AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18539, 9 April 1930, Page 2

AMUSEMENTS.

ALL MUSICAL REVUE. “WORDS AND MUSIC.” The Majestic Theatre will no doubt hold a capacity house this evening, when Fuller-Hay ward present the finest musical and talking combination that has been shown here, "Words and Music," in which the younger generation comes into its own. Principals, bit players and chorus—all are either in their teens or early twenties, and the dash and enthusiasm which they put in their performance proves they are the types best adapted for this style of audible screen performance. David Percy, whose baritone voice and all-round ability have won him high praise, plays the leading role. Miss Moran is the leading lady, playing the role of “Mary Brown,” belle of Darnell College, she sings, talks and dances, revealing talents which will be a pleasing surprise to film fans who ha-v*. seen her only in dramatic productions. Other well-known players in the cast are Helen Twelvetrees, Elizabeth Patterson, Frank Albertson and Duke Morrison. In addition there is a dazzling array of campus beauties and handsome young undergraduates, and a chorus of pretty dancing girls. There are two distinct shows with the “Words and Music,” show, so that it practically brings the entire picture up to thro* entertainments. Lois Moran, Helen Twelvetrees and David Percy have the leads, all the three of them expert singers and dancers, all three possessed of undoubted acting ability. Lois Moran, before her advent in pictures, was a danseuse in the Paris Opera Company, and the way ip which she leads the principal ballets in this picture, and the way in which she goes right through her part, is a joy to behold. The story, of course, should always be the first consideration, and it is always to the fore in “Words and Music.” Never do the music, song and dance swamp, as it were, the story of two women and one man—that version of the eternal triangle that is always provocative of so much caustic humour, and that always calls forth the best and bitterest executive ability in the women. David Percy, as the bone of contention between Miss Moran and Miss Twelvetrees. is decently covered in confusion which happily does not prevent him from giving some songs in his fine baritone. The most elaborate ballet is "The Hunting Song,” led by Lois Moran, a particularly gorgeous number, followed by “The Beauty Waltz,” “Yours Sincerely,” and a glorious concerted number. “Good Old Mary Brown.” It is safe to say that these rollicking melodies will have a great vogue, for the rest, one can only wholeheartedly recommend the brilliant musical revue as among the most enduring efforts of the talking screen. Short varieties will embrace. Clark and McCullough, two famous comedians, who will be seen and heard in “Diplomats” a great comedy. “TJie Side Walks of New York,” a popular bouncing ball cartoon. The Kentucky Jubilee Singers, in solo and concerted numbers, whil’st the “Fox Movietone News” gives incidents of note. Seats may be reserved through ’phone 651 or at the theatre office. A matinee performance will be given this afternoon.

“PAINTED FACES.” AT THE GRAND. Cinema Art’s all-talking production, "Painted Faces,” opened its season at the Grand Theatre last night. The picture has as its setting the backstage life of a troupe of vaudeville artists, and tells of a clown who fell in love with his ward. Buddy Barton is jealous of the advances made by a rival, Roderick, to Babe, and threatens to shoot him. Later, Roderick is found dead in his dressing room with Buddy standing over him, a revolver in his hand. Buddy is charged with murder, and when the jury retires only one of the twelve votes him innocent. This is Beppo, the clown, who stubbornly upholds Buddy’s innocence until the jury have been locked up for five days; then, under the abuse of his fellow jurors, who are anxious to conclude the case before Christmas, only three days off, he unfolds a pathetic story. He tells how, when Nancy, his eigh-teen-year-old ward, had joined him in a circus she had been betrayed by a ukulele player and singer named Martin, who was in reality the murdered man Roderick. Buddy had been in love with Nancy and swore revenge, so that when he found Roderick forcing his unwelcome attentions on Babe he waited his opportunity and shot him. Having confessed to the murder, Beppo is about to go back to the courtroom and give himself up, when the jurors remind him that they are on oath not to divulge what transpires in the jury room. They return a verdict of not guilty on Buddy, and are thus able to spend Christmas at home. As Beppo, the clown, Joe Brown is well cast, and is ably supported by such artists as Helen Foster, Barton Hepburn, Dorothy Gulliver, Lister Cole, Mabel Julienne Scott, Alma Bennett Purnell Pratt, Walter Perry and many others. Among the supports are a two-reel comedy “Wrong Again,” featuring Stan Laurel and Oliver Hardy, a Pathe Review, and a lengthy sound Gazette. Seats may be reserved through ’phone 486.

