ENTERTAINMENTS

Wanganui Chronicle, Volume 74, Issue 191, 14 August 1931, Page 11

ENTERTAINMENTS

MAJESTIC THEATRE “SIT TIGHT” SHOWING If any doubts have existed as to whether Winnie Lightner and Joe E. Brown are the funniest people in the taikies, it is dispelled by “Sit Tight,” the Warner Bros, and Vitaphone production showing finally to day at the Majestic. Winnie appears as hard-boiled Dr O’Neil, owner of a health institute where the patients, male and female J are pounded, stretched, steamed, psycho-, analysed, and otherwise maltreated, in an effort to become the X enuscs and I Adonises that nature evidently didn’t intend them to be. Dr O’Neil is also interested in the fight game, and hopes to discover and develop champion material in the course of her work. Joe E. Brown is her doubtful assistant who calls himself Jojo the Tiger, and brag" without end of the pugs he has knocked out and the medals he has won. Jojo has an eye for feminine charms, and causes screaming roughhouse among the lady patients. Winnie is compelled to resort to her most hard-swa‘ting tactics to keep him in proper submission. ; In the same building with the “health : institute” is the office of millionaire Dunlap (played by Hobart Bosworth) who has a pretty daughter, Sally, captivatinglv portrayed by Claudia DellSally secures a better job for her lover. Tom Weston (Paul Gregory) and quarrels with him when he refuses to take. what he has not earned. As Tom leaves, Winnie corrals him. recognises I in his husky build the white hope for | which she has been looking and em-. ploys him on the spot. GRAND THEATRE. “THE VIRTUOUS SIN.” Finesse of characterisation, drama ie i moods and an introspective treatment < of human impulses collectively consti- . tuting the passion called love, make | Paramount's “The X irtuous Sin, which is showing finally to ; day at the Grand Theatre, | in entertainment barrage of ex- j ceptional power. It is the dramatic i love narration of intimacies in the lives } of three leading‘‘hamsters, constituting j an unusual treatu ■ : *’f the eternal triangle theme. A* ’ ;t spins in a . steady maelstrom of kaleidoscopic hu- j man frailties, generated by the rather ' unique situation of a pretty Russian ’ girl pleading with a stern general for the life of her husband, and achieving j her plea after the amazing discovery I that she really loves the “man-ma- I chine/’ Walter Huston, who did I memorable work in “The Virginian.’ss Tram pas. moves a step nearer the distinctive purple canopy of impressive j character study so adroitly managed by stars of the Chaney and jannings type ■ As the iron man of action who becomes ; a putty puppet under the emotional i spell of Miss Francis, he contrives to • be consistent and convincing without ' even a mawkish moment. Miss Francis ■ chalks up another victory for the kind ; of sex appeal that fascinates like a calm and deep stream; and for another ; thing, she makes an unusual departure from her customary coiffure. Kenneth I Mac Kenna is good as the third angle | of the triangle, and other prominent | parts are enacted by Jobyna Howland. I, Paul Cavanagh, Oscar Apfel and Victor Potel

DUCHESS THEATRE “DEVIL’S HOLIDAY “The Devil’s Holiday.” Paramount’s all-talking dramatic sensation starring Nancy Carroll, will show at the Duchess to-night. The film story was written and directed by Edmund Golding, the man who made “The Trespasser.” He was also the composer of “Love,” the great song of I that production. In “The Devil’s

Holiday,” Golding has chosen a theme that has never before been dealt with .in the all-talking films. The story treats of the lives of the wealthy farm people of the wheat belt and I their conniving neighbours of the big !cities. Miss Carroll carries off the honours in a very dramatic and emotional role of a manicurist with a golddigging philosophy of life who attempts to “take down” the youthful son of a God fearing wheat rancher.