HOLLYWOOD AT HOME.

Wairarapa Age, 13 March 1925, Page 5

HOLLYWOOD AT HOME.

POTENTIAL FILM STARS TRIED OUT. Z CAMERA AND ACTION AT OPERA HOUSE An unique and highly entertaining event—the testing out under modern studio conditions of the talents and histrionic ability of local aspirants for “film land"—took place at the Opera House last evening. Mr Beaumont Smith, the eminent Australian producer, was represented by Messrs L. H. Nunn (director) and S. B. Taylor( camera man), who gave the candidates every assistance to realise their dreams. Mr Nunn said that the company was in search of New Zealand talent with the ultimate object of establishing the industry in New Zealand, and reinforcing the work already done in Australia. Suitable candidates would be offered lucrative positions with every prospect of advancement. About 15 timid artists were then ushered into the “studio," and the fun began. Though very self-con-scious, some of them did really well. The scenes were inclined t« the melodramatic. In one instance tragedy gave fhe candidate full scope, and, spurred on by the enthusiastic director, he made an instant success. Naturally the entertainment held an abundance ef amusing situations. While the audience rocked with laughter it was appreciative of any sign of talent and assisted the actors with hearty applause. In the first scene an enraptured youth grasped the opportunity of the absence of the guests at a party to propose to “Betty,’ a timid blonde, who regarded her impromptu lover rather in the attitude of a cave man. “Fall on your knees," “Kiss her hands,” “Get up and squeeze her,’’ shouted the director between peals of laughter, to which the youth responded manfully, but with restraint. “This man has given you his name and fortune, Madam, show him you appreciate it,” echoed the director, as the couple stood fondly embracing each other before a mirth-shaken audience. Other couples were tried at this scene, and the director’s eye glistened keen appreciation as the proficiency of some was unfolded.

The scene was changed. In an atmosphere of tragedy the businessworried husband returns home to learn that his wife has departed with the “snake in the grass.” He seeks through the solace of the strychnine bottle the land where unfaithful wives hold no worry for thoughtless husbands. An overdose is administered. The husband, writhing in agony, careers round the stage, and at the command of the director tears his hair, bursts his collar open, and finally drops dead with his feet away from the camera. The remorseful wife returns. Seeing the body of her husband stretched on the floor, she vainly endeavours to induce him to speak. “Kiss him back to life!" “Look up to Heaven and scream a little!" “Now faint over his body and look upset!” commands the director, white the orchestra plays something “touching,”.

■ “I want a lunatic and two lovers fer the final scene," announced the director. No one admitted his capacity for the former role, se the camera man promptly led one out. With dishevelled hair, and with the chloroform bottle in readiness, the vacant one crouches behind an ivy covered wall awaiting the Arrival of the lovers. They enter, and after a brief conversation on the brightness of the moon, the maiden shudders at tho keenness *f the night. The lover leaves to get a wrap and during her absence the lunatic chloroforms the maiden and absconds.

At the conclusion of the tests, Mr Nunn announced that further trials would be held to-night, when fresh aspirants would be “put through their paces." It was hard to judge on first appearances, but considering that all the performers were well known (which added to their ordeal) he was well pleased.