AMUSEMENTS.

Timaru Herald, Volume CXXXIV, Issue 18849, 11 April 1931, Page 19

AMUSEMENTS.

“THE SEA GOD.” GRAND THEATRE. Drama to the depths—action and adventure to the crested tips of the topmost palm, is offered to-day at the Grand Theatre, in “The Sea God,” Paramount talking romance dealing with the experiences which befall a bronzed young sea-dog, a primitivetempered maid of the South Seas, and a brutal trader, on, about, over and in the waters surrounding a cannibal isle. Richard Arlen and Fay Wray, the “Border Legion” lovers, are the the principal wayfarers. Eugene Pallette, a sergeant of sleuths and cowhand of parts, goes “salt” as Arlen’s first-mate, first class. Robert Glecker is the “menace”; and other subordinate portrayals are given by Ivan Simpson. Bob Perry, Maurice Black and Fred Wallace. Novelty of viewpoint, is a bizarre touch of this production, directed by the assiduous and alert George Abbott, whose “Manslaughter” attained widespread favour, while serving Claudette Colbert with new steps to fame’s very pinnacle. Far from prosaic is Abbott's method of showing the savages attacking ship. The audience is taken below the surface of a sunlit crystal sea, and shown the action as Arlen sees it, looking up from the ocean floor. The mysterious hum of subsea, the gurgle of air lines and implements, the pebbly wash of diving armour propelled about, is captured by a new camera-microphone developed by Paramount, said to be capable of operation at great depths without the protection of a diving bell. Events bizarre as an untapped world are unfolded as the youthful adventurer outwits pagan tribes, beats back a rival, captures the heart of a girl, and sails away with love and fortune, all the spoils of a victorious spirit. A NEW ERA IN ENTERTAINMENT. “KINO OF JAZZ.” “King of Jazz,” the super-musical extravaganza starring Paul Whiteman and his internationally famous orchestra, will be the extraordinary offering of the Theatre Royal commencing at to-day’s matinee. “King of Jazz” brings to the all-talking, all-singing, all-dancing and all technicolo'ur screen, the most scintillant and colourful sound production so far envisioned by any film producer. It is claimed to be the most costly, the most elaborate, the most spectacular and the most entertaining revue ever presented on either stage or screen, a veritable “revue of revues” which is loaded with celebrated stage and vaudeville headliners and the greatest stars of the studios. The picture, consisting of eight musical spectacles between which are interspersed nnumerable specialties and comedy acts, dramatic skits and blackout, is filmed entirely of technicolour Beautiful girls, gorgeous costumes, and lavish sets are presented as tableaux of loveliness never before conceived. Besides Paul Whiteman and his band, who appear in person in a variety of numbers as well as providing the music all through the picture, "King of Jazz” presents an array of stars hitherto unapproached in a single picture. Laura La Plante, John Boles, the sensation of the singing screen; Jeanette Loff, Stanley Smith, the famous Russell Markert dancers, Grace Hayes, Billy Kent, Charles Irwin, Paul Howard, A 1 Norman, Tommy Atkins’ Sextet and Nell O’Day, all headliners of the vaudeville stage; the celebrated Sisters “G,” the dancing rage of Europe brought especially from Berlin; Rose Statler, Jeanie Lang and countless others from all spheres of entertainment world appear in their choicest numbers. Mabel Wayne, who wrote “Spanish Town,” “Ramona,” and many other song hits, who wrote “I Wonder What Became of Sally” and other famous songs, wrote a new music especially for the revue. George Gershwin contributed his immortal “Rhapsody in Blue,” conceded to be a classic of modern jazz, for an atmosoheric number in which sixteen beautiful girls toe-dance the number on the biggest piano ever built. Herman Rosse, the famous New York theatrical designer, who has been responsible for the costumes and scenic effects of many of the metropolis’s most celebrated shows, designed all the costumes and settings for “King of Jazz.” Each number, called for a separate setting, more lavish, more gorgeous than the last. A new innovation which he calls “colour-tone,” was invented for the picture by Rosse, by means of which he suits the moods of his creations exactly to the Whiteman music throughout the film. Box plans for this attraction remain open at the Bristol until noon. “King of Jazz” will be screened at this afternoon’s matinee and will be supported by "The Indians are Coming,” Mickey the Mouse,” and the Universal Sound News. GRETA GARBO IN “ROMANCE*.” AT THE MAJESTIC. Among the hundreds of reasons which have been advanced for the success of Greta Garbo, exclusive of her inimitable personality and unusual beauty, is the Swedish star’s versatility. Miss Garbo refuses to be cast into a mould, and has made it a point to insist on being given a totally different characterisation with each picture. As the latest Indication of her versatility j comes the announcement that in Romance,” her second picture which will open to-day at the Majes- j tic Theatre, Miss Garbo will play the ! part of an Italian opera singer. This j is the same role played on the stage by Doris Keane in the well known , Edward Sheldon drama which, following a successful season in New York ran for three years at the Duke of York Theatre in London and was subsequently played in most of all the large countries throughout the world. The picture opens with a prologue in which the grandson of a bishop asks his grandfather’s consent to his marriage with an actress. In an attempt to dissuade the boy from what he believes will be a rash alliance, the bishop tells him of an occurrence which happened when he was young, and it is this story as viewed in retrospect which forms the main body of the picture, and introduces Miss Garbo as the fascinating opera star for whom the young clergyman becomes desperately enamoured and whose romance is shattered when he discovers that the singer’s past is not as spotless as he had believed. The work of the supporting cast is all that can be desired. Gavin Gordon, the new leading man, has j never before been seen on the screen. | but one would never guess it from the finished performance he offers, first in the make-up of the bishop and subsequently as the young lover of the central plot. Lewis Stone as an aristo- | cratic patron of the arts gives his

usual expert performtnce; Elliott Nugent does well as the grandson who insists an marrying the girl he loves despite the lesson depicted by the bishop; and meritorious performances are equally divided between Florence Lake, Clara Blandick, Henry Armetta, Mathilde Comont and Countess Nina de Liguoro. Considering plot value, photography, direction, dialogue and acting, "Romance” is one of the few productions on the talking screen which may be reported as being without a flaw. Other pictures on the programme are another of the clever Dog Comedies; the Pathe English Gazette, which shows the English and Australian Test Cricketers in action; “The Toyshop,” a charming coloured feat* urette, and the Universal News. Seats may be reserved at the Majestic office.