THE THEATRES

Star (Christchurch), Issue 18961, 7 January 1930, Page 7

THE THEATRES

TALKING PICTURES. CRYSTAL PALACE “THE MYSTERIOUS DR FU MANCHU.” LIBERTY THEATRE “ BROADWAY.” THEATRE ROYAL “ THE LAST OF MRS CHEYNEY.” THEATRE ROYAL “ THE VERY IDEA ” (commencing Wednesday) CIVIC THEATRE “ THE TRESPASSER.” SILENT PICTURES. EVERYBODY’S THEATRE “ AFTERWARDS.” EVERYBODY’S THEATRE “WIFE SAVERS.” GRAND THEATRE “ THE SHOW DOWN.” GRAND THEATRE “TONI.” STRAND THEATRE “ THE BOOB.” STRAND THEATRE “NUMBER 17" OTHER ENTERTAINMENTS. FULLERS’ OPERA HOUSE GERALD’S REVUE COMPANY.

COMEDY AND DRAMA AT EVERYBODY’S.

Picturegoers will be pleased to learn that another comedy by the inimitable pair, Wallace Beery and Raymond Hatton, has come to Christchurch. The picture, which heads the programme at Everybody’s Theatre, is called “ Wife Savers.” It tells the story of a hilarious mix-up in a Swiss village at the end of the war. Beery and Hatton are two members of an American unit engaged in " making the Swiss Alps safe for tourists.” Wallace Beery, as Louis Hozenozzle. is the official biscuit-maker to the section, and Raymond Hatton is Rodney Rollicker, a second lieutenant, whose principal delight is to be saluted as many times as possible. As is always the case the Swiss maidens in the village where the Americans are billeted have a weakness for men in uniform —especially the officers. The lieutenant is consequently able to pick for himself, Collette (Sally Blane), the prettiest of the lot. Beery is more or less confined to a Hobson’s choice, but he has no difficulty in making headway with Germaine (Zazu Pitts), who has been doing her best to catch a husband for years. The lieutenant’s pathway of love suddenly becomes bumpy when the Americans are ordered to leave for home. Collette tells him that General Lavoris Is due any day and will force her to marry him if she is left unprotected. With Collette’s good looks in mind Beery is finally persuaded to stay in the role of protector. The general eventually arrives, determined to win Collette, and many amusing incidents are provided by Beery’s attempts to keep the general at a distance. The general tries another move and issues a bogus order that all unmarried girls in the village must find husbands immediately. The picture ends in a most amusing manner. The story of an extraordinary crime In a sacred temple of the East and the vengeance of a bereaved lover on a brilliant young English - doctor is told in the second big picture, “ Afterwards,” based on the well-known book by Kathleen Rhodes. The exceptionally strong cast includes Marjorie Hume, Julie Suedo. J. R. Tozer and Cecil Barry. Marjorie Hume, who plays the difficult part of Mrs Carstairs, is a newcomer into the screen world, but her acting in *' Afterwards ” leaves no doubt of her outstanding abilit*'. The supporting films include news of the world and a very interesting picture dealing with sleeping sickness in Africa, and how scientists isolated the germ responsible. The programme is accompanied by the following numbers played by Everybody’s “ Select ” Orchestra, under the conductorship of Mr Albert Bidgood:— Overture.- “Carmen” (Bizet); suites. “Crown of India” (Elgar), “Indian Love Lyrics” (Finden), “Hindoo Scenes ** (Carpenter) ; selections. “ Tails Up” (Stroson), “Who’s Hooper?” (Oseie), “Scandals” (White), “Tin Soldier” (Cuf), “Meditation” (Squire), “Pagoda of Flowers” (Finden); fox-trot, “ Um Tscha “ (Agar); entr’acte, “ Honey ” (Whiting). THEATRICAL STORY AT LIBERTY THEATRE. "Broad way” the big talkie feature which opened last night at the Liberty Theatre, was attended by a fairly good house, which seemed to be pleased by the picture, and the talking, singing, and dancing in it. It must be admitted that the creators of this screen tale have spared nothing for their scenic effects, and have introduced plenty of action into a “romance” which leaves