AMUSEMENTS,

Timaru Herald, Volume CXXV, Issue 18491, 5 February 1930, Page 5

AMUSEMENTS,

“GENTLEMEN OF THE PRESS.” MAJESTIC TO-NIGHT. Fuller-Hayward’s will offer a most j interesting series of all-talking subjects to Majestic patrons this evening. I Take a story dripping with human interest in an atmosphere that everyone likes to hear about, give it a cast of magnetic actors, and a production that puts into it every possible value, and you get a picture like “Gentlemen of the Press,” Paramount’s latest alltalking drama of newspaper life. On the stage, “Gentlemen of the Press” was a sensation of New York, and the story has been faithfully reproduced for the screen. A master cfc-st, headed by the incomparable stage artist, Walter Huston, includes six members of the original stage cast. The story deals with a veteran newspaper man who has given up everything in life for his business. When his daughter was born, he was covering a prize-fight; when his wife died, he was on assignment covering a Mexican uprising; when his daughter graduated from high school, he was writing about Lindbergh. The only thing he has not given up* is his fatal susceptibility for a pretty woman. It is this character j that Walter Huston portrays on the talking screen. Three all-English short films will be screened, and each subject is quite a feature in itself. Ernie Lotinga appears in a two-reel alltalking comedy, “The Raw Recruit.” Clapham and Dwyer are two smart comedians, and their offering is entitled “Spontaneous Spasms.” “Potpourri No. 1” shows the famous flying Scotsman train leaving King’s Cross, community singing in Hyde Park, and other interesting items. Seats may be reserved through ’phones 651 or 570. Saturday’s programme will be headed by the successful Paramount mystery story, “The Canary Murder Case.” This picture has proved one of the outstanding attractions screened in the cities. A matinee will be held this afternoon.

EXCELLENT DOUBLE PROGRAMM7

AT THE ROYAL. With a lonely tropic island as its ! setting, and an elaborate “fear plot” . as its theme, “Black Magic” is one of those all-too-rare screen productions that disclose unusual originality on the part of its makers. The picture, which opens at the Royal Theatre this evening, is an admirable study in psychology, and yet is handled in such a manner as to make it of absorbing interest to every spectator. Three human derelicts, endeavouring to forget their shady pasts, unite in an effort to obtain a fortune in pearls from a successful explorer on the eve of his departure for “Home.” With the connivance of a native witch-doctor and a rascally trader, an ingenious scheme is planned and put into execution, the object being to persuade the explorer that unless he buys his freedom with his pearls, he will be mysteriously killed. Although the spectators are, to a certain extent, “in” on the scheme, nevertheless the remarkable work of the conspirators and the eerie manner in which three of them “die,” serve to keep the interest up to a notable pitch as this sequence unfolds. The ending of the picture is as dramatic as it is totally unexpected* and effectively rounds out

this very unique production. John Holland as the explorer, Josephine Dunn as the girl who unwittingly aids the plotters and Henry B. Walthall as the conspirator who redeems himsels at the last moment, enact the principal roles, although the entire cast does exceptionally fine work. Dorothy Jordan, Earle Foxe, Fritz Feld and Ivan Linow handle the chief supporting parts, with Sheldon Lewis a memorable figure as the sinister witch-doctor and Blue Washington, the coloured comedian, supplying much of the humour. Never before t . in a British picture, have such thrilling scenes as those depicting the effort at Loos to sav£ the English guns, been seen. The incident which forms one of the big thrills in “The Guns of Loos,” was specially staged for the occasion. How exactly the wild ride of the men over warscarred and shell-holed country, with *gun limbers rocking from side to side, was secured, is a secret which neither Sinclair Hill, the director of the film, nor his cameraman will divulge. It is certain, however, that no one who sees this picture will be able to watch the incident unmoved. That the men and horsese were in danger of being killed (not from shells, but from the overturning of the gun carriages) at any moment, there is no shadow of doubt. Henry Victor, who plays the leading part in the film, is seen as John Grimlaw, the leading character in the fetory, whilst Madeleine Carroll, Donald McCardle, Bobby Howes, Hermione Baddeley and Adeline HaydenCoffin appear in the other important roles. “Guns of Loos,” based on fact, is an original story written by the director of the film, which will be shown at the Royal Theatre this evening. Seats may be reserved through ’phone 570.

BESSIE LOVE AND RAYMOND HACKETT.

AX THE GRAND. “Mr St. Clair” dropping his toupee in the midst of his biggest scene; “Little Eva” with a stomach ache; “Simon Legree” as a lover off-stage—-all of these are delightful high-lights I of ‘The Girl in the Show,” the comedy I of a travelling “Uncle Tom’s Cabin” troupe, which opens to-night at the Grand Theatre, as a Metro-Goldwyn-Mayer all-talking comedy production. Edgar Selwyn, the director (also original producer of the play on Broadway), has given a very clever sketch of the trials of a tattered “Tom” troupe, “left flat” by an absconding manager—and temporarily rescued by a small-town “angel” who becomes interested in Hattie Hartley, fifth of her family to play the immortal “Little Eva.” Bessie Love plays “Hattie,” and Raymond Hackett “Mai” in private life and “Simon Legree” on the stage. Both of these young Thespians come to “The Girl in the Show” direct from recent outstanding triiynphs. Miss LoVe scored the hit of years in “The Broadway Melody,” while Raymond Hackett, always popular on the stage, became a screen star overnight with his work in “Madame X.” Miss Love gives both a humorous and pathetic quality to the part of the tank town actress. Ford Sterling and Jed Prouty are more than adequate in strong comedy roles. Sterling’s scenes with Prouty as he attempts to palm off his poor show on the town undertaker , are as funny as anything in contemporary comedy. Other players of worth in the production include Eddie Nugent, Mary Doran, Ethel Wales, Richard Carlyle, John F. Morrisey, Lucy Beaumont, Alice Moe, Frank Nelson and Jack MacDonald. A big programme of all-talking and allsinging supports includes Metrotone News in sound, Spitalay’s Band in popular numbers, and Craift Campbell, t.hft p.filphrn tftd ten nr.

‘NEW BROOMS.

FINAL PERFORMANCE. Last night saw the final presentation by the American Comedy Company, of the second of their amusing plays, “New Brooms.” It tells in a pithy and amusing manner the trials of a son who thought that, with the aid of a continuous smile, it would be possible to overcome any difficulties that might arise in running a business and managing a house. The father of this boy was a gruff person, who hid real concern for his son under his manner, which the young man failed entirely to appreciate until near the end of the play. The father handed the control of his business and household over to his son to enable him to try out his theory of continued amiability. The trials experienced by the son as sole manager form many amusing situations, and he is heartily glad at the end of that time to give back the reins of government into his father’s hands. Mr Wyrley Birch and Mr Leonard Doyle, as the father and son respectively, gave a splendid performance in their own parts. Miss Leona Hogarth’s performance as Geraldine March, the pretty and attractive housekeeper, was little short of brilliant. Miss Molly Raynor and Mr Compton Coutts were responsible for a great deal of the merriment in the play. Miss Eve Dawney, Miss Mary Curtain, Miss Lucille Lisle, Mr Norman Wister, Mr John Warwick and Mr Reginald Roberts, were other players who gave splendid support to the principals.