditty and then in the great slave market, they chant a refrain to the heart throbs of Ruth Etting’s lament, ‘No More Love.” The shimmering costumes of silver mesh in the dramatic dance interlude in which l Busby Berkeley has set her song has an effect that has never before been seen on the screen. • ■ ■ i

One of the most important pictures of the new season’s releases will be “The Emperor Jones,” Eugene O’Neill’s almost classic exposition of vanity and terror. It was first produced as a stage play by the Princetown Players in New York in 1920, and was subsequently transmuted into a turbulent opera with Lawrence Tibbett in the title role at the Metropolitan Opera House. Now it has reached the third stage of expression—the screen. Paul Robeson, internationally distinguished athlete, actor and singer,- appears in the title role as Brutus Jones, the Pullman porter, who became a king. Robeson was last year, the ruling sensation of the London theatrical season, when he apeared as Othello. United Artists are releasing the picture.