ENTERTAINMENTS

Wanganui Chronicle, Volume 73, Issue 446, 11 December 1930, Page 11

ENTERTAINMENTS

“THE HOUSE OF THE ARROW.’’ AN ENGLISH PRODUCTION. There are few talkies, if any, that have a better right to claim the title •‘Thriller,’* legitimately, than the A. E. W. Mason screen play, “The House of the Arrow,” the British talking version of whiteh opens at the Majestic Theatre on Saturday next. This story always has been considered to represent Mason at his very thrilling best, and in transition to the screen it has not lost one atom of its unique appeal. On the contrary, the dialogue might serve to increase the dramatic intensity of the piece. The story revolves around the mysterious murder of a Mrs Harlow, the owner of a sumptuous homo in a part of France which is being menaced by r. mysterious person known as “The Scourge.” Fearing a reign of terror, the police call in Hanaud, most famous of all French criminologists. The detective eventually solves the mystery of the murder, in an ingenious manner, to absolouto satisfactin of the most exacting patron. In ‘‘The House of the Arrow” the screen voices are purely English, well recorded and admirably reproduced. Leading players in this pleasing production are Dennis Neilson-Terry, a name, incidentally, that is traditional on the English stage; Benita Hume and Richard Cooper. GRAND THEATRE “THE FALL GUY” “The Fall Guy,” Radio Pictures comedy-drama which opened at the Grand Theatre yesterday, is everything the stage success was, and more. The original play, which set a longrun record in New York, was funny, gripping and Luman. The screen version is all of that, with the added intimacy and warmth which only a well directed talking picture can give. The story is a happy combination of gripping situations and chuckles, and the ending leaves the'' audience a delightful sense of rea!ly having been entertained. Jack Mulhall makes a convincing and lovable white-collar man who loses his job, gets mixed up with bootleggers who try to make him the goat, and finds himself in a dilemma which makes the climax one of the best yet in talkies. Ned Sparks, as Dan Walsh, brother of Johnnie’s wife, is funny, even in the scenes where he docs nothing but look wise. The cast is an excellent one, including Mae Clarke, Wynne Gibson, Pat O’Malley, Tom’ Jaeksoy, Ann Brody, James Donlan, Al Roscoe, Elmer Ballard and Tom Kennedy. The supports are Fox News, Musical Featurettes and Mickey’s Romeos comedy. Scats may be booked at the theatre’office. REGENT ONE ROMANTIC NIGHT. LILLIAN GISH STARRED As the astronomer who preferred to star-gaze on the night he won an avowal of love, Conrad Nagel has created one of the most interesting roles of his career in “One Romantic Night,” the United Artists all-dialogue picture, starring Lillian Gish, now showing at the Regent Theatre. In this film version of the Ferenc Molnar play “The Swan” Nagel portrays the role of Dr. Haller, the astronomer-tutor who wins and loses the hand of an aristocratic young woman when love temporarily surrenders to his passion for the stars. Nagel, who is one point of a romantic triangle which includes Miss Gish and Rod La Rocque, characterises an earnest young man who finds himself a mere pawn in the game of love.

“One Romantic Night,” which, incidentally, introduces Miss Gish in her first talking picture, is a romantic comedy-drama that preserves all the swift play of wit and romantic beauty that established the Molnar play as one of the greatest »eontributions in the field of entertainment. Under the able direction of Paul L. Stein, the screen version possesses an elasticity of action denied the original play because of the theatre’s natural limitations.

Ordered to spare no labour or expense in making this one of the outstanding pictures of the year, Stein caused the most elaborate and , costly sets of modern production to be erected at the United Artists studios. Many renowned art directors and interior and exterior decorators were engaged to lend their art in the recreation and copying of authentic settings. The

