AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18545, 16 April 1930, Page 10

AMUSEMENTS.

AT THE MAJESTIC. “DISRAELI.” A crowded and enthusiastic audience assembed again last night at the Majestic to witness George Arliss’s alltalking triumph. “Disraeli,” which will conclude its season on Thursday. For acting and reproduction, “Disraei” must rank as one of the best talkies that has appeared in Timaru. The title role of Disraeli, the great Jewish Prime Minister of England, is taken by George Arliss, and it might be said without any reflection on the other players, that George Arliss is the film. It was hard to realise that the film was not a legitimate stage play, and the hold that Arliss obtained over the house was wonderful. When, as Disraeli, he replied with unanswerable arguments to the thrusts of Gladstone, and expounded his great Imperialistic policy, the end of his perorations received round after round of applause. Mingled with the more serious side of the negotiations for the purchase of the Suez Canal were the scathing witticisms of the Prime Minister, which evoked unrestrained laughter from the audience. Running through the plot is a charming love story carried by Anthony Bushell and Joan Bennett, while Florence Arliss, the star’s Vife, plays the lead opposite him as Lady Beaconsfield. The all-English cast supporting Arliss is an excellent one. including, in addition to the players mentioned above, such popular names as Daviid Torence, Ivan Simpson, and Doris Lloyd. The story of the play was adapted for the screen by Julian Josephson, who has many fine scenarios to his credit, and in “Disraeli,” his latest, he has skilfully transferred every ounce of dramatic value contained in the original script. An excellent programme of short variety numbers is also shown. There will be a matinee to-day at 2.30, and on Thursday at 3 p.m. “MOTHER’S BOY” AND “SHADY LADY.” AT THE GRAND. Last night patrons of the Grand Theatre were treated to an entertaining double feature programme of considerable merit. The first feature, “Mother’s Boy,” starring Morton Downey, is an impressive story of humble life in the tenement district of the Lower East Side of New York, the venue later changing to the bizarre and garish life of New York night clubs and stage. Morton Downey sings several popular songs, and proves to be the possesor of a fine tenor voice. The theme song, which he sings with splendid effect, is “I’ll Always Be Mother’s Boy,” while another popular number :ls “The World is Your’s and Mine.” In his love scene with Helen Chandler, who plays opposite him, he sings with fine expression, “There’ll Be You and I.” Other airs heard in the production are “I'm Funny That Way,” and “Good Little Bad Little | You.” These are sung by Mildred ! Hunt, a noted radio singer, in the I cabaret scene.

The second attraction, “Shady Lady,” with Phyllis Haver in the featured roll, is a daring story of one of those mysterious characters who dwell on the fringe of society, and may or may not be what the public expects them to be. The heroine is first seen as a refugee from the long arm of New York criminal justice, and leading a butterfly existence in gay and fashionable Havana. Here her shady record causes her to be entangled in the machinations of rival racketeers, until with her exculpation from the New York charge, she finaly wans out to good repute and happiness. Phyllis Haver, as Lola Mantell, the Shady Lady, is ideally suited to her role, and her acting is subtle and impassioned. She is ably supported by Louis Wolheim and Robert Armstrong “THE BLACK WATCH.* COMMENCES SATURDAY.

Fuller-Haywards are to the fore with another gigantic attraction for the Majestic Theatre, and South Canterbury will delight in the news of the coming of the famous all-talking picture “The Black Watch,” which will begin its Timaru season on Saturday next. “Unquestionably the biggest and most outstanding talking picture yet,” is the description applied to “The Black Watch,” a spectacular Fox movie-tone visualisation of Talbot Mundy’s famous story, “King of the Khyber Rifles.” This magnificent attraction ran for five weeks in Auckland recently, and is reported to have broken all records there. Not only has artistry been happily combined with almost technical perfection, but out of America has come a production that anywhere would pass as 90 per cent British. It is the story of “King—of the Khyber Rifles,” a novel by Talbot Mundy. The officers of a Highland regiment are dining together on the even of their departure for France. The toast is ‘The King.” One of their number, Captain King, is detailed for special duty in India. His mission is to defeat a plot hatched among the hill tribes above the Khyber Pass to invade India. He is sworn to secrecy, and part of his task is to leave his regiment on the eve of active service under suspicion of cowardice. From the officers’ mess of the 42nd Highlanders, and from Whitehall and Waterloo station, where the hero sees his regiment entrain, the story flashes to a border town in India, near the Khyber Pass—-

