THE THEATRES.

Star (Christchurch), Issue 17780, 25 February 1926, Page 5

THE THEATRES.

ATTRACTIONS FOR THE WEEK. 6*BAM* CRYSTAL PALACE . . “ MARRY MB ” GREATER CRYSTAL PALACE . . “ THREE KEYS ’* GRAND THEATRE “ TUMBLEWEEDS " GRAND THEATRE “ THE WHITE MONKEY ” LIBERTY THEATRE . . “ THE DIXIE HANDICAP ” LIBERTY THEATRE . . “ THIS WOMAN ” QUEEN’S THEATRE “ THE RED RIDER ” QUEEN’S THEATRE “ BUSTER, BE GOOD.” EVERYBODY’S THEATRE . . “ WINDS OF CHANCE ” THEATRE ROYAL ... GUY BATES POST COMPANY PULLER S OPERA HOUSE . . REVUE AND VAUDEVILLE

The London “Daily Chronicle” recently conducted a film popularity contest in which American features easily annexed the honours, the first four places being secured, in order,. bv “The Ten Commandments.” “Hunchback of Xotre Dame." “Abraham Lincoln” and “The Thief of Bagdad.” Ihe reason that no very great new stars seem to be shining in the sky is because very few of them have any such opportunities for training (writes Harry ('arr in the “Motion Picture Magazine”). They are hurled head first into a picture without very clearly knowing what it is about. They do their best to catch the ideas of a director they may never have met before : but words are crude, unsatisfying things after all. No director can explain in words what, he means. or thinks. But when actors have worked a long time with a director—as Lillian Gish worked with Griffith, or Pola Negri worked with Lubitsch—they communicate with a subtle suggestion that is beyond words. The wonder is that these girls, going through the slapbang experiences of the modern studio, ever learn to act at all. But, of course, they have only themselves to blame. The reason for the slap-bang conditions goes back to the enormous salaries. All of the actors who have achieved great things have succeeded for one reason: They have had training—either from an expert mind or from their own experience. For at least one picture. Wallace Beery, the big portrayer of “heavy” roles, has changed. In “In the Name of Love,” not only does he refrain from engaging in physical combat, but he even looks and dresses like a gentleman. In fact, his .sartorial display is enough to make Beau Brummel turn over in his grave, green with envy. Instead of the rough, crude, homely clothes which have identified him in the past, he blossoms outcutaway coat. high silk hat, spats, cane and all the rest—a life size example of “What the Well-Dressed Man Should Wear.” The explanation for these sudden changes in Beery's screen manners and personal appearance is that his part in the picture is that of a millionaire French brewer, who “buys” himself a title and poses as a count.