AMUSEMENTS.

Timaru Herald, Volume CXXV, Issue 18557, 2 May 1930, Page 5

AMUSEMENTS.

“THE valiant:’ 5 AT THE MAJESTIC. “ The Valiant,” now showing at the Majestic Theatre, is one of the few dramas ever written that was devoted exclusively to serious, even tragic, things. There is no comedy relief; one is left with the impression of a picture that had something to relate, and related it in a direct, unsentimental way. For this, the person who appreciates good drama, fine acting, and pleasant speech should give thanks, for 1 films of the calibre of “The Valiant” are very rare. Those three great essentials of the talkies, plot, histrionics, and diction, are welded in this picture into a convincing entirety, and Paul Muni, the Hungarian Jew, who is one of the few genuine artists on stage or screen, somehow rescues the drama from gloom. It is the story of a confessed and condemned murderer, who dies under an assumed name, though I he is suspected by xrtany to be the son | pf a famous house. Rather than bring disgrace on his family, he preserves his stubborn silence in the face of pleas and temptations. Some critics have constructed ‘‘The Valiant” into a very strong case against capital punishment, but to the average observer it does not present any controversial points. The acting_ of Paul Muni is above criticism, ana this is an exacting role. John Mack Brown and Marguerite Churchill are two other important members of the cast. Supports include “Belles of Samoa.” a delightful musical comedy featuring Lois Moran with a team of clever dancers, the famous entertainer Gertrude Lawrence in “I Don’t Know,” while a Paramount Sound Gazette is also shown. There will be a matinee this afternoon at 2, the chief feature being “The Masquerade.” “DEVIL MAY CARE.” AT THE GRAND. When Roman Novarro appears at I the Grand Theatre to-night in his 1 first all-talking musical romance. ! “Devil May Care,” people will immej diately placard him with the word “romantic.” For “Devil May Care” is' certainly a romantic picture. Advance notices from the studio at Culver City indicate that Metro-Gold wyn-Mayer had every intention of making this latest Novarro vehicle as romantic as possible for the simple reason that this youthful and good-looking actor can handle a role of that sort with a finesse and perfection that few of his colleagues on the screen can rival. Of course only a very short-sighted producing group would back a picture containing only that one ingredient, romance. And Metro-Goldsvyn-Mayer is far too experienced an organisation to make such an error. In filming “Devil May Care,” Sidney Franklin made every effort to support Novarro's romantic acting with a picture containing enough drama and action i to please the most fastidious picture fan. The story itself offers all sorts j of possibilities for action, excitement I end thorough entertainment. Novarro I

as Armand, a lieutenant of Napoleon’s Guard at the time when the “Little Corporal” was exiled to Elba, finds himself in the throes of adventure in . escaping from Royalist officers, the flight eventually landing him in the boudoir of Leonie, the daughter of a Royalist family. She shields him from his pursuers but regrets her action when she discovers who he is. Later he returns to her in the guise of a footman, from which point on there are complications, suspense and surprises galore. It was stated that a lengthy search was made among both screen and stage players in an attempt to find a feminine lead for Novarro, who could satisfactorily fill the requirements needed for the role of the charming Leonie, a part which could not have been filled by many, as will be readily seen when “Devil May Care” is shown. In the first place not every girl could have worn the dresses characteristic of the Napoleonic period. ROYAL THEATRE. “ MASQUERADE.” Romance and adventure have seldom blended so well as they do in “Masquerade,” Fox Movietone’s alltalking production at the Royal Theatre. The picture is adapted' from Louis Joseph Vance’s novel, "The Brass Bowl.” The delightful mix-up between a millionaire bachelor and a notorious crook who might be his twin brother, and the complications injected by a charming girl, all afford unusual pleasure to the audience, and appear to guarantee a wellfilled house during the run of the picture. One wonders at the adroitness of Alan Birmingham in his difficult dual role of the millionaire and the burglar. The actor’s ability to maintain the resemblance but to change entirely his voice and mannerisms to suit the divergence in impersonations, is, technically, one of the most interesting spectacles this reviewer has beheld in a long time, and it gives a

satisfactory answer to the question of whether a “talkie” can compete with a stage production in this phase of histrionic art. Leila Hyams is quite as delightful as she is convincing in the role of the girl who endeavours to save her father from the penitentiary. Clyde Cook,. Farrell Macdonald and Arnold Lucy enact important supporting roles with excellent results. The short features which support the chief attraction are "Napoleon's Barber,” a charming musical novelty, entitled. “Old Tunes for New,” Clark and McCullough. the popular comedians, in a most amusing farce and a Fox Movie tone News. GRAND THEATRE. LATEST TALKIE EQUIPMENT. In 'he prosecution of its policy of providing patrons with the very best obtainable in the way of motion picture entertainment, the management of the Grand Theatre has. within the past few days, completed the ii itallatioji of the latest Pacent Reproducer system. This plant, which left America only six weeks ago, and which is now in first-class working older, has improved the standard of enter- |

tainment fully 100 per cent. Up till recently the presentation of talkies at this popular picture house has merited high praise from a large circle of patrons, but those who have been privileged to hear more recent presentations have been amazed at the clarity of the spoken word and the purity of musical reproductions. The -Pacent Corporation can point to a long chain of the most prominent theatres in America which have installed their system, and the success which has been encountered there ensures popularity and equal success in this country. The most noteworthy features of this equipment are its compactness and simplicity, but nothing in the way of efficiency has been sacrificed in order to ensure simplicity. The greatest single appeal of the system is that not a single battery is used, the whole plant being operated off the town's supply of electric power. The system works directly from a 110 volt 60-cycle alternating current outlet, which means a great saving in time. Delays and breakdowns are almost entirely eliminated through the employment of a double channel am- | plifier. In the event of a blown valve, or such like, all that is required is for two switches to be thrown ever, and the second or reserve channel is in service. Special amplifiers and dynamic speakers give to the presentation of sound-on-film or other talkie productions a naturalness which cannot fail to please the most critical ear. The super-dynamic speakers which have been installed project sound evenly throughout the house, thus ensuring maximum enjoyment for every patron. Whether the house is large or small, volume is readily controlled and shaded, with plenty of I power in reserve to draw on. All the amplifying equipment is contained in a compact rteel cabinet, in fact every part of the machine is encased so as to eliminate danger of any kind. Only a very small portion of film is exposed, and in the event of this taking fire, which is a very remote possibility, it in turn sets alight a further length of film which releases a series of fireproof doors, which prevent smoke from entering the house. The system is also adaptable for use in supplying incidental music, which is an added part of every performance. Further than this, the plant can be utilised for the display of all kinds of announcements. So that the operator can follow the performance, a monitor speaker and volume control are mounted in the operating booth, which is entirely isolated from the theatre.