PRINCESS AND TIVOLI

Sun (Auckland), Volume I, Issue 250, 12 January 1928, Page 15

PRINCESS AND TIVOLI

TO-NIGHT’S BIG PROGRAMME Patsy Ruth Miller is again with Universal, appearing in “Painting the Town,” with Glenn Tryon, under the direction of William Craft, the farce

feature, which will be the attraction I beginning to-night ! *Lt the Princess and j Tivoli Theatres. In “Painting the Town” Glenn Tryon plays the role of Hector Whitmore, an unblushingly self - confi- | dent country youth | of a supremely inventive mind. He I had already origin--1 ated every kind of an attachment for

the convenience of the automotive publio and was willing to undertake the invention of anything else which was desired. He had patents pending on virtually everything, but none of them sold. His main objective was to get to the Big City and sell the fire commissioner the right to use his new automobile patents. These patents enabled an automobile to travel one hundred miles an hour with perfect safety and stop on a twopenny piece; also to get in and out of a parking space with 10 inches leeway.

A casual flirtation with Patsy De Veau of the Follies, a half in earnest invitation on her part to come to see her in the city, landed the country youth in the midst of a three-cor-nered fight for the contract on city fire apparatus. Well, of course, Patsy helped a whole lot, but peanuts really got it for him. And because they did, it is quite likely that Glenn Tryon will be known all his life as the Peanut Kid. The second feature of a remarkably fin© picture programme is “The Blue Danube,” a waltz romance based on the famous melody by Johann Strauss. Those of us who are old enough to look back to the days before the charleston and the fox-trot existed will remember the lilting refrain of what is probably the most popular waltz ever written. That the Strauss family were gifted with genius there can be little doubt. Johann Strauss the elder and his even more famous son, composed in all 552 waltzes, of which “The Blue Danube” undoubtedly is the “ace.” In “adapting” it to picture form—if one can be said to “adapt’,’ a waltz— Frederick Zelnick, the producer, has used remarkabe cleverness. By utilising swaying crowds and similar scenes he has introduced a definite “tempo” into the story which reflects the essence of the Strauss waltz. An excellent musical accompaniment to the film /is provided, the score including some fine old Viennese folk songs such as “Yip-i-dee,” and “Let’s Go Where Fun and Frolic Reign.” The story, laid in Vienna, where the Blue Danube flows, concerns the love story of a count and a cabaret girl, and is excellently interpreted, with Harry Liedtke as the count.

George B. Seitz, who directed “The Blood Ship” for Columbia, has started work on “The Tigress,” which will be released by Master Pictures this year. Jack Holt and Dorothy Revier have the featured roles, with Frank Leigh. Philinne De Lace-'- Wilfred North, and Frank Nelson in the supporting cast.