GENERAL FILM GOSSIP.

Star (Christchurch), Issue 18786, 15 June 1929, Page 24 (Supplement)

GENERAL FILM GOSSIP.

ANSWERS TO CORRESPONDENTS, a. H.— As the result of Inquiries I have ascertained that no records of the plays and places of production have been kept.

Two very attractive pictures will be screened at Everybody s Theatre next ■week. Heading the bill is a George K. Arthur and Karl Dane comedy, with the title of “ Brotherly Love.” Here is another of those inimitable films wherein the lanky Dane and the little Englishman do their stuff. The scene is laid in a reform prison, where the inmates work on the honour system. Arthur is in prison for incurring the wrath of Dane, who is a warder there. There is also a girl in the case, and a couple of football matches. The fun is fast, clever, the sub-titles are gems of wit, and what makes the picture as screamingly funny as it the two stars.

The second picture stars the one and only Glenn Tryon, so there will be three great comedy stars at Everybodv’s Theatre next week. The title of the Tryon picture is “ Lonesome,” and Barbara Kent plays opposite him. This pictute is completely different from most Tryon films in that it is not billed as a straightout comedy. Amusing sequences there are, but for the most part the action is romantic, with a faint thread of pathos in it. For all that, “Lonesome” remains a very charming and pleasing expression of film^art.

At Crystal Palace Theatre, Charlie Murray and George Sidney play in the Jewish-Irish comedy, “ The Cohens and the Kellys.” Kate Price and Vera Gordon are Mrs Kelly and Mrs Cohen respectively. The story is all about the family differences of these remarkable people; their quarrels and their loves, and their reconciliations. It is beautifully reminiscent of “ Abie’s Irish Rose,” for a Cohen girl and a Kelly boy make a secret marriage, and much water flows under the bridge before the two families will talk to each other. Charlie Murray, as Kelly, the policeman, and George Sidney, as Cohen, the clothing-shop keeper, are priceless. The titles are witty, and everything about tjjis delightful picture is witty. At the Liberty Theatre, the talkie and synchronised sound programme ■which has been screening all this week, will be continued. Madge Bellamy and Louise Dresser, in the Edna Ferber story, “ Mother Knows Best,” are as nearly perfect as any two women can be on the screen. Barry Norton is effective as the boy. The story is about a girl theatrical artist who is dominated by her mother. She is •tied to her mother’s apron strings from babyhood to young womanhood, her life starved of romance, and when the boy does appear, he appears only to be sent packing by the mother. A tense, poignant, true story. The first part is sound synchronised, with the

Roxy Theatre Orchestra (New York), of 110 players, being heard to fine advantage. The second part of the picture is dialogue, which is recorded by the Fox Movietone process. The voices come through marvellously well, from a mere broken whisper to the mothers cries of despair at the bedside. A most artistic picture. The programme of short talkie subjects, the opening of the Tyne Bridge by his Majesty the King, a chat by George Bernard Shaw, a character sketch from “ Bleak House,” by Bransby Williams, a song by Gertrude Lawrence, and a musical turn by the Royal Ilawaiians are all beautifully done.

«■ Marion Davies, as the Patsy, Jane Winton as the spoilt sister Grace, and Lawrence Gray as the bone of conten- 1 tion, the young man Tony, are the! three principals in the comedy drama, “The Patsy.” which will be* screened at the Grand Theatre next week. The story of “The Patsy” is about Patsy Harrington, the Cinderella of the household, her catty sister, and the two young men who are in love with

wants. Patricia hasn’t clothes, looks, or many other advantages, but she gets her man. The picture is one of the most deliciously humorous and subtle of all Marion Davies’s comedies. Heading the current programme at the Strand Theatre is “The Luck of the Navy.” a British production adapted from the successful melodrama of the same name. The well-known English 6tage actress, Evelyn Laye, makes her screen debut in this picture, appearing in the leading female role, and playing opposite her is handsome Henry Victor, in the breezy, devil-may-care part qf Lieutenant Clive Standon. Terrific hand-to-hand fights. a dazzling ball-room scene, the mobilisation the

British Fleet, action, thrills, spectacular effects and humour are included in this fine British production. The second attraction is “A Girl in Every Port,” with Victor M’Laglen in a typical role.