the dreaded back door of India. A muezzin calls from a spiry minaret and tiny bells tinkle as camel trains press through the teeming streets. In gloriously rich tones comes the voice of a mad mullah in the Cave of Echoes, up in the hills above the pass, exhorting the followers of the White Goddess to sweep down at the appointed hour. There also is King, of the Khyber Rifles, who in a tale of heroism and high adventure defeats the plot to invade the vulnerable north-west frontier. There also is set the story of the White Goddess, who risked an empire for a kiss —and lost. There is no jazz in “The Black Watch,” of “King —of the Khyber Rifles,” as the picture should be named. But there is the music of the pipes so wonderfully recorded in “Bonnie Dundee” and “Blue Bonnets Over The Border,” and men’s voices rich and poignant lifted in “Auld Lang Syne” and other songs of Scotland. It is music that adds intensity to a story of high dramatic merit. Victor McLaglen plays the role of Captain Donald King. He plays to perfection the hard-working, conscientious British officer, concerned only in doing his job. Miss Myrna Loy is the seductive Yasmani. Both the stars speak English devoid of twang. Another very fine role is that of the Indian officer, a tall, bearded Sikh, who very artistically combines the business of prayer and war. The battle scenes are most effectively staged, and form a vivid contrast to the Indian portion of the story. A supporting featurette is the inspiring sight and sound record of the 1928 “Trooping the Colour” ceremony—England’s wonderful annual military spectacle in connection with the King’s birthday. One sees and hears the stirring regimental massed bands, the Horse Guards parade, the march past of the famous English regiments, in addition to other incidents associated with the patriotism and thrill of this superbly colourful event. Saturday box plans for the dress circle w ll ’ open at the Bristol this morning.

“ SPEAKEASY.” AT THE THEATRE ROYAL TALKIES. When George M. Cohan stated, for the press, that dialogue pictures •were confined to four walls, he certainly did not include the Fox-Movietone production, “Speakeasy,” which is the featured attraction at the Theatre Royal this evening. The scenes are staged in the Madison Square Garden, New York, at the Belmont race track, in subway tunnels, on main streets of the great metropolis and, in fact, all over the big city. The dramatic thread of the interesting story is woven in these locations and the result is astonishing beyond description. The dialogue is brilliant and, due to the thoroughly experienced cast of stage players who appear in the principal roles, sounds convincing. Paul Page and Lola Lane, new to picture patrons but well known on the Broadway stage, are headed for sure success in the talking motion picture field. They have that certain grasp of expression which comes only from long experience behind the footlights. Their performances are a delight to watch and hear. One of the greatest of them all, Henry B. Walthall, carries away stellar honours by his perfect portrayal of a down-and-out piano player. The veteran actor fills his role to the brimming point with incomparable work and rich voice. Sharon Lynn as the beautiful “joint” entertainer captivates with her charm and voice. Warren Hymer as the villain is excellent. Stuart Erwin, Erville Alderson, Helen Ware, Ivan Linow, Marjorie Beebe, Helen Lynch and a score of others are splendid in their roles. Supporting talking and musical subjects that will create enthusiasm 1 are Clark and McCullough the famous I comedians, in “Music Fiends.” Raquel Meller is a vocalist of note. Sir A. , Conan Doyle delivers a brief address and both the Fox Movietone News and the Paramount Sound Gazette are excellent additions. Seats may be rej served through ’phone 570. “SAY, BOY!” ST. ANDREWS TONIGHT. Residents of St. Andrews will have an opportunity to-night of witnessing the production “Say, Boy!” by the Black White Revue Company. Last night the company played to an enthusiastic audience at Otipua, and tonight they are certain to be again well received. The production is bright from start to finish, and is the class of entertainment which cannot fail to find universal approval. ■n l —ii«irn—ii^