AMUSEMENTS.

Star (Christchurch), Issue 17178, 23 October 1923, Page 5

AMUSEMENTS.

GREATER CRYSTAL PALACE

MAY ALLISON AND ROBERT ELLIS. GLADYS WALTON TN ** SAWDUST.” A characteristically bright and varied programme, dealing with human nature in widely different moods, passing lightly from grave to gay and touching some of the tenderent heart-strings, held the public in close attention at Greater Crystal Palace last night. With the skill of a.n experienced showman, Mr V. M. Beebe, general manager of that popular theatre, follows a policy that provides all tastes with amusement. He is in touch with great pic-ture-producing organisations which cover a boundless sphere of story, design and setting; and his selections from lists of clever productions are made so carefully that every item appeals generally a.s well as individually. Last night’s programme was no exception to the rule. It had two big attractions, with supports which, in their way, also are in the front rank of movie-pictures. It would be somewdiat invidious to choose lx?tween “ The Woman Who Fooled Herself’’and “ Sawdust.” As a matter of fact, thay do riot bear comparison, any more than Mr 'Phomaft Hardy’s “Tees” can be compared with John Strange Winter’s ’‘Hoop-la”? or Kingsley’s “ Hypatia” with Mrs Burnett's ‘‘Little Ford Fauntleroy.” Yet those who last night enjoyed the one found equal pleasure in watching incidents that, unfolded the plot of the other—a tribute to the artistic work in both of them. The misogynist may say that most women fool themselves more, or less sooner or later. Few do so to the same extent as Eva Lee does in Mr C. A. Logue’s love story adapted for the screen by Mr E. A. M'Manus for the Associated Exhibitors. She finds that, instead of playing with the heart of an enemy, as she thought, she is playing with her own heart ; and it is sad enough before she realises that Cupid’s random arrows can turn contempt into love. Evg. Lee is “a chorus girl, vivacious and sparkling, with something of the devil in her. and not above taking a hand in sharp practice. She is represented on the screen by Miss May Allison, who has had a career as a comedy queen, but who, in “ The Woman Who Fooled Herself,” shows that she is sufficiently versatile to take with equal success a heavy dramatic part. She lias here a great deal of emotional acting, as well as the lighter part that the chorus girl character compels, and she carries it through with impressive effect. This is her first appearance, by the way, in a movie picture with her husband, Mr Robert Ellis. The pair give “ The Woman Who Fooled Herself ” the stamp of a twin-star production The setting shifts, with sharp but pleasant contrast, from New York’s cabarets and streets to Porto Rico’s luxuriant tropical scenery, which has been photographed in all its loveliness. Phases of life on sugar plantations give a slight touch of the didactic element to the piece. The tropical storm in Porto Rico is higldy spectacular, and in a night carnival in Spanish style, there is Javishness of warmth and colour.

Romance always has been associated with spangles, sawdust and the ring. Stories that deal with them mostly are written by people who never were behind the scenes at a circus. and whoso knowledge of circus life is super- , ftcial. “ Sawdust,” adapted for the Universal Special, was written by Mr Courtney B. Cooper, who, for many years has been associated with one o? the largest circuses in America. Ho hns seen the life from inside actually has lived it, in fact—and he reproduce.! its atmosphere and spirit in the charming character of Nita, a, tight-rope walker. The characterisation is vivid and convincing, above all, very human and very feminine. Nita is one of the best girl characters, of her type at least, shown at Greater Crystal Palace. The fact that Miss Gladys Walton has taken the part accounts largely for Nita’s success out of the written story. The star of “Pink Tights’* has found in Nita another absolutely congenial part and she plays it to» perfection. As the little circus girl, she is whimsical and bewitching. Her athletic stunts are not. the least surprising, and engaging part of her performance, an artistic triumph that lingers long in the memory of those who see it. “Around the World in Eighteen Days’” advanced another chapter last night, and gave those present, another series of pleasant thrills. A Baby Peggy comedy. “Taking Orders,” was an admirable introduction to the big attractions and the International News contained up-to-date items. The crowded holiday attendance in Greater Crystal Palace last night was provided with a particularly attractive musical programme, as well as pictures much above the average. The Symphony Orchestra played a “musical switch,” grand opera being followed by comic opera. It played for the first time Friml’s suite, “Melodique.” In the first item of the suite, refined work was done by the clarinet and the woodwind instruments: the second number was a waltz movement in grand style; the third, a lore song, was notable for the flowing melody for violin and ’cello. Selections from “Carmen,” fitting in appropriately with “The Woman Who Foiled Herself,“ were played in the true “Carmen” spirit. Another charming melody, with the spirit of the Spanish nation was “Serenatella.’’ Vec.sey's “Love Scene” opened for the ’cello, and had a quiet melody for the violins. An interesting selection of Squire’s “Popular Songs" was included in the programme. One of the most popular items of the evening was Uhl's vocal waltz. “When Love Dies.” Amongst other items were many wellknown selections from different light operatic pieces.