“THE MYSTERIOUS DR FU MANCHU.” AT THE ROYAL. One looks for mystery in a Chinese film, and in the picture listed for the Royal Theatre talkies this evening, “The Mysterious Dr Fu Manchu,” on* gets plenty of it. When it is placed before the public in an unusual manner it becomes the more entertaining. The story opens at the time of the Boxer rebellion, and the tragedy that befel Dr. Fu Manchu, a peace-loving individual. His wife and child are inadvertently killed by the relieving troops, and thereafter he forsakes the even tenor of his life, and swears eternal vengeance on the foreigners. The whole character of the man is changed in one instant, and he becomes a beast of prey. Chance played into his hands, for he had just been given the custody of the child of a British officer, later killed in the defence of the legation. This girl he used to further some of the schemes he had in mind. He quickly grasped the advantage the custody of this girl gave him. His plans were laid well ahead, and with a terrible cunning and cruelty that could only come from a mind hopelessly obsessed. A grim feature of the story is that he employs the girl under the influence of hypnotism to carry out a number of the crimes with which he startles society. He selects as his victims the officers of the relieving regiments during the rebellion as a medium for his vengeance. A series of murders is begun, and his work in other countries completed to his satisfaction. Dr Fu Manchu moves on to London. This is the scene of his final downfall, thanks to the officers of Scotland Yard. The mystery element, on which

the success of the story hangs, is admirably worked up and sustained throughout, with the result that the attention of the audience is kept focussed on the scene and the characters as the story unfolds. Warner Oland and Jean Arthur play the leading roles, and play them well. The parts are of an unusual nature, but the actors succeed even beyond expectations in adapting themselves to them. The film is a talkie, and the speaking voices of the artists are good. Every word is clear, and reproduces well. The all-talking novelties will include “The Hold Up”; a bright comedy; a Paramount gazette; and the Kentucky Jubilee Singers in Plantation melodies. Seats may be reserved through 'phone 570. “DISRAELI.” SEASON COMMENCES SATURDAY. Commencing on Saturday next, is the wonderful audible drama that is to conclude a season of seven weeks at the Opera House, Christchurch, which easily establishes a record for any picture screened in the Cathedral city. Timaru is to be the second town to view this remarkable film, which will be presented here on Saturday next. Critics the world over have argued the merits of this new entertainment and the opinion that it can ever usurp the place of the legitimate stage has been scorned by many. When, however, one sees such a film as “Disraeli” any doubts are answered. Throughout the characters radiate that personal touch the screen has lacked in the past. “Disraeli” is the talking screen's first attempt at historical drama, and it emphasises the vast possibilities of this type of film. George Arliss’s protrayal of Disraeli—that shrewd and ambitious diplomat—runs( the gamut of characterisation. Now he is sardonic, now apprehensive. A turn of the wheel of chance, and his carefully-laid plans miscarry. An unexpected move on the chess-board of politics, and Russia may reach out and wrest the coveted Suez Canal. Intrigue, counter-intrigue, romance, strategy—George Arliss deftly brings out the nuance of each passing emotion of the mysterious superstatesman Disraeli. Each shading of the character is so finely etched and so superbly interpreted, that this great great Victorian Prime Minister lives again. Such a masterpiece of acting is that of George Arliss that one is apt to disregard the other characters. It is their uniform excellence that makes the film complete. The most pedantic listener could not find fault with their diction and enunciation. Box plans will open at the Bristol this morning.