AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18538, 8 April 1930, Page 7

AMUSEMENTS.

“WHY BRING THAT UP?” AT THE MAJESTIC. Gramophone enthusiasts have long been familiar with the clever dialogues of the Two Black Crows (George Moran and Charles Mack), but it has rested with the talking films to bring before thousands these two famous comedians in a picture in which the best of their recorded works are reproduced in appropriate settings. “Why Bring That Up?” which is the chief attraction at the Majestic, is the first talking film in which the Two Black Crows have been featured. The story is cleverly conceived, forming an excellent background for the two principals’ humorous presentations, which are so mirth-provoking that in some cases sections of the dialogue are lost in the laughter from the audience. Supporting the two principals are Evelyn Brent and Harry Green. The story sets out how the partners meet and decide to team together to put on a turn in a little country town. They go to Moran’s lodgings, where their rehearsal is interrupted by the singing of Betty, a vaudeville girl. Moran sets out to remonstrate with her, but ends by sympathising instead. Irving, a vaudeville artist, listens to Charlie Mack’s plans, and finds that his life ambition to be a theatrical manager can be realised if he joins them. He succeeds in securing a turn for them in a show he is in, and the pair make good from the start. Five years later they are preparing to launch a large show on Broadway, when Betty once again comes on the scene, having heard of the partners’ good fortune. She cajoles Moran into giving her a part in the show. Trouble starts the day she arrives, and Irving, the partners’ manager, sees danger ahead. The show is a great success, but the friendship of Moran and Mack is in danger of being broken. Moran showers gifts on Betty, who is systematically fleecing him, and finally overdraws his share of the joint account held by the partners. Irving and Mack discuss the affair, and decide that Betty must go. Mack fires her, and he and Moran have their first quarrel since the partnership was formed. The final scene of the reconciliation of the two friends is particularly effective, and provides a fitting conclusion to an outstanding production. Fox Movietone News, Mickey The Mouse, and the Giersdorf Sisters, a delightful vocal trio, complete a splendid bill. “LONG, LONG TRAIL' HOOT GIBSON AT ROYAL. At the Theatre Royal last evening chere was another very satisfactory .udience that derived genuine enjoyment from Hoot Gibsons talkie, “The Long Trail.” The Ramblin’ Kid, ias attained an unjustified reputation for hard drinking through his mbit of pretending to be drunk and iayfully shooting up the town of Eagle Jutte. Professing a scorn for women, .e falls hard for the beautiful June, .iece of his employer, Colonel Josh, a anch owner. He retrieves himself for .is clumsiness in courtship by saving une from quicksands. The Kid finally ucceeds in his efforts to capture Gold Dust,” a wild mare. He prepares j run her in the rodeo sweepstakes. Lionel Josh and the Kid’s other riends bet the limit on the Kid /inning the sweepstakes. Their bets re taken by Mike Wilson, owner of , he favourite. Wilson has the Kid doped just before the race. The Kid’s friends think he has thrown them down by getting drunk at the crucial moment. The Kid, sick as he is, rides and wins the race. He finds Wilson about to decamp with all the wagers. He captures Wilson and exposes the plot against himself. His friends take him back to their hearts, and June to her heart in particular. The supporting | programme was much appreciated by I the Q udience. “PAINTED FACES.” AT THE GRAND. The story of a circus clown who fell in love with his ward is told in “Painted Faces.” the Cinema Art all-talking picture starring Joe E. Brown at the Grand Theatre to-day. An excellent supporting cast includes Helen Foster,