LIBERTY THEATRE

' A very varied and attractive programme of pictures and music is provided in the new programme at the

Liberty Theatre. Pride of place must be given to “Pay Day," featuring the ever-popular Charles Chaplin. The scene opened with a closeup of a formidable foreman of works effectually urging to greater efforts, the work of his gang of men. Then the scene suddenly changes and Charlie is seen creeping through a crack in a paling fence behind the foreman’s back. The. foreman spies him just as Charlie takes up his shovel and begins shovelling dirt so vigorously that the unfortunate foreman has to retreat precipitately in order to avoid being buried beneath the fast-growing heap of soil. This does not last long, however, and when the foreman returns Charlie is seen making frantic efforts to lift what appears to be a heavily loaded shovel. x After a super-human effort he succeeds in raising the shovel out of the hole, and. to the amusement of everybody, it is found to contain about, an ounce of dirt. At the end of the day Charlie is paid, and his contention with his wife over the possession of his wages affords abundance of fun. A Goldwyn picture. “ The Old Nest." is the second feature. The theme is that of a mother who sees her six children leave her. Rupert Hughes is the author of this poignant tale of mother-love. All the joys and sorrows connected with raising a family have been dramatised. The children grow to manhood or womanhood. all with their own individual interests. and then leave the old nest to follow the call of their desires. Only the mother is left in her loneliness and with her memories. Each spring, as the anniversary of her birthday comes

she hopes against hope that one or other of her children will return to her. However, with true mother-love, she finds a ready excuse for their callousness. and is content to accept a present

sent weeks after her birthday with a lame apology for lateness. One year, however, the eldest son, who has risen to a very responsible position in the Senate, gathers the other members of the family together and a grand reunion takes place. The aged mother, who has been failing in health for some years, makes a wonderful recover}'- and soon she is fussing around her little ones just as in the good old days that she thought had passed for ever. Mary Alden, invests the role ‘of the mother with a realism that cannot fail to

attract attention. “ The Cave Girl,” a vivid, pulsating story of youth, romance and adventure, enhanced by magnificent outdoor scenery, is the third attraction. In addition there is a veryinteresting and instructive topical gazette. During the. screening of the pictures an admirable musical programme i.; contributed by the Liberty Quality- Orchestra under the direction of Mr Howard Moody.

EVERYBODY’S THEATRE.

A SMASHING CLIMAX. A STORM WITHIN A STORM. Everybody loves a thrill. With most people, the bigger the thrill the better they like it. Some people are apt to frown on what they term sensationalism, but even these are not lacking in appreciation of a good thrill, or slow to respond with quickening pulse to the influence of some well-arranged and executed piece of cinema effect. Patrons at Everybody’s Theatre last night got. something special in the way, of thrills, and for that reason, if for no other, voted Goldwyn’s new Rupert Hughes picture. “ Souls for Sale.” one of the best that has been submitted for a long while. Of course, the picture has attributes other than its wonderful climax to place it among the great productions of the studios, but the startling nature of the climax so transcends anything else in the film and so overshadows the contributing incidents, that it naturally makes a very powerful appeal to the imagination and creates a vivid impression that is not readily lost. The climax depicts the burning of a big circus tent. A movie company is shown filming a storm scene in the circus, and, during the height of the mock tempest, a real storm of hurricane force occurs. The scene possesses this novel characteristic, that the audience is shown first the make-believe storm, and then the scene is overwhelmed by the real storm- The difficulties from the viewpoint of the producer are obvious. He has had to impose on his “ fake ” storm another of the same character, but of such magnified dimensions as to give the impression on the screen of a real natural outburst. The average movie patron, as a rule, does not bother his head much about how effects are achieved, so long :.s they are well and convincingly presented. There were many at Everybody s last night, however, whose thoughts during the showing of the big scene must have strayed occasionally from the theme to ponder on the clever expedients adopted to make the representation so realistic. and convincing. The picture is notable for the number of prominent movie actors and actresses who appear in it. The average picture is very well endowed if it is able to present a couple of stars. .Tn this film stars nre .jostling and falling over each other. The reason is that the picture deals largely with that city of mushroom fame, Hollywood, and, in the different “shots” of events that occur there and of the people who contribute to their oc.curj rence, the camera has taken in nearly I all the great stars in one wholesale, comprehensive sweep Quito apart, however, from the interesting scenes which it depicts, and of the interesting people of whom it gives glimpses, the picture tells a, story of great dramatic intensity. And, if it is to be believed, Hollywood is not such a bad plaoe after all, nor the people half the roysterers that many critics, who know absolutely nothing about it, would have us believe. Though it is garbed in pictures costume and set amid novel .surroundings life in Hollywood, if it is to be successful, .is pretty veil what it is elsewhere and its measure of success or failure is determined by capacity to work. Eleanor Boa.rdma.n. who interprets the principal role, is responsible 1 for some (splendid dramatic act-