rich garden scenes, against whi*eh much of the romantic action of the story is set, were taken at the celebrated Busch Gardens in Pasadena, California. This beauty spot was the locale of an intensive shooting schedule lasting several days. Included in the supporting cast with La Rocque and Nagel are Marie Dressier, O. P. Heggie, Albert Conti, Edgar Norton, Billie Bennett, Phillippc de Lacy and Byron Sage. “One Romantic Night” was adapted by Melville Baker, the young Harvard playwright, who first translated “The Swan.” the Molnar play for the American stage. Included in the supporting programme will be the film version of the thrilling Kara Pasha v. Abo Coleman wrestling bout. “ALE’S BUTTON.” EARLY REGENT ATTRACTION. Just as there is a serious side to the business of war, so there is a much more pleasant side. This latter aspect is depicted in an extremely entertaining manner in the all-talking British Dominion’s farce, “Alf’s Button,” which will be the chief attraction at the Regent Theatre on Saturday. The commanding officer, the hereditary enemy of all soldiers, would naturally figure in many sequences where two such “die hards” as Alf Higgins and Bill Grant are concerned. You won’t be disappointed, the officer does figure prominently, much to the discomfort of Bill and Alf. Ono particularly hilarious scene is the one in which Alf and Bill are ordered out of line to tidy themselves up a bit, and they succeed in adding greatly to their untidiness by falling into a rather deep shell-hole of ooze and mud. Alf, in the course of cleaning his buttons, finds that by giving one of them a brisk rub a weird and wonderful “spook” pops up. Yes sir, a special “spook” commissioned to perform the wishes of Private Alf Higgins. Alf christens his “spook” Eustace, and, incidentally, he finds his favourite expression—strike me pink—rather dangerous when Eustace is around. “Alf’s Button” is a particularly fine British all talkie attraction.

“THE NEW MOON” AND “THE BELLE OF NEW YORK.”

At nine o’clock to-morrow morning the box plans will be opened at H. 1. Jones and Son’s for the first and oniy production here of “The New Moon,” the gorgeously-mounted and deliciously tuneful and very humorous comic opera, which is to be staged by J. C. Williamson Ltd., at the Opera House on Monday night next, and for the presentation of “The Belle of New York,” which is to be produced on Tuesday evening. The number of inquiries which have already been macle at the box office in regard to the booking arrangements, indicates that there is likely to be a record demand for seats, so to avoid any unnecessary ‘crushing the management will have a staff of ushers in attendance from an early hour, and the earliest arrivals may be assured *»f having the first choice of positions on the plans. “The New Moon” was written by Oscar Kammerstein, of “Rose Marie,” “The Student Prince,” and “The Desert Song” fame, and the music is by Sigmund Romberg,, composer of “The Student Prince” and “The Desert Song.” “The New Moon” is said to be the most spectacular production the Williamson management has ever staged, and the company the best all-round organisation of singers, comedians, artists and dancers which has ever appeared in any single production in Australia or New Zealand. The plot of “The New Moon” is particularly interesting, and during the unravelling of the romance the comedians have some excellent material provided for them. The basis of the story of “Tho New Moon” is founded on tho life of Robert Misson, a French aristocrat, with revolutionary tendencies. The periods of the play is these fateful years in French history—l 792-179 and the scene in the first act is the grand salon of M. Beaumanoir’s mansion, near New Orleans, and in the second act, we are in the neighbourhood of the Carribean Sea. The hero," Robert Misson. with his faithful attendant, Alexander, escapes from France, where Robert has slain a distinguished courtier, and he and Alexander have become bondsmen to M. Beaumanoir, who is the owner of a ship called “Tho New Moon.” In pursuit of Robert there arrives the sinister figure of Vi•eomto Ribaud, whose duty it is to transport Robert back to France. In spite of his inferior position, the gab

lant bearing of Robert has made a direct appeal to the susceptible heart of Marianne, his master’s daughter, and the intracicies of his wooing constitute the main features of the love interest, in which he has for his rival the captain of “The New Moon,’’ George Duval, while the subordinate and comic theme is shared between Alexander and Julie, and the shewish Clotilde. Another role is that of Phillippe (Herbert Browne) made prominent by the splendid musical numbers which fall to it. The brilliant young soprano, Romola Hansen, who delighted us in “The Desert Song,” will be welcomed in the big singing role of Marianne, and so will Sidney Burchell, who has achieved a remarkable suc’ecss as Robert Misson, the hero of the play. Mr Jim Gerald will also doubtless receive a great reception when he makes his first appearance here in a legitimate play. The cast of 36 names also includes Leo Darnton, John Ralston, Don Nicol, Bernard Manning and Amy Rochelle. “The Belle of New York.” Outstanding features of the up-to-date 1930 production of “The Belle of New York” are its charming melodies, its clever dialogue, its picturesque costumes and its delightfully humorous comedy. The cast for “The Belle” was selected with great care and the coming revival will ex*cel any previous representation of it. It will be staged with new and magnificent scenery and costumes.