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Star (Christchurch), Issue 17182, 27 October 1923, Page 2 (Supplement)

U* you like a picture that tingles with action, moves at a rapid pace and cives you a thrill a minute, don’t miss “ The Streets of New York,” a new Arrow release, which will be shown at Greater Crystal Palace on Monday. Burton King, the director, has done

wonders with this great melodrama which was—and is— one of the most sensational stage successes of all time. Ho has mado from it a production as grippingly dramatic as it is possible to imagine, relieving, ever and again, the tension and terror with broad strokes of real humor. The cast is uniformly excellent. Edward Earle, as. Paul Fairweather, does splendid work, while Barbara Castleton is appealingly beautiful. Kate Blancke in the role of the mother paints a vivid and compelling portrait. Anders Randolf contributes anothe rof his dependable characterisations and Leslie King, last seen as "Jacques Forget-Not 55 in IX W. Griffith’s “ Orphans of the Storm,” wins new honours by his playing of " Badger.” A word of praise is due the settings which clearly indicate the outlay of considerable money. But while lavish they are at the same time thoroughly artistic and present to the eye a sequence of pleasing pictures. ** The Masquerader” led us to ex pect groat things of Guy Bates Post as a screen star. The realisation of this expectation has come in "Omar the Tentmaker,” which is to be shown at tho Liberty Theatre to-day. The picture proves many tilings conclusively. First and foremost, it proclaims Post as one of America’s greatest dramatic actors. It proves, too. that a fascinating story is not limited by time or clime ; that drama is universal and of all periods. Above all else, its appeal is the dramatic: force of the storv and the human interest, of the players’ characterisations. Not to see it is to miss one of the screen’s greatest achievements. ** The story’s the thing.” No picture is worth while unless it has a story which can hold the auidencc from the opening title to the final scene. Shadows.” which is being shown at Liberty, is one of. those rare films which can do this. It has a strong story, dealing with the strange chances of life, and the twists of circum T stances. Yen Sin. the Chinaman in the story, is a fine character, who has learnt much from the ancient philosophy of his race, and able to use it to the advantage of Western folk. Lon Chaney, the screen’s greatest character artist, is unique in his portrayal of the old Chinaman. Marguerite de la Motte plays the part of the woman who was accused of having two husbands. H < a Goldwyn pro--53* non M;iinig John Barrymore, will ■ Everybody’s Theatre all _'.-rxt •• col. It is a mystery melodrama af London’-, underworld, founded on > bA t 1 n by Sir Arilmr Conan Doyle. *1 h** shadow ot a. criminal ring penetraJe* Cambridgo and Sherlock Holmes, studying modi ino there. encounters 1 sini-ter influence of Professor Moriarity. London's most famous • rook He is called 145011 to recover s6me letters written by an European Pf-ince to Rose Faulkner, who lias end**i her life The letters are 111 the possession of Aline, the gild’s sister., and represr-nt blackmail money to Moriarify who plans to get them. He is frustrated by Holmes in a. scries of thrilling adventurts and finally victedHenry B. Walthall, famous artist, of “ liirth of Nation ” fame returns to the screen in triumph in the new Fox production “ The Face on the Barroom Floor which will be screened **r the Queen’s Theatre on Monday. The charming fisherman s daughter, who poses for the youthful artist, is beau'tiful Alma Bennett, who has become a great favourite .with followers

through lie: exceptional work in recent productions. Coming to the King’s Theatre. Sydenham. on Wednesday next is the Preferred Pictures attraction " Shadows.’’ starring Lon Chaney of “The Miracle Man “ lame. A large and interesting cast was chosen to play in Rupert Hughes’s screen story. “ The Old Nest.” now at the Grand. Mary Alden, known as the “ screen mother.” plays the part of the mother in the story, and Louise Lovely and Helene Chadwick are two of her charming daughters, while Cullen Landis is son Jim. Amongst the kiddies of the family are Johnny Jones, Marshall Ricksen. Buddy Messenger. Marie Moorhouse (the babyb and Billie Cotton, a family any parents would be proud to own. The best tonic in the world is a hearty laugh—a laugh that will make vour sides ache, and the tears come into your eyes. How often do you get a laugh like that? Jt has to come from some good cause, and they are verv rare. Howev* r. one. has come along our way. and that is Charlie Chaplin in “Par Day.” now showing at the Grand. C harlie plays the part of a horny handed son of toil, who nuts a lot of thought in his work—thinking how to dodge it. His pay dav comes, and with his mates, Charlie celebrates the event. He and fellow roysterer are caught in a pelting rain storm when the hotel closes, and each trv to struggle into an overcoat. You really must 'see what happened. “The P overt v of Riches” is the storv of two families. a contract of their joys and sorrows. One husband is ambitious for power bevond all thoughtof rearing a family. Their friends do