Mr Gladstone Hill advises that, in keeping with his policy of only showing the best at the Municipal Theatre, the following films have been secured for release in Christchurch:—“Revenge” starring Dolores Del Rio; “Battle of the Sexes,” a D. W. Griffith’s production: Buster Keaton in “Steamboat Bill Jr”; Ronald Coleman «*nd Vilma Banky in “Two Lovers.” This film is based on Baroness Orczy’s famous novel “Leatherface,” and is the last film in which these two famous actors appeared together. In addition to the above Christchurch will have a premiere release for the following:— ‘ The Rescue.” starring Ronald Coleman-; “Eternal Love,” with John Bartymore in the title role; “Three Passions,” a Rex Ingram production on the novel of Cosmo Hamilton; and Constance Talmadge in “Venus.” “Revenge” will be screened at the Municipal Theatre on July 1. * The next picture attraction at the

Municipal Theatre will be Dolores del Rio in “Revenge,” her latest picture. Fresh from her triumphs in “Ramona” “Resurrection” and “The Trail of ’98,” she is said to give the greatest performance of her career as the wild, dynamic gipsy girl in a colourful story of action, tense drama, irresistible humour, and primitive pageantry.

Leading English reviewers give unstinted praise to the film “The Rescue,” Joseph Conrad’s masterpiece translated to the screen by Herbert Brenon. This director achieved wonders with “Beau Geste” and ‘ Sorrell and Son,” and now gives us “The Rescue.” Brenon has been acclaimed the most understanding director for telling stories of great novels. It is stated that this drama of the sea. with its stealthy, baffling, cross currents of emotions and mis- : understanding, has adhered faithfully | to the original penned by the famous ; Pole, who knew the sea as few writers have known it. Ronald Caiman is in the leading male role, and he endows dhe character of Captain Tom Lingard with great power. The beautiful Lily Damita plavs the role of Lady*- Edith Trnwtq “TVia Rtri cf-ropn.

ed f6r the first time in the Dcgfriinion at the Majestic Theatre, Auckland, this, month. Snookums (Sunny M'Keen) has signed a talking picture contract with ; Universal. “On with the Show," an elaborate musical comedy, now under release by Warner Bros, has an all-star cast, including Sally O’Neill’ Betty Compson, Louise Fazenda, Arthur Lake and others. This production marks Warner Bros.’ first attempt at all colour and all sound pictures. “ The Farmer’s Wife,” the screen

adaptation of the famous stage play, is scheduled for early release by Cinema Art Films. This story, which concerns a wealthy farmer, who provides much comedy in his search for a wife, stars the popular British- International Pictures star, Jameson Thomas, who has appeared in many successful screen hits. He is supported by Lilian IlallDavis. “The Return of the Rat,” co-starring Ivor Novello, Mabel Poulton and Isabel Jeans, is an elaborately staged production of society and underworld' life of London and Paris. Many of the French scenes were actually filmed in Paris and the Montmartre. Sound effects and synchronised music have been added. liritish Dominions Films will release both sound and silent versions recently. Mickey Bennett, an Australian boy, i plays one of the leading roles in the Paramount all-talking picture “The Dummy.” Mickey went to Hollywood when he was but seven years old and his career in motion pictures has been brilliant. In “The Dummy”, he has his first talking part in a motion picture and he gives a very finished dramatic performance in the character of an office boy. Lon Chaney, the man of a thousand faces, has one aversion in makeup, lie won’t wear a moustache. When this was suggested for his new Metro-Gold* wyn-Mayer picture, “Where East is East,” he flatly refused. “I used to do it on the stage,” he says, “for comedy —and it makes me look funny. Chester Conklin is a good friend of mine so I’m not going to blossom out as his rival in pictures ! ”

Metro-Goldwyn’s “Show People” is said to be the most interesting study of a motion picture ever shown on the screen It is an unusual comedy with Marion Davies and William Haines in the leading roles, and appearing in the scenes are Douglas Fairbanks, John Gilbert, Mae Murray, Leatrice Joy, Norma Talmadge, Rod la Rocque, Charles Chaplin and many other well-known screen stars.