one a little bewildered at the mentality of the American folk who are portrayed. Apart from that, the production is one which follows closely in thu steps of “The Broadway Melody,” “The Dance of Life,” and others which have their settings in American theatrical life. It is there that talkie authors and producers find the field which allows room for their talent for disp/ay, an undoubted talent which the most cynical cannot but admit. This time there are a girl and boy primarily involved, a pair of young cabaret entertainers who are in love with one another, and are estranged by the attention paid to the girl by one Steve Crandall, a very naughty villain indeed. Steve shoots “Scar” Edwards, a rival rum runner, early in the piece, and in turn Is shot by the wife of “Scar” (with the full acquiescence of the detective in charge of the case), just in time to foil his horrid plan to carry away the heroine, and bring a happy ending to the story. There are some other excellent characters, some very beautiful and others Very sinister, and woven in this story of love and hate are many really delightful little scenes from the cabaret itself, in which the dancing, if not the singing, is of a very entrancing order. The photography and general production of “Broadway” is amazingly good. Some of the scenes fall not far short of the famous "Painted Doll,” of “The Broadway Melody.” Though the psychology of the characters is a little hard to understand at times, the main events of the plot are striking and well continued, and the story itself must be pronounced a success. Few can resist real action, no matter what form it takes in an entertainment. The honours so far as acting goes are fairly evenly divided between a competent company of artists, but Glenn Tryon, as Roy Lane, must be cited as a performer of more than average ability, and Merna Kennedy, as his little partner Billie, also is deserving of the very highest praise. Robert Ellis makes a very convincing villain as Steve Crandall, while the part of Pearl, Mrs Scar Edwards, is perfectly portrayed by* Evelyn Brent. As a picture of New York night life, "Broadway” gives one rather an exotic impreesion, in which the colour is spoiled by the sordidness ofi the business, but as an entertainment it must rank high. Owing to the length of the main picture, the programme was not as prolific of “shorts” as one would have wished. These numbers are a very attractive part of the entertainment Now that time is beginning to smooth over the rough corners of American as it is here spoken, it is possible to beceme thoroughly enthralled with this bright form of entertainment. Last night there was a news reel, well edited and perfectly produced, which teemed with interest, and a comedy sketch, adapted from the old gramophone record in which a most amusing Hebrew rings up his landlord about a damaged shutter. The actor who carried that off did so excellently, and the audience voiced appreciation with irrepressible laughter. Altogether, the programme was one which contained much interest, and held the audience from beginning to end. FINE PROGRAMME AT THE GRAND THEATRE. = of a gr,n ' i night s fun at t.ie Grand Theatre this week. The features are of the lighter sort which ** a section of the Picture-going public. There are all the ingredients for a successful evening’s entertainment. There is a drama and a comedy, an interesting collection of miscellaneous films and to round off fihe programme thoroughly there is another “Our Gang” comedy and another chapter in the life of the “Pirate of Panama.” George Bancroft, a screen artist of exceptional ability, plays the leading part in the main feature “The Showdown” and has achieved a powerful characterisation. As a wandering oildriller seeking fortune in the oil fields of Tampico. Paramount has found a character exactly suited for the part. The picture is one of the underworld

