ENTERTAINMENTS

Southland Times, Issue 21088, 21 May 1930, Page 9

ENTERTAINMENTS

“BROADWAY SCANDALS OF 1930.”

ALL TALKING, SINGING, DANCING REVUE MAJESTIC MATINEE AND TO-NIGHT.

“Broadway Scandals,” a musical comedy extravaganza produced by Columbia Pictures Corporation opens at the Majestic to-day. It is sparkling entertainment done in Broadway’s best style. A galaxy of stars including the versatile Jack Egan, the vivacious Sally O’Neil and the striking Carmel Myers, who play the leading roles, disport themselves with glory. See, hear and thrill to this all-talking, singing, dancing carnival of life behind the footlights it is excellent film farce. “Broadway Scandals” proves that it is possible to incorporate a good story in a musical production. The practice heretofore has been to attach music to the thinnest skeleton of a plot. Here you have honest-to-good-ness drama, a beautiful romance, and with it all, corking good music. There are seven songs and every one is a sure hit. “What is Life Without Love,” the theme melody of the show, will sweep the nation like wild-fire. The struggles of the two young actors, Ted and Mary, who shoulder their way bravely through misfortunes, with their eyes turned toward the cherished goal—stardom on Broadway—are typical of what every stage actor has lived through some time in his career. Their efforts to get their act on the “big time,” their disappointments afford a realistic glimpse into the lives of those who provide the worlds entertainment. A programme of special all-talking and singing featurettes will also be screened, including a Paramount sound news reel, an operetta in Technicolour entitled “In Dutch,” a .musical comedy entitled “Station 8.U.N.K.” etc., etc. Plans are at the Bristol till noon, and reservations may be made at the Majestic Theatre thereafter. THE REGENT. EXTENDED SEASON ATTRACTION. RAMON NOVARRO IN “DEVIL MAY CARE”; LAUREL AND HARDY IN “NIGHT OWLS.”

Few programmes have been more popular than the one now enjoying an extended season at the Regent. The principal feature “Devil May Care” is* delighting large audience because it tells of stirring times in France into which a delightful love story is interwoven. Ramon Novarro has never been seen to better advantage as an ardent lover, and Dorothy Jordan makes a charming French girl of the post-revolution period in France. The picture is W’holly charming and deals with the adventures of Armand De Trevaille, an ardent Bonapartist and a lieutenant in the Old Guard. Napoleon bids farewell to France and to his Old Guard in a stirring speech, which brings tears to the eyes of the soldiers who have loved and followed him to victory. He departs and is seen on board ship, sailing for Elba, while the wraith of the Old Guard march by to the accompaniment of their battle song. The scene is an intensely moving and appealing one, and serves to prepare the observer for the thrilling story which is to follow; a story which is based on Armand s love for Napoleon and Leonie’s hatred for the Corsican, for she is as ardent in her love for the Royal cause as Armand is for Bonaparte. Armand was not content to have the Little Corporal kept on Elba and conspired for his return. He was detected in the conspiracy and condemned to be shot. His escape was as simple as it was daring, and his first refuge proved to be Leonie’s bedroom. She first hides him and then betrays him when she learns that he is a Bonapartist. He escapes again and flies to his friend, the Countess Louise, where he is disguised as a footman. Leonie arrives on the scene to visit the Countess, who is her cousin, and as time passes by she learns to love Armand. She is very distressed at having allowed her affections to go out to a footman, and her distress is not diminished when she learns that he is a gentleman, but a Bonapartist. Napoleon returns and Armand rushes off to join’ him in his battles of “The hundred days,” but he learns that Leonie has given herself to a Royalist, Captain Degrignon, and leaves his leader to rush to her assistance. Leonie spurns him as a traitor but, exclaiming, “What have the affairs of kings and emperors to do with our love?” he carries her off by force, and she submits in a very charming way. The supports are excellent, and include a splendid comedy by the wellknown pair, Laurel and Hardy, a delightful turn by George Lyons the singing harpist, some clever work by Carl Ernny’s performing dogs, and an unusually fine Metrotone Review. THE CIVIC. EMIL JANNINGS AND RUTH CHATTERTON IN “SINS OF THE FATHERS”; LOIS MORAN AND NICK STUART IN “ JOY STREET.” Two feature pictures, replete with entertaining qualities, but each are quite distinctive in type will be screened at the Civic to-night. Emil Jannings, that powerful continental actor, has another remarkable performance to his credit in “Sins of the Fathers.” As a German-American Jannings is by reason of his personal characteristics ideally cast for the part he has to play. In “Sins of the Fathers,” Jannings plays the role of Wilhelm Spengler, a German-American waiter and saloon keeper, who becomes a fabulously wealthy bootlegger only to have his life crash around his shoulders, bringing him in the end back to his original status. In the leading feminine role is Ruth Chatterton, the famous star of the legitimate stage, who has already been seen on the screen in “Madame X” and other talkies. She also does excellent work in this one. Also featured in support to Jannings is young Barry Norton, who gained fame in “What Price Glory” as the baby-faced soldier. His role is that of Jannings’ son. Others in the cast who help to elevate the picture to a high dramatic level through their performances are ZaSu Pitts, called by Erich von Stroheim, the star-director of “The Wedding March,” the greatest tragedienne on the screen to-day; Matthew Betz, Jack Luden, Jean Arthur, Harry Cording, Arthur Housman and Frank Reicher. Exuberant youth has its fling in the Fox picture “Joy Street,” the cast of which is headed by Lois Moran and Nick Stuart, with Rex Belt and Sally Phipps leading the support, all in the most unusual roles of their careers to date. In addition there are supporting youthful players individually selected for their vivacity and suitability to the roles. It is a “party” picture. Nearly the entire production is confined to a series of modern affairs in the young social set, yet these sequences are handled in such a way as to make the story a continuous flow of swift, vibrant narrative. It has notable settings. They include snow-clad Sierras; “El Paseo,” the famous group of buildings in Santa Barbara, classed as the finest specimens of Spanish architecture in this country; a mountain lodge; elaborate interior “sets” of millionaire’s homes erected at the studio. It has remarkable camera effects. The “travelling shift,” which makes the picture run in a smooth, continuous flow instead of in an interrupted series of separate scenes; the “twin-lap dissolve,” which allows the background to change entirely while the foreground and characters remain unaltered; the "living lens,” which for the first time makes the camera an actual participant -in the action of the story, instead of merely a spectator on the sidelines—all are utilized.