Barton Hepburn, Dorothy Gulliver, Lester Cole, Sojin, Mabel Julienne Scott, Alma Bennett, Purnell Pratt, Walter Perry and many others. Barton and Barnes are a vaudeville team saving up money to marry. Buddy Barton is jealous of another actor billed as “The Great Roderick,” who has been forcing unwelcome attentions on Babe. Buddy makes a threat to “get him” that is heard by stage hands, so that, when Roderick is found dead in his dressing room and Buddy standing over him with a gun in his hand, Buddy is brought to trial for murder. When the ballot is counted eleven jurors are for conviction. One of them, Beppo, a clown, stubbornly votes innocent. They are locked up for five days and, despite the abuse of his fellow-jurors and their desire to get out for Christmas, only three days off, he refuses to change his vote. Finally Beppo gives in and tells them of Nancv, his exmiisite little ward, who joined him with the circus during her school vacation. She was just eighteen, sweet, lovely, innocent —and he adored her. Roderick was a ukulele player and singer with the show and was then known as Martin. He flirted with the girl—he stole her away from Beppo—he betrayed her! It was Beppo, who had sworn revenge, who, having at last found Roderick, stole unseen into the actor’s dressing room and shot him. When the clown found they suspected an innocent boy whose sweetheart might have suffered the same fate as his Nancy, he went to the trial and managed to get on the jury. His confession ended, Beppo is about to rush into the courtroom to take the boy’s place, but he is held back and reminded that they all took oath never to divulge what transpired in that Jury room. A verdict of not guilty is turned in and the jurors— Beppo included—get home for Christmas. The supporting programme contains a silent two-reel comedy “Wrong Again” with the ever popular comedian Stan Laurel and Oliver Hardy. A Pathe Review and a lengthy Gazette in sound. Seats may be reserved as usual. ’Phone 486. “DISRAELI” BOOKED FOR TIMARU. Timaru theatregoers are to have the opportunity of viewing the wonderful all-talking drama “Disraeli,” that has created remarkable interest in Christchurch, where it will conclude a record season of seven weeks on Friday next. “Disraeli” is utterly different from any talking film that Timaru has seen hitherto. It is the first historical talking film, and as such it is a triumphant success. It gives a vivid picture of that interesting period when the destinies of Europe were being moulded, tells a gripping story, and shows a great actor at the height of his powers. Perfect reproduction does full justice to the cultured English of the players. The plot of the film centres round the efforts of Disraeli to acquire the Suez Canal for England. Astute statesman that he was, he sensed the vital importance of the canal, which his colleagues regarded merely as a “ditch in a desert.” The Bank of England would not back him, so he went to the Jews, and his envoys closed the deal with the Khedive. But while Disraeli was still chuckling with triumph, Henry Meyer, his rich backer, came to him with the information that he was bankrupt. Agents of Russia, who were also anxious to secure the canal, as a means of seizing India, had ruined him. His -cheque, which the Khedive held, could not be honoured. With irretrievable disgrace staring him in the face, Disraeli summoned again the head of the Bank of England, urging him to extend credit to Meyer. The banker refused. “You cannot ask me to do that,” he said. “Then, by God, I command you,” replied Disraeli. “Refuse, and I will withdraw your charter and smash the Bank.” The banker gave way. “I didn’t know you had the power to do all that, Dizzy,” said the statesman’s wife,- when the banker had gone. “I did not, my dear,” replied Disraeli mildly, “but Sir Thomas didn’t know that.” Though the minor characters are all splendidly played, it is the performance of George Arliss, as Disraeli that lingers in the memory. The Disraeli he portrays is an entirely human and convincing character in all his moods and phases. Box plans will open at the Bristol on Wednesday morning.

“WORDS AND MUSIC.” AT THE MAJESTIC WEDNESDAY. A sparkling musical revue “Words and Music” will be the attraction at the Majestic Theatre for three nights commencing Wednesday. It is one of the brightest productions that has been shown in Timaru, and certainly the finest revue revealed by the “talkies.” The story is simple, but is a perfect background for the hundred haunting tunes, the beautiful dancing numbers and the spectacular dresses that go to make the film. What is more, the stars have truly pleasing speaking and singing voices. Lois Moran is Mary Brown, a popular college girl, and Phil Denning (David Percy) is the student admirer and talented song writer who asks Mary to play leading lady in the musical comedy number which he has written for the great college contest. Through a very amusing prank Mary meets trouble, for the schemer of the piece, Helen Twelvetrees, goes to Phil and threatens to expose Mary if the leading part is not given to her. Phil pretends that he is not satisfied with Mary’s work, and she immediately throws in her lot with a rival concern in the contest. The competition night arrives, and Mary is a complete success. Just afterwards, however, one of Phil’s friends tells Mary the real reason of her dismissal—that the other girl was given the part to save her from exposure. Mary makes a frank confession of her part in the escapade, and, to the amazement of all, appears on the stage at the right time to play her part in Phil’s old world romance, the number which finally is awarded the prize. The whole film is packed with merriment, and the humour is of particular collegeday quality that can always be relied on to raise a laugh. The songs pi jvide pleasant music, some of the most haunting tunes being “Mary Brown,” “Too Wonderful for Words” and “Steppin’ Along.” Another asset is the spectacular setting and dressing, which at times is not far removed from the magnificent. Tom Patricola is seen at times in several eccentric dancing acts. Lois Moran makas a charming Mary. She acts, dances and sings with a vivacity that is delightful to see and hear, and the chorus is well-trained and efficient. Other features of the film maintain the same excellent standard.