THE KINEMA IN THE EAST.

Hokitika Guardian, 24 May 1920, Page 1

THE KINEMA IN THE EAST.

(By Hilda M. Love.)

SIAM, March 2

Charles Chaplin rules the risible muscles of the East, even as lie does those of the West. He is the comic king of tho Celestials; His poster outside a Chinese picture palace is as, great a draw as his electrically lighted figure in the Strandl The children imitate him in their games just as the Western youngsters do, begging for coins to go to see their idol. Sentiment on the film / is received in comparative silence by the “Chinks,’’ but a fight, a motor-car or horso chase brings the hall to its feet with yells of delight. When the villain is practising stealthy craft a low growing hiss greets his efforts, often a hiss of pure enjoyment, but the fight, the struggle—whether it.be the heroine or the hero who participates—is their greatest joy, and to tho newcomer their blood-curdling, deep drawn buy of excitement is not exactly pleasant hearing. *• War pictures a year or so out of date —and almost always American—still appear, the armistice celebrations in New York being, the latest instalment..

The orchestra makes no attempt to adopt itself to the action or theme of the screen. It is a thing of Icar and wonder as it wanders through pidgin rag-time and Scottish airs, braying with all its force 'at the wrong moments, relying solely on noise for attention. Garishly decorated are the interiors of the kinemas, making a lurid setting for tho startling colours worn by the spectators, who represent practically every race of the East. Chinese women are thore with their little smug-faced babies, while among the Europeans in the gallery sit the more genteel Celestials with their great flashing diamonds. Evidently it is the fashion to bring one’s wai‘ trophies into publicity on such an occasion, for one sees a Chink with a couple of shell cases placed ostentatiously on the small table before him, or a Siamese woman, seated beside a returned warrior, proudly twirling a Goiinan helmet on her raised band during tho interval. The kinema lias woil first place among ail Eastern entertainments. I 1» lias even ousted the once popular Wai Aug—tho ancient form of open-air theatre given for the free enjoyment of the populace by some wealthy Chinese merchant on the completion of an extra, good business deal. But in these speedier times the Chink wearies of Wai Ang dramas that last for a week, a whole evening instalment taking place with hardly any movement on tho part of tho richly garbed painted boys in women’s roles, who shrilly sing the hours away , with high falsetto voices.

Far more is the Chinaman attracted by the lurid posters that invite him to see the “powerful, amazing, gripping, suspenseful play ‘The Parisian Tigiess, a story of smiles and tears, massive sets,. gorgeous goivns, stupendous thrills love, hate and beauty. Also big scenes and big fights, both personal anil mdb.” Especially when this is followed by the fifteenth episode of “the smashing serial ‘Harems and Hokum,’, a picture with a beautiful story fit to appear as the principal feature!” Up to the remote river villages the ldnema penetrates, travelling by jitnh into the interior. In the darkness its semi-naked eager audience squat on their brown haunches on the earth, while the hoarse croaking of the nightjars and the shrill singing of insects m the surrounding jungle make a strange orchestra for the old English story of “Coinin’ Through the Rye.”