not wait until they become wealthy in order to find their happiness. In •'The Poverty of Riches the development of the two families is traced side by side. The time comes when the wealthy husband feels that he can afford to have children, but it is too late, and the irony of following the false God of Gold instead of the true guide of love is brought home to him with ovcrw'helming power. The Poverty of Hiches ” is to be screened at the Liberty next Saturday. Mary Pickford’s highly diverting recreation of ‘‘Tess of the Storm Country.” the first production of which she brought to the screen some eight ( \ears ago, and the new production of : winch ib coming to the Liberty Theatre ! next Saturday, offer* a most interesting contrast in the lights nud shades of ■ life as symbolised bv dramatic* feelings visualised before realistic settings or the two widelv different classes, squalid and luxurious. Miss Pickford as the heroine, Tess in this picture, is an impoverished resident of a lowly fisherman's village, and her cabin is the last ic ord in crude, bumble appointments. Her acting all through is perfectly natural, and m her hght lor freedom she becomes a lovable figure. It 1 Were Queen ” is the story of the adventures of an American girl in ihe imaginary principalities ol Cential Kurope. amid the regal pomp and splendour of high courts and c astles. It is romance from beginning to enfl romance of the most charming character, : and it is ~, this phase of art that .Miss Ir.tliel Clayton proves herself. The pic - ‘ lure has big scenes and drama lie situ- ; atiors. Perhaps the most thrilling is h railroad wreck, the climax of realism i on the screen. “If I Were Queen*’ is to he shown at the Liberty Theatre on November 10. b* :< iy.‘ the' first National pu turo '• t Liberty on November 10. i*- notable for the fact that it is probably the only picture plav written tor a movie star bv his parents. ** I>nddy ’ was conceived and written by Mr and Mrs -Jack Coogan, father and mother of the wonderful boy actor. •Jackie Coogan. The proud parents of this boy marvel have created a vehicle calculated to bring out all the charm and precocious ability of the youngster. For the most part, the play is devoted t»> the spirit of happiness, but in one scene Jackie Coogan reveals more than in anv other picture, his capacity for tragic acting. A picture that has caused much discussion w herever shown is “ Who Are My Parents'" This is the latest Fox special and has an all star cast including Roger I.ytton. Peggy Shaw. Florence Billings. Niles Welch arc! several other well-known artists. There are an enormous number of small children taking part in This production and their acting is something to be remembered The story has to do with the stern father attenmtme to rule the life of his n oung daughter. By so doing he brings her and himself only unhappiness Yielding to her father's, will she does not tell the man whose wife she becomes of an earlier secret, marriage. This omission leads to serious couseqeunces and there are many bitter tears shed by a broken hearted robber until she nr.d her child are united. Norma Talmadge will he seen soon m her latest- production. “ The Voice from the Minaret.’’ from Robert llichens’s novel. The action of the .'•lory is laid in London, Bombay, Damascus and the desert, while the story is romantic and moves swiftly.

“ Thorns and Orange Blossoms.” due for relt-a.se shortly, is the screen version of Bertha Clay's popular novel. The story opens in the beautiful gardens, shady patios, and picturesque buildings of Madrid, -which serve as an effective background for Estelle Taylor, who plays Rosita, the fascinating Spanish prim a donna, Edith Roberts, an opposite type, proves a formidable rival, in the capture of Kenneth Harlan, the hero of the story. AVe have met the pinto j-~ny. the mustang, the mule, the dog. and the monkey as stars in motion pictures, but Thomas H. I nee introduces us to a novelty when he presents an elephant. yclept Oscar—-who does everything hut talk, in “ The Soul of the Beast."’ This picture, which features a circus story with Madge Bellamy appearing as one of the side show attraetions. is hooked for early release in Christchurch. Pol a. Negri has completed ‘‘The Cheat,” and Jack Holt and Charles de Roche in the supporting cast. “ The Cheat ” was first produced about eight years ago by Cecil B. Do Millo. with Fannie "Ward and Sessue Hayakawa in the leading parts. It is the only motion picture that has ever been produced as grand opera. Two years ago it was brought out at the Opera Comicjiie in Paris as the posthumous work of Camille Erlanger. composer of “The Sorceress.” “The Cheat- 5 ’ will ’>e one of Paramount’s big offerings for 1024. To obtain accurate scenes for the I mine episodes in “ The Little Church ' Around the Corner,” "Warner Bros. I sent their cameramen to the famous Argonaut mine in California. As a result, the studio mine was faithful to j the original, and included the mouth of the shaft, with “skips” or elevators, real cars and tracks, mine buildings and half a mile of underground workings. The mine disaster, the trapped men, the relief party, and final rescue are some of the most stirring and realistic scenes ever screened. This feature will l»e shown in Christchurch shortly. Advices from "Los Angeles state that Dorothy Gordon, an Australian girl, has a prominent part in Cecil B. Do Mille’s forthcoming production of “The Ten Commandments.” Miss Gordon hails from Northern Queensland, where her father is one of the largest landowners in the State. Mildred Harris, who became Charlie Chaplin's bride when only seventeen, recently announced that within a year she will wed again. Apart from mentioning. that the happy man is a New York capitalist, and that she would retire from the screen on her marriage, Miss Harris refused to gratify the curiosity of her friends. Says a New York telegram of August 26: —Baby Peggy, three and a half year old film star of Los Angeles, has just made a contract for a threeyear period which will give her an annual income of 1.500.000 dollars, according to Sol Lesses. with whom the contract was made. A bonus of 500.000 dollars additional brings the total , amount of the contract to 5,000.000 dollars. For the first time in her career, Dorothy Gish is stabbed to death in the movies. The incident takes place in the Richard Barthelmess picture, The Bright Shawl.” She is seen in the principal feminine role as a vivacious Andalusian dancer, and the part is said to mark her greatest screen triumph to date. Miss Gish says it was quite a novelty not to find herself in the hero’s arms in the closing reel. Among the most recent British films on orthodox lines which hold out considerable promise, already completed, or approaching o.ompletition. are screen versions of “Chu Chin Chow.” produced in Berlin and Algiers at an

