DOUBLE LIFE LED BY STAR IN CRYSTAL FEATURE.

Star (Christchurch), Issue 17879, 22 June 1926, Page 9

DOUBLE LIFE LED BY STAR IN CRYSTAL FEATURE.

“ STREET OF FORGOTTEN MEN ” GIVES MARMONT GREAT SCOPE. The principle of contrast, clear, sharp, amazing if possible,, is one of the surest means of fixing public attention in literature. It is the unusual and the unexpected that count most, from the old-time fairy tale to the modern novel. Cinderella and her prince, Aladdin and the charming Princess Buddir-al-Baddoor, the millionaire and the maid, the duke and the dancer, are examples of this. The same principle is observed successfully in the pictures at times. With complete success, although in a somewhat different way. it is made the theme of an absorbing story shown at Greater Crystal Palace last night. The contrast is secured by the double life led by a man, who is a mendicant king by day and a highly respectable man of business parading Fifth Avenue and living in a luxurious cottage, by night. Circumstances thrust him into a life of petty crookness, of shameless and degrading deceit. In a New York cripple factory he straps on a fake arm and makes up with other properties to capture the sympathy, and the cash of the moving crowds. He associates with hopeless human wrecks in the Street of Forgotten Men. the Old Bowery, which the demands of public opinion blotted out years ago. Suddenly and dramatically he becomes the guardian of a little girl. With a measure of the goodness which, according to philanthropists? even the worst men do not altogether lack, he decides to bring her up, not only honestly, but as an educated and cultured lady, an ornament to society. Mendicancy is his only means of livelihood. To do his duty to the girl, as he conceives it, he must remain a mendicant and stay in sordid surroundings against which his better nature revolts; but he must keep her in ignorance of it. ' That is his problem and his great anxiety. She must not know that all the wealth and luxury she enjoys come from the tin cup held by the ragged beggar past whom she disdainfully brushes in the

street. His anxiety is intensified when \ he falls in love with the beautiful girl, , another secret for him to guard. A blackmailer, who learns of the double i deceit, comes into the story, and from j then on drama is at "its height, j Mr Percy Marmont, who leads j the double life in the story. ; was in two other notable I adaptations, “The Light That Failed” I and “If Winter Comes.” In “The Street of Forgotten Men” hz makes ro- j mance meet reality, and provides j screen characterisation that everybody j should see. Opposite him is Miss Mary j Brian, long to be remembered by all who saw “Peter Pan” and “The Little French Girl." Critics of the pictures who saw “The Best People" last night were impressed with the balance in it. *This is a comedy, but not a comedy pure and simple. Behind its gaiety there is much solid truth. Two children of wealth, both shamefully spoiled, decide to marry to ! suit themselves. The girl chooses a ; chauffeur, the ’son choses a chorus I singer. The girl threatens to leave I home rather than give up her chauf- j

feur: the son threatens to drink him- ' self to death rather than live without I his little actress. The chauffeur proves | to be an honest, chivalrous fellow, sin- 1 cerely in love with the girl: the actress I is as sensible as she is hard-working | and brainy, the only person who has i a good influence on the weak, pampered son of the wealthy parents. It j is easy to guess who are the best j people in this Paramount story. Many j pretty girls and gorgeous gowns come J into it, and all is life, colour and sparkle. The Symphony Orchestra opened J w:'lh the overture “Zainpa,” bv Herold. j The opening was taken smart.lv, and j the andante was very well played. Several movements from Beethoven’s “First Symphony” were a notable feature of the evening. In “Peer Gynt" (Grieg) the flute opening was played with movement, and it was a welcome item. The “Death of Ase” came in appropriately, and the “Dance of the Gnomes was well worked up. The music from Massenet’s “Le Roi de La-

, hore" was well received. The entr'acte was “Brown Eyes,” by Meyer, played as a xylophone solo by Mr W. Debeiii ham. “Katja,” by Gilbert, was another notable item. The whole musii cal programme was distinctly inter Jesting and very charming. I “