"WET PAINT."

Press, Volume LXIII, Issue 18894, 8 January 1927, Page 9

"WET PAINT."

* MARITAL STICKINESS. •CRYSTAL PALACE, SIGN'DAY. lie was bent on getting married. A lot of men are taken that way early in lifo. It is just one of Fate's little ironies, something that hat come to be accepted philosophically by a philosophical world. Well, he was quite determined about getting married, und made as much ulo about it as though he was the first man t.ivio Adain to take the stop. His antics were exbauctingly amusing, nay, they were more than amusing, they were sheerly funny. They also allowed some originality and a buoyant cclat that made tho whole affair increasingly fascinating. The man who was to support him at the altar was of the literary fraternity, so after the comedy had run its eourso, he sat down to write the. story. "Wet Paint" was the result, and an actute motion • picturo producer, being possessed of an appreciation of genius und rtajmond Griffith, forthwith immediately transferred the etory to the screen, and 'Wet Faint" will be presented at the Crystal Falaco Theatre next week. It is truly amazing what a wealth of comic incident and story-telling interest has been woven round nothing, because, really, getting married, .or trying to, is nothing. .tiut with liaymond Gr.fritJi as tho petulant bachelor one may expect anything and not be surprised. He can, with impunity, appear, in a picturo that is entirely without dramatio sequences. Ho ia such that he can rely upon his comedy alone, and this he does in "Wet Paint" with singular success. The story ia light but it is. logical and cohesive, and it is packed with ingenious and exhilarating 'mirth. Nothing lends itself to better comedy than serious tilings, but marriage is a serious nonentity, but if a oomedian, in a play or a picture, of course, starts to clown with it, it is the. incongruous co npanson which does the trick. Sedate Australian journals have discarded their rules for once in reporting "Wet Paint," and becomo mildly bombastic. Not only do they describe is aa original, witty, and clever, but to Raymond Griffith, bliflle.', unconcerned, irreproasibly gay, tlioy extend the mead of sweet praise in unanimously -oting him tho screen's most delightful comedian, and if in other pictures we were inclined to crown him thus, in "Wet Paint" wo are convinced of his royal status. Helen Costcllo plays opposite him, and brings both beauty and talent to her role.

Ono of the best known and most popular of present-day English writers is represented on tho second half of the programme, "Sapper's" (Cyril McNeill), "The Third Round," from the famous Bulldog Drummond series, being tho minor attraction. This is the highest form of melodrama represented on tho stage, deep, dark mystery, a plethora of villainy, and the saving graces of comedy and light romance balancing tho cnBemble of the picture. Apart from 0. Henry, "Sapper" is the king of the short story in English, combining every attribute of eensationl, and at the same time, highly rational, entertainment, in hia stories. "Tho Third Round" is typical of his efforts, a picture which enthralls with its drama, amuses with its humour, and delights with its simple, human interest. Jack Buchanan, tho famous English actor, plays the leading role, supported by Betty Faire, the actress who oreated suoh a favourable impression as Lucie Manette in "The Only Way." The Symphony Orchestra, under the direction of Mr Alfred Bunz, will be heard in special orchestral numbers, including the following selections:—Overture, "Old Glory" (Lecliange); symphony, First Movement from tho "Scottish" (Mendelssohn); "La Traviata" (Verdi); "Impressions d'ltalie" (Charpentier); "Cleopatra" (Marcinelli); "L'Arlesienne" (Bizet); "An Der Weser" (Pressel); "It Was Your Hat" (Flintoft); "Angels Guard Thee" (Godard). Box plans are at The Bristol Piano Company, where seats may be reserved.