where sailors and landsmen meet upon the low strata of Mexican oil-fields. Into the swampy jungles of the back country comes a young girl from New York quite ignorant of the conditions she must face. She brings a trunk full of evening clothes and gold-mounted toilet articles into a place seething with depravity. Through a series of adventures she finds herself alone and then begins a tense drama. George Bancroft appears in the story as a man whose footsteps have been dogged by spies from wealthy oil companies and who has seen success snatched from his grasp time after time by these scheming interests. When at length he has outwitted them and is about to reap the reward of his toil there comes the test of courage and honour, and his method of answering it makes a very dramatic film. Others in the cast are Evelyn Brent, Neil Hamilton, Ffed Kohler, Arnold Kent and Leslie Fenton, most of whom are well enough known to silent picture patrons. "Toni,” the second feature, is a story of the young idle rich. Jack Buchanan, as Toni Marr, is worried by his health and seeks the advice of a medical man. The doctor prescribes excitement and danger as an antidote. By a chance there is another patient of the doctor’s who is his double. He is a great detective living in the midst of excitement and danger. The two decide to exchange places. Toni’s first experience is his initiation into the mysteries and technique of his new profession. Then he reluctantly sets off on the trail of a promising, if dangerous, conspiracy. His efforts however, come to nothing. He wanders into a restaurant and there I meets the girl in the case, though he does not know that she is a princess. He engineers a pretty piece of work for her. however, only to learn her position. In a dramatic finale news arrives that a revolt has broken out in her kingdom and that it has been declared a republic. Then the princess finds herself free to marry the man of her choice, who happens to be “Toni,” the mock detective. SENSATIONAL TALKIE FOR CRYSTAL PALACE. A few weeks ago there appeared in the newspapers the news that the Australian censor had held up the first British all-talking picture “Blackmail.” His reasons were given on the grounds of morality, but his fears were discovered to be quite unfounded. The picture, which has had a most flattering reception in England and the United States, will commence a season at Crystal Palace very soon. It is said to be a powerful film drama, with a plot of daring originality, that has been superbly handled by the director. It goes from one tense scene to another, building up j to a smashing climax. It is, moreover, magnificently acted, and the lines are beautifully spoken. The journal of the American stage and screen, “Variety,” awarded the palm to the British film “Blackmail” as the best talking release of November, 1929. In the cast afe Anny Ondra, as the girl, Cyril Richard as the artist she kills, Donald Calthorp as the blackmailer, and John Longden as the Scotland Yard detective. THE CRYSTAL PALACE HAS THRILLS FOR ALL. Everyone loves to he thrilled, to he mystified, to be held for some time in that state where every moment is one of apprehension that something dreadful is going to happen the next. That is why “ The Mysterious Dr Fu Manehu.” the principal picture on the new bill at Crystal Palace, should prove very popular. There is in this picture thrill enough to satisfy the most enthusiastic lover of thrills, and throughout the greater part of it tragedy stalks silently and mysteriously. to the delight of the average theatregoer who dearly loves these things. The story deals with the tragedy that happened in the life of I)r Fu Manehu, and shows how it changed him from a kindly and industrious scientist Into something resembling a homicidal maniac. The whole character of the man became changed and he lived for only one thing—to wreak terrible vengeance on those whom he regarded as responsible for the affliction that befel him. In this task his actions were characterised by true Oriental patience and cunning. He laid his schemes well ahead, and laid them with a cunning and cruelty that could have come only from a mind hopelessly obsessed. Perhaps the grimmest feature of the whole tale is provided by the fact that he employs his ward, under the influence of hypnotism, to carry out quite a number of tlie crimes with which, in the fulness of time, he startles society, .'he mystery element of the story is well worked up and excellently sustained, with the result that the attention of the audience is kept focussed closely on the film throughout the entire period that it is being screened. Farner Oland and Jean Arthur are in the leading roles. They are gifted artists who make a complete success of the very unusual parts that they have to sustain. Their speaking voices are good. The fact that the picture is a talkie has raised it far above the standard of the silent thrillers, for the dialogue helps tremendously in weaving the web of mystery that shrouds the villainies of the master criminal. The programme of “shorts” is well up to standard. The comedy side is strong, and the quality of it is excellent. “ Hold Up “ Is a charming satirical study in which the thug is for the time being robbed of his terrors and made the subject of the shafts of the comedian. It is nice, light frolicsome stuff, that is just made to be amusing and achieves that end very successfully. “ The Sidewalks of New York ” is a song cartoon. Few things that the r.alkies have given have proved more popular than the song cartoons, which are both melodious and humorous. “The Sidewalks of New York ” is no exception to the rule, and last night’s audience enjoyed it thoroughly. " Baby Talks “ and “Race Riots” amplify the comedy side of the programme, both being excellent examples of their type. The “Fox News” is more than ordinarily interesting, for it includes talks by M. Briand, the late Dr Streseman, Mr Arthur Henderson and Mr Ramsay MacDonald. The programme is thus one of the bort that has been provided at Crystal Palace since the introduction of the talkies. CIVIC THEATRE SHOWS ” THE TRESPASSER." Miss Gloria Swanson has had the reception expected from her premiere talkie appearance in Christchurch. It was only to be expected that, as time goes on, talking pictures would improve in their technique, and Miss Swanson’s triumphant entry into the Civic Theatre on Friday last has confirmed that expectation. Not only Is this so from the standpoint of voice recording and reproduction—and in connection with the latter due praise must be accorded to the Civic Theatre for Its acoustic properties, and to the “Cine-Sound” plant for its excellence—but the style and design of the whole story are unusual and clever. The story is one of real life, and it unfolds with amazing rapidity and clearness. Marion Donnell is a typiste; she elopes and marries the son of a multi-millionaire; the father‘steps in with disastrous results and she leaves her husband. Time passes, and the audience is carried to a tenement with Marlon and her baby boy in dire poverty—and then comes the breakdown. Time again passes rapidly, and she is seen in luxurious surroundings singing beautifully, acting the hostess with the case and grace of a society lady. Then the smash—return to her typing. And the reconciliation. Undoubtedly a great picture.

