THE LORGNETTE

Observer, Volume XLI, Issue 13, 27 November 1920, Page 12

THE LORGNETTE

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A T the National Theatre that "*•*• extraordinary creature, Tom Mix, may be seen on the screen in ''The Speed Maniac," which is the fastest moving picture in the world. In this picture there are guns, and hieing trains, motor cars, horses, love, hate, honour, dishonour, adventure, life, death, comedy, tragedy, tears, laughter, etc. Tom Mix does all things well—even to lovemaking, and Ji screen hero who makes love-as well as he drives a car, rides a horse, or shoots the villain, is the pea under the thimble— yos, sir! You must see that motor, race, you must see Mix with a "gun," you must see him mix it in a fight, 'see him getting up steam a-horseback, his. lightning conquest of the fair sex, and all that. Somebody told me this picture only cost two* million dollars—it's cheap! The comedy is "The Great Nickel Robbery "—there are Australian News, and a Bud Fisher Cartoon set with Mutt and Jeff in trouble!

At Fuller's Opera House the vaudeville company lias been enriched by the appearance of that gay deceiver, Alberto. Alberto has polished the art of verbal camouflage to a glittering surface, and his remarkable series of disappearances — Jim Jones will be here at 9.30, and in the dress circle at 9.30 J,.' convince everybody that Alberto knows Ins business. His work is full of merriment and humour, and goes like a song — much easier than a lot ot songs. He makes a flower grow from two inches to several yards without 'visible springs—except springs of water. De Wilfred is a xylophonist, and .that instrument as the centuries creep along appears to be getting more mellifluous. Perhaps it's the De Wilfred who is responsible. His stage ''props" are also an aid. He uses four hammers—two per hand. "Where Do Flies Go in the Winter Time" is vocally explaiued by Billy. Elliott, causes the house to vibrate with cachinatkms and rock with applause. "Breaking Into Society" is as good a humorous sketch as laughter-lovers can desire. Ward and Sherman do it—and do it top-hole. Louis London, the spectacular is at the pinnacle of his popularity, while Curley Sherwood has a bunch of vivacious 'songs that tickle the typania of the elect. Le-Birun and another have divers songs sung in the language of the. two great Allies, and I'entente cordiale is cemented some more. Tara Ysuda, the clever chap -from-far Nippon, juggles magnificently, and his stick act is peculiarly striking. He brings a whiff of chrysanthemums from the terraces 4>f Tpkio. Hall and Menzies, Yank and Jean, with a sketch, "Slightly Mixed," create a delirious diversion, and the music is well up to the topnotch set by the enterprising leviathans of vaudeville.

If you vvant to see anything better than "American Buds," which is showing at the Queen's Theatre with the Lee infants as the said buds— well, : you must show a leg early and search. Don't know what Mr. and Mrs. Lee are doing to keep the Lee kids at the one age, but they don't grow out of their childish devilment a bit. This bud story is sweet, wholesome, and fresh; the kids themselves are the mischievous little rascals who have made their name famous throughout the world, and there are' in the story some adults who indulge in the earth-old pastime of love among the buds. It seems to one that the simplicity of construction of plays in which the Lee kids

appear is the best basis for screen stuff. There's a lot of complicated blood and bedevilment in screen stuff; nowadays, and one wants to stay away a good deal and go to church as a pickmeup. Besides the Lee loveliness, there is other good breezy, healthy stuff.

At Everybody's Theatre the man with the stone face, William S. Hart, is doing "Square Deal Sanderson," a yarn dealing with the type of men we never see in a city, and which is therefore attractive to the person of peaceful tendencies. Sanderson is a loudly, violently, muscularly honest, sort of chap who hits you first and doesn't apologise after." Of course, it deals with wild and tame life, in the United States, where the ready revolver goes hand in hand with the empty glass, and people make fortunes with a tape machine and a telephone. We've .seen a fortune made in .six yards of film. What you go to see, though, is big Bill Hart, the hardfaced hero with a soul of silk and a heart of pity. He sure is the film actor from Filmville.' Every movement of him is a chapter — evecy line in his. face a volume. There is a Gazette, the latest news of the world, and a rippling comedy.

David Wark "Griffith harked back to the actual history of California in the gold boom days of 1849 to secure his hero for his new Para-mount-Artcraft masterpiece, "Scarlet Days," which will be presented at Everybody's Theatre on Friday. In the years' when stage coaches were the only means of travel and the quickest and straightest shot wsus usually the best man, a bandit by the name of Joaquin Muriettn used to roam the highways. He was a sort of American Robin Hood, for he would rob the rich and give alms to the poor, always treated women chivalrously and, though a terror to every sheriff in California, was a slave to his little Mexican sweetheart? He finally ended his wild life in a wild fight from a posse by riding a broncho over a precipice. .Mr. Griffith has woven this character into a thrilling motion picture. The role is taken by Richard Bathe] - mess, and is but one of a number ot romantic characters portrayed by such capable players as Clarine Seymour, Carol Dempsey. Walter Long, George Fawcett, and Eugenic Besserer.