ing. She is seen first as the newly wed wife of a man whose business in life is to marry simple girls, insure them well, become a widower, and then go forth to fresh conquests. By a lucky intuition she guesses something of the character of the man she lias married

and makes her escape. She leaves the train on a desolate plain where there are no habitations in sight and where it soon becomes obvious she stands an excellent, chance of starving to death.

She is almost in extremis when, upon a sandy hill, seated on a camel, she sees a being who ought, if appearances count for anything, to have been no further west than the Sahara. Ho proves, however, to be neither Arab nor Bedouin, but merely a movie actor, and when the audience is privileged to peep on the other side of the hill it is to .see a great number of the same ilk. The business in hand is the “ shooting ” of desert, scenes. The famished wayfarer is taken care of by the actors, and in due course she herself enters the profession and climbs the ladder of fame. It is while she is struggling upward that the audience is shown something of the inner life of Hollywood. The picture is good in all of it many phases, and the great storm scone is a fitting finale.

Of a quite different, type is “ Sixty Cents an Hour.” a picture in which "Walter Hiers quite lives up to the jwomise to provide sixty laughs a minute. Hiers is a clerk with wide ambitions and a shrunken bank account, whom a harsh world lias robbed of everything but his optimism and his firm belief that, sooner or later, he will make the town sit. tip and take notice. He does it. and gives good measure in the doing. The fun is furious nearly all the time, and even when the hero is engaged in deadly strife with two bank robbers he contrives still to be funny. Tn addition to getting what he wants from the town, he gets. the banker’s daughter too. and, as he is a jolly, amiable, sympathy-stirring person, the audience is quite pleased to see him do

The musical programme is of the best. During the first half the orchestra submitted light numbers in keeping with the picture. For the entr’acte it gave a jazz. “ Siren of the Southern Seas.” The ballet music from “ T.a. Korngano ” fWidor) was well rendered, and the audience took a. lively interest in a divertissement from “ Les Erinnyes.” of which the second movement only was omitted. Other.jtems included the ballet music from “ Hamlet,” “ Xaviere.” and the first part of the “ Ascania ” ballet.

QUEEN’S THEATRE.

HOLIDAY PROGRAMME. There were large, holiday audiences at all sessions of the Queen's Theatre yesterday, when a fine programme of pictures was presented. There were two big films, and each in its way was perfect: right was shown in its eternal battle against wrong in one. and the other had as its theme the salvation of a gambler. The first film, Boston Blackie,” is based upon one of the famous Boston Blackie stories, and it reproduces in every way the excitement of the original. The. principal role is taken by William Russell, who gives a very fine studyof the character. The scene of the play is in America, and the story seems to have some propaganda significance, for the notorious prison system of that country comes in tor very severe castigation. “ Boston Blackie ” is a man who is put away in prison for a trivial offence, and on release he determines to do what he can to expose, the brutal methods of punishment employed there. Benton, the. governor of the gaol, is the man of all men whom he desires to bring to justice, and he is prepared to go to any length and make any sacrifice in order to do this. Election time draws near, and to prevent the brutal gaol official holding further office, he .works for the party which has prison reform as a solid plank in its platform. Blackie goes to the District Attorney and ex ; plains to him just what the true state of affairs in the prison is. He beseeches the attorney to send him back to .prison in order that he might collect evidence against Benton. At length an understanding is reached, and it is decided that he shall attempt to break into the attorney’s house when it is: guarded. This he does, but on going up to his friend he finds that he has been shot. At that moment the guards enter the house, and all the circumstances point to Blackie as the mur derer, and after a trial he is convicted

and sentenced to imprisonment for life. It happens that he is sent to the gaol in which Benton is the governor Of course the treatment meted out to him is outrageous, and had it not been for the constancy of a good woman he would have failed in his great work. After many exciting adventures he escapes, and on the eve of his recapture he is pardoned as the result of a death-bed confession made by the real murderer.

