TALKIES

Bay of Plenty Beacon, Volume 2, Issue 158, 10 May 1940, Page 2

TALKIES

"THE SAINT IN LONDON' 1 FURTHER ADVENTURES OF COLr GUREUL LONE AVENGER Deivi ng into the internationallyfamous myslery novels of Leslie Charteris for a last-moving, actioni'nl drama, RKO Radio follows the | P:es(MiLation ol "The Saint in New if York" and "Tiie Saint Strikes Back jj Willi "The Saint in London," thirl in this highly popular series revolving around or.e of fiction's more colourful characters. George Sanders, who interprets the title role in the second of these films, is again featured with Sally Gray, beautiful young British actress in the chief feminine role. Henry Oscar. Carl Jade, Nora Howard, Athene Seyler and Gordon McLcod are in the supporting cast. Based on the activities of a notorious criminal gang engaged in a vast currency fraud, the narrative presents Sanders as "The Saint" arch-enemy of crime, who engages the gang in a life and death battle. By the adroit methods, and the aid of a young society girl, this modern Robin Hood amasses the evidence necessary to convict his enemies. How the gang responds by framing "The Saint" on a false murder charge, and later kidnapping the girl, provide the stirring action of the film. John Paddy Carstairs directed the film under the production guidance of William Sistrom. It was filmed in England against authentic background of the British capital. COMEDY ROLES ARE HARD WORK SAYS LEON ERROL OF "MEXICAN SPITFIRE" Leon Errol has a new answer to the eternal question of why comedians yearn to play Hamlet roles. It's because such roles are a snap# avers the veteran comedian, seriously. "Comedy is really hard work and any comedian who has been in the business for anj r length of time j looks forward to serious dramatic roles as a sort of vacation from hard labour." Errol should know whereof he speaks. He has been before the public on stage and screen since i9ll, is currently appearing in his umpteenth film role in RKO Radio's "Mexican Spitfire," starring Lupe Velez. Errol was formerly the headline fun-maker with Ziegfeld Follies and other Broadway shows that made history. "Comedy is hard work because it is all exterior," says E'rroL "You don't have to feel anything, in fact you shouldn't. Any comedian .who is i'unnv to himself is almost invariably unfunny to the audience. You either do what you're told to do, do what the script calls for, or you do what you know by. experience i/s laugh-provoking to the onlooker. "But all of these things you do to get laughs are induced actions rather than a normal mental or emotional reaction to what is going on. Sometimes they don't even- imake sense, but you have to bury your real thoughts or emotions and consciously proceed with your funny business. And that, because it is wholl3 r physical, is really hard work." SHE WAS BEERY'S "LEADING LADY" IS YEARS AGO When Virginia Grey was cast as the feminine lead in "Thunder | Afloat" both she and Wallace Beery, ; who appears as her father in the film, believed that this was the first time they had ever been in a picture together. Then Virginia discovered that they had been in another {picture, 18 years ago. Going through some scrapbooks of her director-father, the late Ray Grey, Virginia found a faded snapshot which he had taken, showing her on Wallace Beery's lap. The at the time were living in the same block as Beery, near the old Mack Sennett studio on Glendale Boulevard, and Virignia with various other neighbourhood children plaj'ed in the vacant lot behind Bcery's house. He at the time was appearing with Douglas Fairbanks in "Robin Hood." (Continued foot previous column)