The creeps and quivers of a dozen ghost stories and detective yarns all rolled into one are in “The Terror,” Warner Bros.’ all-talking mystery picture. May M’Avoy, who heads an allstar cast/ vividly portrays an English girl—the centre of the romantic interest of this production. Miss M’Avoy was one of the first to be heard in featurelength talking pictures having played opposite Lionel Barrymore, in “ The Lion And The Mouse ”, and in “ The Jazz Singer” which starred A 1 Jolson. One of the present heads of Iloyt’s .was, seventeen years ago, a limelight operator in a Bourke Street vaudeville house (says a Sydney paper). The movies were just beginning to come in, and a friend urged him to go in for them for all lie was worth. He was worth only £250, bpt he managed to raise a similar amount, and with this renovated a hall and started a modest show. To-day he is one of the parties in a struggle between two rival organisations whose joint capital is £1,000,000.

“White Shadows in the South Seas.” Metro-Goldwyn-Mayer’s epic pro Fiction of a dying race, which was filmed entirely in the South Seas, is the story of a derelict young white surgeon, who found stirring adventure, drama and a great love in the tropics. The London

‘Despatch” said:—“This is a fascinating picture which reaches the highest pinnacle of film art—indubitably, it is a film to be seen.” “White Shadows’’ is synchronised with music, beaut-lul whistling sequences, voices, and special sound effects, as well as the repetition of the haunting theme song, “Flowe* of Love.”

, In the UFA production “Secrets of j the East,” which is pending release by Cinema Art Films, some most elaborate cabaret scenes are to be seen. For the scene in which Ali the cobbler, intoxicated by the sight of so many beauties, runs on to the floor and faints in their midst, over two hundred of the Continent’s most beautiful women were The part of Ali the cobbler is wonderfully portrayed by Nicolas Kolin, who has since been acclaimed one of the world’s most brilliant come- . dians. The supporting cast contains

many well-known players on the Continent.

“Picturegoers who feared that the introduction of the talkies might shatter their fondness for many of the screen idols, have no cause for alarm, on one account, at least,” says the Sydney “Sunday Times.” “William Haines, the star of ‘Alias Jimmy Valentine’ possesses an excellent speaking voice, appealing, expressive, and clear. Many of the scenes of this Mero-Goldwyn-Mayer picture, in which Haines appears with his fellow crooks, Tully Marshall and Karl Dane, are screamingly funny. Lionel Barrymore is also a great talkie star, his great stage experience being evident in his polished work.”