! j expenditure, it is stated of £.‘100.000; i “ Woman to Woman ” ; “ Bonnie I Prince Charlie.” based upon the story of the ’45; “ Don Quixote.” with George Robey as Sancho Panza: and “ The Beloved Vagabond.” adapted from Air AY. J. Locke’s story. Both Pol-i Negri and Norma Tal madge are going to “cut loose,” so to speak (says an American Magazine. l . They both have ben held down by the technique of directors who believe in repression. Tn “The Spanish Dancer.” Pol a says she is going to work in her own way. She says the American ! critics don’t understand her anyhow. : so why worry. Norma, in her next ! picture, is going to abandon her life as a court lady with lace r.uffs as in “The Ashes of Vengeance.” and be : an Arab dancing girl. Her leading ; man will be Joseph Schildraut. A library of human freaks ! Barnurn made a fortune on it. He called it a i “sie shows,” and charged a dime admission. says a contemporary. Buster Keaton is going to start a collection of i freaks, but he is going to donate it to Hollywood. The need for “atmosphere” : players creates strange demands in the ! Hollywood movie camps. Dwarfs ■ giants, men and women with physical j idiosyncrasies of countless variety, in ! every shape or size, are at some time [ or other needed for screen purposes, i And. when needed, it is generally at a * moment’s notice. Buster Keaton ri ' going to solve the problem of this

need. Already his studio staff is at work on a complete catalogue of the freaks of Hollywood. In time the records of this freak bureau are to be enlarged to catalogue any known character in any part of the world. We have several predictions to make regarding Charlie Chaplin's production, *• A Woman of Paris,’’ which is now about to be shown generally (says “Pic. ture Play ”). First, it will cause everybody to be astonished at the work or Edna Piirvianee. Second, it will make the reputation of that excellent pi aye t. Adolphe Alenjou. Third, it will upset the present notions of acting on the screen. Outside of this —well, the story is a peculiar one. It indulges in many subtleties that may not be readily understood. But you can put it down in your notebook that it is going to be far-reaching in the respect that it doe.s not wait at any point for some star to clog the camera with his attempts at registering a thought. It revives the good old days when action was action, and words were words, and the screen was not overburdened with its modern verbiage. It. is of more, than passing interest to notice the difficulty that the Picklord family is having in trying to replace brother Jack in the coveted position which he once held in the films. Jack was once one of the most popular young players of the screen (says an American paper!. He gave promise just a few years ago of becoming one of the gifted few of the silent art. Then certain things happened and Jack slipped out of popular favour. For the past two years, money, influence and every other power known in the picture business has been- lavished upon the Pickford baby and his productions in an effort to restore him to the top of the ladder. But all to no avail. Here, for once, even the much-vaunted shrewdness and ability of sister Alary has failed. Jack cannot seem to make a success of it. Tn _spite of this there is still some hope for young Pickford, it only ho could be presented in the right sort of vehicles. What he needs is material along the line that Glenn Hunter is appearing in. The impulsive act ol two foolish children was the way Marie Prevost screen comedy star, described her secret marriage to H. C. Gerke more than five years ago which was not revealed until he tiled suit for divorce on August 11, charging desertion (writes the Bos Angeles correspondent of a San Francisco paper). In an interview granted to-day, the onetime reason for Sennett comedies told of her first meeting with the attractive youth she was to marry five months later; of their war-time romance, hurried marriage, immediate separation, continued friendship, and of their decision last year to separate forever and ever. For some time the name of Marie Prevost has been linked with that of Kenneth Harlan, handsome film idol, recently divorced from his wife. Their engagement has been reported frequently, but was invariably denied. While Miss Prevost would not state definitely that she and Air Harland are engaged she did assert that she had no intentions of remaining a grass widow.” It was onlv a woman’s gown, but it required a truck to transport it (says a New York paper). And Fifth Avenue traffic stopped when they loaded it in front of a modiste's shop. Even for the most blase New Yorkers it was something new. something entirely novel. It was designed for Gloria Swanson’s use in “Zaza.” which Allan Dwan is making at the Fong Island studio. Before its makers had it half assembled it had come to bo known as a “creation.” It’s the “ Leviathan” of the gown world—the queen of the fleet. The gown proper is of pearls and diamond chips embroidered on net with a deep silver embroidered fringe. But the. train ! It