"The Greatest Question," at the Strand Theatre, gives that clever actress, Lillian Gish, as well as llobt. Harron, a chance to show high-class quality. . Curious yarn. Everybody has premonitions, and a woman in the yarn preinonises her soldier son —has come to grief. So he has. He's drowned right enough, and the mother, of course, is superstitious. The crux of the business, however,which will be pie to spiritualists and other budding Conan Doyles, is that the poor chap "appears" to his relatives when they are on their last quarterdollar, so to speak, and discovers oil for them on their farm. Of course, the gusher is a sure bonanza—oozes dollars by the ton —so that the death of the dear departed was a blessing in disguise, for the family becomes rich beyond the dreams of spooks, and the scene changes to champagne, truffles, Wirth dresses, and love. There's a good deal of ] O ve—and variations of love—in the picture, which is remarkably well played, and is gorgeous photography. Other pictures, too —news, views, and laughter—especiallly Charlie Chaplin.

The "Sea Wolf" is the warmblooded, big-boned drama which is causing' the present invasion of the Trincess Theatre. Jack London never told a better yarn than the yarn about Larsen, the Sea. Devil, one is expected to admire, and whom one does admire, for his shocking vitality, his unbounded fighting spirit, and his desperate adventures. London gives as contrast a vacillating and effeminate man, and it is this skill of contrast that makes

Wolf Larsen so admired. There is a terrific fight aboard a ship with the Sea Wolf scattering the crew with his fists; there is plenty of real storm, wreck, scrap, mutiny, and so on—with the usual and very necessary love episodes securely wedged in the warp and woof of this muscular story. There is the fine spice of artistic tragedy, too,, where Larsen, who becomes blind, is deserted by his crew. Strong, vigorous, clever stuff, exceedingly well acted. You ought to see the wolf biting 'em!

Pupils' concerts are deeply interesting, as they give young artistes their initial chance of artistic expression, and demonstrate inevitably the suitability" of young performers for public appearance and entertainment. 'Madame Martinengo's pupils' concert in the Town Hall Concert Chamber on Saturday night was notable for the large number of young people who are new to public appearance, many of them showing highly excellent promise, and who not only demonstrate their own ability, but the value,of skilled tuition. For instance, Miss Birdie ' Cooper, with Batten's "Early Morn," gave si rendering of this sweet song in excellent tone and appeal. Mks A. Bond most expressively sang "The Slave Song," and was notably good in Thomas's "My Heart is Weary," and ill the duet, "Bird on the Wing," with Miss GJadys Ryan, showed vocal quality and illustration of the music .story. Miss Lillian Bond essayed that delightful classic, the "Flower Song," from "Faust." She sang it charmingly. Miss Gladys Ryan with " When Song Is Sweet" (Sans Souci) infused, the necessary delicacy and point,and in the duet with Miss Bond was greatly appreciated. Mrs. Gordon Nicholson, Avith Gounod's Waltz Song ("Romeo and Juliet") gave an excellent rendering of the gem. Mi-. Harold J. Hill's "Onaway, Awake Beloved," was an item which was received with real pleasure—it was verile, artistic, expressive. The sweet part song, "Wee Baby," delightfully rendered by selected pupils, the solo being sung by Mr. H. Jones, was heard with many manifestations of satisfaction. Gounod's "Qua ud in Chante" was nicely sung by Miss Jessie Buchanan, while that stirring , and emotional morceau. "Beloved, It Is Morn," gave Miss Joy Rowe a chance to prove that vshe has voice and temperament, too. The favourite, " I Hear -You Calling Me," was-given,, good value by Miss Esniie Green. Miss Vera Stone gave the "Chanson Creole" with a good understanding —si very novel number, and with "Sink, "Red Sun," Miss' R. Scott quite pleased the audience. Madame Mabel St. James, a professional elocutionist, made quite a hit with "Willie Goes Out to Lunch." Mrs. T. S. Howe and Messrs. Hill and Jones sang the trio, "Turn On Old Time," delightfully. Other excellent items were " Spring's Awakening" ; Miss Dorothy Macdonald, "The Nightingale"; Miss Jessie Melvin,. "La Serenata" ; Mrs. T. S. Howe, beautifully sang with a violin obligato by Senora A. Martinengo. "She Wandered Down the Mountain Side," Miss Gladys Austinsmith,very charmingly given. The 'cello solo, "Amonette," and a "Minuetto," by Mr. Norman Martin, were quite masterly. That highly expert accompanist, Mr. Cyril Towsey, was at the piano.

A scene in "The Red Lantern," a motion picture showing in Australia, was responsible for a number of casualties. The setting was that of the Boxer rebels' clash with Allied troops. The actors were carried away in the excitement, and some terrible blows were exchanged with clubs. It was not till the director noticed a number of men lying on the ground too realistically that the scene was suspended. Some of them were severely injured, and were confined to their beds for weeks. "The Red Lantern," , features Nazimova, - is the second of the milliondollar Metro production.