“Troublesome Wives,” a British Dominions release, is a sparkling comedy drama of aviation and matrimonial troubles. It tells the story of two young brides, who, piqued at their husbands’ apparent absorption in their work become involved in a series of adventures which demand from them a large measure of courage and resourcefulness. Mabel Poulton as one young wife is extremely vivacious and charming, and the part affords further evidence of her undoubted versatility”. Eric Bransby Williams is the preoccupied husband, Lilian Oldhand the second neglected wife, and Roy Russell her husband. The necessary note of villainy is supplied by Reginald Fox. Marie Ault as the elderly aunt with pronounced ideas has one of those character roles which she portrays with humour, Louise Brooks, Paramount star, migrated by way of dancing to the screen. She started young, danced in amateur and school plays, and also in a few motion picture prologues. She left her home in Wichita, Kansas, at the age of fifteen, and went to New York to study dancing. Miss Brooks made her debut in musical comedy in “Scandals,” and so great was her success that she was invited to go to England and dance at the Cafe de Paris a famous night club. On her return she was signed by Florenz Ziegfeld, and it was during that engagement that she was given a small part in “The Street of Forgotten Men,” a Paramount production on which she worked during the daytime, continuing with her dancing at night. Other pictures followed, notably “The American Venus” and “Now We’re in the Air.” Her latest paramount picture is “The Canary Murder Case.” The prediction that the talkies would oust the foreign stars from Hollywood and send them back to their respective countries, has not been borne out in actual fact. Most of these stars can speak English fluently”—although with an accent. Emil Jannings is the latest Paramount star to appear in talkies. He plays his first all-talking role in “The Concert.” Baclanova, the Russian actress, not only talks but sings in the Paramount all-talking pictures “The Wolf of Wall Street,” “The Man I Love” and “The Dangerous Woman.” Maurice Chevalier, the famous French musical comedy artist, speaks and sings in “The Innocents of Paris,” and Paid Lukas, the Hungarian, who plays one of the leading roles in “The Wolf of Wall Street,” speaks without a trace of accent. The accents of the other players, far from being a hindrance are an advantage to the parts they play, according to studio officials. Gilda Gray, who plays the leading role in the British International jncture “Piccadilly,” soon to be released by Cinema Art Films, was born of poor parents who migrated to Milwaukee when she was eight years of age, where she attended the equivalent to the English Council Schools. She later graduated from singing in the local church choir to sing in a cabaret, and a year later went to Chicago. After two years she transferred to New York where she made her first appearance on the legitimate stage in' the “Gaieties of 1929.” It was in this production she originated the famous “Shimmy” dance which combined with her singing of the “Blues” won for her the title of “The Jazz Queen.” Subsequently she was engaged as star of “The Follies,” a position she held for three years and a half, during which she invented the Charleston, Blackbottom, and other dances. Her screen debut was in “Alome of the Seas.” Although it is a love-story, and a very beautiful one, “Love Never Dies,” First National’s great synchronised special, is also a remarkably realistic drama of aviation in the Great War. It has some splendid flying shots, especially” a duel in the air between a • British and a German “ace,” and is a tribute to the British Air Force, or, rather, the Flying Corps that was, fer all the chief characters on the sympathetic side are British fly'ing officers in France. Also it shows us Colleen Moore forsaking her merely lighthearted frivolities as the “New York Flapper” of once upon a time to become a. kind of modern Joan of Arc, a little French village-girl who inspired a squadron of British airmen. A pretty story, charmingly* told, cleverly directed, and splendidly” acted not only by Colleen Moore, but also by* Gary Cooper as the hero, and a well selected supporting company. In her interpretation of Jeannine, Miss Moore reveals herself as a dramatic artiste of the highest calibre.

Five billion candle power was required to light one of the huge sets.in Douglas Fairbanks’s United Artists picture, “The Iron Mask.” The electrical equipment included twenty*-five sun arcs, each of 225.000,000 candle power, fifty spots and fifty twin arcs. Two miles of cable were used to convey the current to the battery of lamps. The

setting, one of the largest ever 'obstructed for a picture, represents in exact detail the palace of St Germaine, seat of the French Kings. Over 3000 people appeared in the scene, which was constructed under the supervision of M. Leloir, the famous French artist and greatest authority on art and architecture of the seventeenth century, who was brought to America by Mr Fairbanks especially for the production of

“The Iron Mask.” Many* of the exterior scenes, such as the scene of the siege of the fortress of St Marguerite, one of the most dramatic episodes in the story, required a vast amount of artificial illumination. Eight portable generators driven by” aeroplane motors produced the current used on location sets. Two complete loud speaker systems and twenty field telephones, with a master switchboard, were used by Allan Dwan to direct the activities of the thousands of people appearing in these scenes.

Movies are changing character so rapidly* that it must be hard to get definite information about the preference of large audiences (says a London paper). By the time votes are taken, questionnaires sent out and replies compiled, the dernier cri of the movies may sound quite different. 'But a large

cinema syndicate of London has just taken a census of what its audiences prefer. Of the 250.000 who voted. 10 per cent go to the movies twice a

week and 11 per cent oftener. The results may therefore be taken as the voice of true movie fans. On the subject of the talkies, the vote of the men was fifty-four. The women voted 70 per cent in favour of the silent movies. This may be interpreted as an indication that men are more progressive than women, and are quick to adapt themselves to innovation, or, on the other hand, it may mean that women are more exacting in their tastes and prefer the finished quality of* the silent

movies to the rasping deficiencies of the talkies. Another unexpected re-’ suit of the vote showed that 38 per cent of the voters preferred unhappy endings. Everyone is familiar with the soft-hearted girl who gbes cheerfully to the theatre, well supplied with handkerchiefs and sympathy”. But no box office would ever have credited the statement that nearly” half of its customers buy” tickets hoping for a picture with a sad finale.