i-s thirty feet long and six feet wid* and has forty yards of silver ne material iu it. On the net, embroid ered in diamonds and silver, are de signs of planets, stars and crescents The train is edged all around with tli roe gross of them, to be. exact, head piece of silver and gold, wit: pearl and diamond ornaments, toppewith ostrich plumes is worn with th costume, and Aliss Swanson carries silver staff tipped with feathers. Th weight of the gown, according to Gil herb Clark, who designed it. is sixt, pounds, the train weighs fortv-fiv' pounds and the headdress ten pounds The film’s inhumanity 1o author makes countless thousands groa (writes ‘Figaro"’ in the Londo “Stage"' This is shown in lookin over the collected opinions of novelist upon films made out of their stories and it makes awful reading. Allots ing for the fact that many novelists e? pect the impossible when their' work are transferred to another medium tha that for which they were devised, sti their screams of agonised anger are 5 loud that AYardour Street would d well to see if something cannot he dori to ease tlieir pain. H. A Veils leac off with a. sledge-hammer blow i • John o' London's AA'eekly.” He bluni ly declares that “the kinema peopi seem to me to be utterly :lamne fools, beneath the level of a decen man’s discussion,” This is a bit to hot. It is the discussion of the ques

tion by decent men who desire to improve matters—bad as they undoubtedly are —that will work for a better set of films. Jeffrey Farnol sums tip his opinion with tliese few words: After rny experienc© with one of my own films—l won’t mention the title—my opinion is absolutely unprintable/' W. J. Locke takes refuge in an ingenu© like innocence—recollecting, perhaps, that, after all, the picture people are good customers, so he just evades the question of his satisfaction or dissatisfaction with “ I arn a. child in such matters.” and probably beams on his bank balance as be forgives everybody. The film rights for the screening privileges of some of the great stage successes cost a lot of money. For instance, £40.000 is asked for the privileges of screening “ The Seventh Heaven. *’ The same figure is mention- i ed for “ Sally.” the musical comedy which has been so. successful in Australia. An offer of £50.000 for the screen righ ts of “ Lightnin’ ” has been j refused. Theodore Roberts received a unique honour on bis recent visit to San Francisco for the purpose of filming scenes in Cecil B. Do Mi lie’s production, “The Ten Commandments.” Fifty members of the alumni of the old Washington Grammar School, including former mayor, politicians, lawyers, and financiers attended a vaudeville performance with him, and gave him an ovation. Mr Roberts was a. pupil at the school sixty-four years ago. In Kansas the State Board of Picture Censors lias passed a rule barring any burlesque of prohibition from any film shown in the state. This includes everything, even the news reels and topics. Also, all scenes of parties where drinking goes on are ordered out, unless such scenes are an essential part of a picture dealing with the p re-Pro hibit io o pe rio d. Why the sinners and scoundrels of history and fiction should be so much more interesting than the saints is a problem which has never been satisfactorily solved. Certain if is that the more picturesque and daring a rogue, the. stronger has been his hold on the popular imagination. Such a figure is Dick Turpin, the daring, dashing highwayman, whose famous ride to York on Black Bess is too fascinating and dramatic a story to he forgotten. Innumerable novels and stories kept these memories alive during the eighteenth and nineteenth centuries, and now comes an elaborate film production by the Stoll Picture Company to carry on the tradition. Matheson Lang has the part of Turpin. *‘ Love.” the film featuring Miss Louis© Glaum as a working girl who marries wealth for the sake of an invalid sister, has been treated in the Path© colour process. The results are interesting. Tt should be explained that there are ,10,000 individual pictures in the ordinary six-reel photoplay. As the Pa the process of colouring involve half-a-dozen tints, this means tb.it more than 500.000 separate tinting operations, employing 100 artists tor six months, were required to give the proper colour values to “Love s ’ many spectacles and emotions. The margin of error in aligning the colours is , less than one-tenth of a millimetre, and the operator is unable to apply more than one colour to one metre of film an hour.