The second star film is “Snowdrift,” a Fox production starring Charles Jones. It is a story of the Yukon, and it tells of the many tragichappenings in the. lives of the people in that lonely, snowclad country. First of all M’Farland, a prospector, loses his wife, and he is left with a baby daughter to care for, but in the end he is forced to leave her in charge of an Indian woman while he goes away in search of gold. The next part of" the story shows a young university man who has gone to the bad through gambling, and who spends his time and money in the saloon. A light woman comes into his life, but she has sense enough to see that he will not be able

to last long in his foolish mode of living and she persuades him to turn the leaf, and become respectable. He does this by going out into the Far North. Ultimately, he meets there the daughter of M’Farland, and they fall in love while other complications are being straightened out.

In addition to the star films there was a splendid Sunshine comedy called “ When There's a Will.”

The Queen’s orchestra, under Mr H. G. Glaysher. played the incidental music in a capable manner.

GRAND THEATRE.

The new programme at the Grand Theatre is headed by the First National attraction, ‘‘The Dangerous Age/’ which can justly be entitled a first-class picture. In it the essential elements of humour, pathos and love, interest are cleverly blended, and the whole story is of that well-constructed variety that keeps one in suspense until the end. In the selection of the cast fc.r “ The Dangerous Age,” John M. Stahl, the noted producer, has more than fulfilled the promise implied by “ All Star.” Lewis Stone plays a leading role and among the other members of the cast arc such celebrities as Edith Roberts. Ruth Clifford. Helen Lynch, James Morrison, Cleo Madison, Myrtle Steelman. Edward Burns. Lincoln Steelman and Richard Tucker. The gramme is a" William Fox production entitled “ Just Tony.” One of the leading performers in the picture, is Tony, the famous horse belonging to Tom Mix. Tony plays a very big part in this picture, and in fact puts his master, who of course also has a leading part, somewhat in the shade. There are thrills in abundance. Plenty of opportunity is afforded Tom Mix to show his skill a# a. horseman and as a rifle and revolver shot. The remaining pictorial items are a travelogue film entitled “With Rod and Gun.” and a Topical Budget of interesting happenings in other lands.

FULLER’S OPERA HOUSE

AN EXCELLENT HOLIDAY PROGRAMME. An excellent holiday programme of vaudeville items’ was presented at Fuller’s Opera House last evening to a large and enthusiastic audience. As befitting the occasion, the programme was a particularly bright one, and the holiday spirit was in evidence throughout. First came Jack Birchley, a clever contortionist. His turn was entitled “Making Both Ends Meet.” This he did in several novel ways, and at times it was hard to believe that any human being could twist bis body into such seemingly impossible positions- M hile going through his performance he kept up a constant flow of patter which considerably enlivened the turn. His concluding item was to accomplish a triple dislocation, both arms and one wrist being involved in the contortion. The Hilo Duo, + wo clever Hawaiian specialists, gave one of the most popular turns of the evening, and the presentation - was of the highest class throughout. The curtain rose on a moonlight scene on the shore of a South. Sea island, and disclosed a Hawaiian man and maid singing and playing, the man with a. guitar and the maid with a. similar instrument, played with a steel bar. as is favoured by these islanders. The harder notes of the steel instrument blended admirably with those of the other. and music of exquisite harmony was the ; result. The male member then contributed two solo items on the steel guitar, and followed this with a solo on the ukalele. The Hula Hula danced daintily to the guitar music concluded the. act, which brought forth hearty applause from the audience. Carlton Max. the well-known and popular ventriloquist, made a. welcome reappearance. and his talking doll was provocative of much amusement- Carlton is a clever ventriloquist, and the amount of volume and ton© he puts into his assumed voice without betraying himself hv lip movement is extraordinary. The manipulation of the doll, too, is very good and helps in no small degree to complete the illusion that it actually talks. In concluding the act, Carlton causes his doii to sing I a. song in which it asserts that it loves j its master in spite of the fact that j of all the salaries they have earnoi to- i get her none has yet come into its j hands. Keith Desmond, the brilliant monologuist. was again before tFe T?sot- , lights, and he proved himself to he a , reciter of no mean ability. His first rendering was to present the third act | of “ The Christian.” He took the parts of the three main characters. | and went through the piece in a most convincing style. From serious mood h© changed to merry, and “put over” j a. bright little skit on the usefulness i and otherwise of a sixpence. Then j followed that well-known poem “ Las- j car.” which he delivered with great i dramatic power and impressivenessHis turn concluded with a repeat item, j entitled “ The Death of Nelson,” as ! delivered by a Cockney. Joe Brennan and Ida. Newton were the next to appear. Dressed as a Y.A.D.. Joe Brennan was responsible for bursts of almost uncontrollable mirth from his audience. Ida Newton then made her appearance, and a series of amusing conundrums passed between them, after which she sang a song entitled “Ma Cherie,” first as it would he sung in New Zealand, then in France. and lastly in London. They finished their turn with some clever step dancingMable and Malfe, the popular English comedy specialists, presented an attractive Dutch scene, Mable being dressed as a Dutch girl, while Malte appeared iu his usual porter costume*. After some bright patter and joking Malfe executed a. ligntning painting or a Dutch scene very cleverly, and while his partner was going through a very attractive solo dance he changed into the familiar costume of the Dutchman, and they concluded their offering with a neatly executed clog dance. The popular black-faced comedian, Billy Elliott, as is usual with him, came as close to his audience a.s it was possible for him to do by stepping right on to the piano and, in a. most confidential manner disclosed the* private lives and family histories of those actors and actresses who had preceded him. Ray Kemble, a female impersonator, presented a very convincing turn, and when he removed his wig at the conclusion of his turn there were exclamations of surprise on nil sides. His voice sounded very much like that of a woman aind it deceived many light up to the conclusion of the turn. Nat Hanley, the wizard at the piano, again gave some of his excellent imitations of bells, and as a Sunday school teacher he caused a great deal of merrimentThe last item on the programme was that of the Sinclair Brothers, a pair of sensational equilibrists. Their turn was excellently done and they performed amazing feats of strength.

