"PAINTING THE TOWN."

Press, Volume LXIII, Issue 19162, 19 November 1927, Page 8

"PAINTING THE TOWN."

A WAGGISH PASTIME. CRYSTAL PALACE, MONDAY. The mere title gives vast promise of conidey, wealth of thrille, of ingenious complications, and of hilarity. What, however, the mere title is incapable of giving is the fact that Glenn Tryon ploys the painter. Tryon makes his film debut in this Universal picture, which is to head next week's bill at Crystal Pulace Theatre. Tryou is a comedian who, in his first picture, gives Reginald Denny himself, considered the best of all screen fun-makers, a near race for the honours. - Tryon has a technique all his owu, a dry sense of humour, an ingratiating personality, and a real appreciation of the public's taste in matters humorous. The result is ''Painting the Town," a film that has beeu received by the critics of the big American centres as one of the finest comedies of many a season, and the youthful star as a coming head-liuer. The story is excessively amusing, and the plot not without its pathos, foe there is something very pathetic about the young man who considers himself an inventive genius, and who on one occasion says to one of the fair stars of Broadway, "Say, I'm the guy you fell lor at garage," the fair star who had the pick of Fifth avenue. His language might have been appalling,-but the substance was immense. So this bright spirit, in optimistic mood, starts for New York, "to put the .town on a paying basis," and when he commences to indulge in the festive activities hinted at in the title, huge enjoyment is engendered. Notwithstanding its delightful humour, airy thrills, and genuine sighs, "Painting the Town" could easily have failed to be the triumphant success it is had any other than Glenn Tryon been in command; he it is undoubtedly who elevates it to such dizzy heights, and Miss Patsy Ruth Stiller, as the Broadway artist, lends grace and "It" to the merry talc. Nor is that all. The hero may be brash, boastful, and childish in his belief in its attractiveness and gifts, but this comedy is sophisticated and matured, not of the order that Malcolm St. Clair produced for Florence Vidor and Adolphe Menjou, but piquant and sparkling with the allure and wit of polished humour and ingenious incidents. One marvels at the fertility of the imagination who conceived the "gags" and accoutrements that provide so much of the burlesque _ and loud hilarity, but it is there, and that is all that matters. For the rest, one must be content to welcome Glenn Tryon to the local screen, and record an earnest hope that his picture may follow in rapid succession. i lively skit on the eternal detective, with his eternal disguises and melodramatic unravellings is "Rubber Heels," the supporting feature on the programme. In this comedy the much-moustached Chester Conklin plays the leading role, energetically assisted by id. Wynn, and the pair run amock in vety pleasing manner through overy reel, to the dclight of those who come to laugh, and the despair of those who come to listen to the orchestra. Ruth Donnelly plays the feminine lead. The Symphony Orchestra again plays a very acceptable musical programme including the following :-Overture Jo ly Robbers" (Suppe), "Coppeha" <Dehbe» , "Minnesold" (Fresco , "In daytime (Phillips), "La Paloma" (Yradie*), ' Glorietta" (Hildreth), "Villa Rosa' (Denza), "Rustle of Spring" (Binding), "The Lady of the Rose" (Gilbert). The bos plans are at The Bristol Piano Company, where patrons are advised to book their seats.