“ THE JOY GIRL ” IS BRIGHT COMEDY AT EVERYBODY’S.

Star (Christchurch), Issue 18452, 1 May 1928, Page 7

“ THE JOY GIRL ” IS BRIGHT COMEDY AT EVERYBODY’S.

Much criticism has been directed against the modern girl and her tendency towards placing pleasure before the more serious and weighty blatters of life. There has been much written about her alleged lack of a sense of responsibility, and the writers who favour the modern girl are not as numerous as those who would that she should mend her ways. Therefore the film, “ The Joy Girl,” which is being screened at Everybody’s Theatre this week, ccmes laden with interest‘for the philosopher, and laden with mirth for whoever is in search of light entertainment.

The story is centred round a psychological study of the modern girl, of her aspirations and her source of inspirations, and there is plenty of room for both serious thought and mirthful glee in the adventures and misadventures of the central character in “The JoyGirl” (Olive Borden). Miss Borden’s accomplished acting ensures the success of the film, apart altogether from the great interest of the theme itself. She is ably supported by. Neil Hamilton, who plays a part lighter than that which gained him face in his appearance in “ Beau Geste.” A viewing of the two films gives one the impression that he can with ease adapt himself to practically any' role, a feat which does not lie within the powers of some actors even more famous than the man who plays an important part in the shaping of the destinies of the modern girl in “ The Joy Girl.” The story has been adapted to the screen from the noval by May' Edginton, and has lost none of its interest and power through its transference to the silver sheet. The abodes of the rich and the dwellings of the poor alike come in for treatment in, and provide a changing background for, a story which is as much a philosophical treatise as a vehicle for the highest and most exquisite form of light entertainment. From the mansions of the rich the pampered girl is thrown on to a seemingly hard and unsympathetic world, and then her battle for the formation of character begins. The marriage market is given prominence in an amusing way, and there are many 7 episodes which send a ripple of mirth through the theatre. If this is the age of the exaltation of the modern girl, »t is also the age of speed. . Strangely' enough, the second feature film deals with this phase of the great human problem, and both combine to the making up of a really first-class programme “Reckless Speed ” is the well-chosen and appropriate title of the film, which stars Frank Merrill in a series of highly exciting and daring escapades. There is much human interest in the story, the plot is clever, and the whole production treats of high speeds in a very diverting manner that cannot but amuse the onlookers. Merrill appears as a real champion of the high-speedsters,

in spite of the traffic “ cops,” and he carries through his difficult part with a care-free abandon that holds a strong appeal for all. It is a rollicking story that is crammed with thrills and daring doings, with great help from the accelerator. with stepping on which the hero’s foot never appears to tire.

Everybody’s Select Orchestra, under the conductorship of Mr Albert Bidgood-, plays the following musical programme :—Overture, “ Orphee aux Enters ” (Offenbach)? suites, “Miniature de Ballet” (Morton), "May Day” (Baynes), “A Journey to Capri” (Soudissi) and “ Le Cid ” (Massenet); overture, “ Ruv Bias” (Mendelssohn); selections, “ Molloy’s Songs” (Baynes) and “Sunny" (Gershwin) ; fox trots,

“Dainty Miss” (Grier), “Dewey’ Day” • Green) and “Broken-Hearted” (Kahn); entr-acte “ Elegie ” (Massenet).