The- incidental music was excellently played by the orchestra. under the direction of Mr Albert Bidgood.

“IF WINTER COMES.”

POPULAR PLAY FROM POPULAR BOOK. “If Winter Comes," which the J. C. Williamson directors announce will be seen here on Saturday evening next, at the Theatre Royal, is an adaptation of the famous novel of the same name by Mr Basil MacDonald Hastings, in collaboration with Mr Hutchinson, the novelist. The play is having verygreat success in England, where the hero and heroine are enacted by Mr Owen. Nares and Miss Marie Polini, a sister of Australia’s well-established favourite. The cast here will be mainly ma.de up of newly imported English artists Mark Sabre will be in the care of Mr Garry Marsh. Miss Ailsa Graham's numerous friends will be delighted to learn that she is returning from London to fill the role of the heroine, that beautiful character, Mona. Miss Isobel Wilford will appear as Effie. Miss Jane Saville will also figure prominently. “If Winter Comes ” has placed its author. Mr A. S. M. Hutchinson, on a. pinnacle of eminence In this dramatisation of the novel playgoers will be able to see in the flesh “ Puzzlehead ” Sabre, and unctuous old “ Jonah ” Fortune. and the exasperating, incompatible “Mabel,’’ and “High Jinks” apd “ Low Jinks.” and all the other ce.lebrities of the printed page. They are said to be splendidly acted in the play, which has an exceptionally fine cast throughout, and includes, besides the English principals, a number of brilliant Australian artists. in J. B. Atholwood, George Blunt, Sidney Sterling, Reg Wykeham, IT. 11. Wallace, Robert Geddes, Isobel Wilford, Georgia Harvey, Lorna Helms, Lilvan Nightingale and Arthur Cornell. " Tf Winter Comes” had an exceptionally good run in Sydney and Melbourne, and when recently played in Auckland scored a decided triumph. The box plans for six performances open to-morrow morning at The Bristol.

MALE VOICE CHOIR

The return of the Christchurch Male Y oice Choir concerts is always welcomed by music lovers of the city. The third programme of the season will he given at the Choral Hall next Saturday evening, and on the following-Monday evening, and an excellent selection of part songs'and glees is promised. In

order to vary the programme, some items will be given by the men alone, others in. conjunction with the boys of the Cathedral, while the boys’ voices alone will be heard in three fine old folk songs, specially arranged. The box plan opens on Thursday at The Bristol, and it is announced that extra tickets may be purchased at 2s each. Assisting as soloists will be Mrs Percy Rule (soprano, of Tima.ru), Mr Harold Prescott (tenor) and Mr Harry Heatley (baritone). Mrs Vere Livingstone will he the accompanist.