FINE REVUE COMPANY AT NEW OPERA HOUSE. Jim Gerald’s Revue Company la con-' tinuing a successful season at the New Opera House. The latest musical comedy revue, “ Oh, Mum!’* Is in a class by itself, and the entire programme, including some bright vaudeyille and colourful ballets in the first half, is a credit to the company. There is not a dull moment in the two and a half hours of fun and fancy. The revue sparkles _ with wit at every turn. As Mrs Muggins, Jim Gerald is wonderful as a female impersonator. Excellent work is done by Essie Jennings, Ronnie Shand, Reg Hawthorne, Howard Hall, Ins May, Linda Hoy, Lily Coburn, Hetty Craydon and Joan Graham. The Six Twinklers assist in the choruses, and provide some very colourful ballets, in which the qualits* of the dancing is outstanding. The staging oi the revue is exceptionally well earned out. The numbers include a clever dance specialty by Joan Graham and Ronnie Shanrl. In addition to catchy songs by Letty Craydon, Tom Hale, Jim Gerald, Reg. Hawthorne, Linda Foy, Lily Coburn and Essie Jen‘‘Happy Ideas” is the collective title given to the numbers preceding the revue. There will be a change of programme on Thursday night. DOUBLE PROGRAMME FOR THEATRE ROYAL. To-night will be the last presentation of the “ Last of Mrs Chcyney.” Tomorrow, J. C. Williamson will inaugurate an innovation, in as much as they will present two big features, one alltalking and the other sound synchronised. Sparkling dialogue spoken by a cast of first magnitude will be heard" in “The Very Idea,” the first feature on the programme. This is an audifilm version of William Le Baron’s stage success, dealing with the eugenic idea. The theory of eugenics as expressed in a new book is put to a practical test by the author with side-splitting results. Frank Craven plays the author who proceeds to demonstrate that his plan is entirely feasible. He finds willing helpers in his sister and brothqr-in-law, plaj r ed by Doris Eaton and Allen Kearns, because they have been denied a child, yet want one. The author “sells” them on the idea of hiring a father and mother—the right kind, according to the book. The plan is fraught with many difficulties and these develop into what critics call the outstanding talking farce of the year . With Frank Craven, Doris Eaton and Allen Kearns are cast Olive Tell, Hugh Trevor, .Sally Blane, Theodore Von Eltz and Jeanne de Bard. Craven directed the stage action as well as played an outstanding role, while Richard Rosson looked after the pictorial direction. In the second feature, Lon Chaney Is starred in a stirring railroad drama entitled “ Thunder.” Lon Chaney has applied many strange make-ups, but up to now has always rebelled at moustaches and dodged any role that required such adornment. He thinks that false moustaches look like what they are. So, when he absolutely had to wear one, in his role of the old engineer in “ Thunder,” his new railroad picture, he grew his own. rather than use a false one. The new Metro-Goldwyn-Mayer picture is Chaney’s best, and he is well supported by Phyllis Haver and James Murray. The box plans are at The Bristol.