Round The Shows

Sun (Auckland), Volume I, Issue 258, 21 January 1928, Page 15

Round The Shows

NEW REGENT EXCELLENT BRITISH FILM When the management of the New Regent Theatre present a British film as past experiences show, there can be no doubt but that it is going to be an excellent production, and with “Madame Pompadour,” the latest from a British studio, the public have something that is truly great. It is such pictures as this that will do more than anything else to lift British films .to the front rank of motion picture production. The poignant story of a bekutiful. French girl who rises from a nonentity to be power in the land and to be able to sway Louis XV. by a smile, should prove a big attraction to the New Regent during this and next week. From early girlhood the child is taught to* match her wits against the world —her beauty does the rest — Madame becomes safely ensconced in the Xing’s -heart and favour. But- even as she smiles her way through life, her heart the man she loves. And then to his life she deceives him to her own undoing and his. Dorothy Gish, in the title role, gives one of the finest impersonations of her career. Her acting of this difficult role was fiawle-ss. and the feature of the production. Her biggest and most impressive scene was that in which she shows the King that idle tongues have joined her name with a common soldier, and thereby wrecks her happiness. Words could not describe adequately the heights to which Miss Gish rises here. Rene Laval, Antonio Moreno, as the young lover, is also responsible for an excellent performance. As Louis XV., Henri Bose made a big impression. Gibb McLaughlin as Comte Maurepas, the scheming court dandy, who tries in vain to expose Pompadour and her intrigues to the King, was another excellently cast. The "Regent News" with interesting tit-bits of the world and its happenings was a pleasant and interesting addition to the programme. “Grief in Bagdad,” a comedy introducing Max, Moritz and Akka, the three monkeys who will appear in person at the New Regent next Thursday, was a perfect scream. The absolute wonder of these monkeys, and the almost human intelligence displayed is a thing to marvel at. Having seen them as screen "artists,” the fact of them actually being on the stage should be more than interesting. Miss Nellie Lingard, the popular Auckland contralto, was an immediate favourite. She rendered “Here in the Quiet Hills” (G. Came), and "Waiata Maori” (Alfred Hill), and to insistent applause gave "Annie Laurie.” Her voice is nicely balanced and she sings with distinct feeling and charm. Her items were much appreciated. With only two more weeks to go before he leaves New Zealand. Mr. Eddie Horton, at the mighty Wurlitzer, gave a delightful rendering of "In a Monastery Garden.” He also played a novelty song featuring ‘‘Me and My Shadow.” The Regent orchestra under Mr. Maurice Guttridge seems to show an improvement, each week, and the entr’acte last evening. “The Barber of Seville” (Rossini), was given a fine interpretation. The choice of musical numbers was as wide and varied as it was pleasant, and the orchestra was in excellent fettle.

PRINCESS AND TIVOLI NEW ZEALAND MASTERPIECE “The Romance of Hinemoa,” now being screened at the Princess and. Tivoli Theatres, has attracted large audiences since the premiere. The story in brief tells of Hinemoa, daughter of Umukarai, chief of the Arawa tribe, being wooed by Tutanekai, the son of the chief of the Ngati. A jealous rival, Tai, makes it appear that Tutanekai has stolen, the .chief’s, sweet pbtatoes, an outrage on hospitality punishable by death. As an alternative he is forced to go through a fireswept Volcanic . valley; He emerges alive and returns to has people. Later on he sends word to Hinemoa to come across the river with him. Meanwhile Umukarai had betrothed .Hinemoa to another chief, but she slips away and swims the lake, reaching her lover in an exhausted condition. Umukarai and his warriors follow in canoes, but a fight is prevented by Hinemoa’s maid, who shows up Tai. The lovers and the tribes are united.

As Tai, Tai Amohau shows great promise as a film actor. Ilinemoa is made exceedingly attractive by Maata Hurihanganui and rivals many a famous screen star in beauty. As the hero, Akuhato is extremely good, while all the other characters show a good understanding of their parts. Gustav Pauli, who photographed ‘“Livingstone,” has combined both the work of photographer and producer in this novel venture, and has made an exceedingly good .iob of it. The story is most pleasantly told, and he has worked in the interest connected with Maori rites and customs in a natural and entertaining manner, without diverting attention from the story. The photography is very good and shows the novel exteriors to the utmost advantage. Hot springs, Xew Zealand scenery, and volcanic craters are all taken from good angles, and there are many beautifully picturesque shots in which Maori villages are a feature. Jean Hersholt, in “Alias the Deacon,” which is also being shown at both theatres, gives a performance which will live long in our memories. So human, and handled with such delicacy and restraint, he establishes himself, if he has not already done so before, as one of the very finest actors the screen has ever seen. The cast which plays in support of this brilliant character star is no less capable. June Marlowe and Ralph Graves arc ideal as the girl and boy for whom the amiable old “deacon”' sacrifices so much. Myrtle Stedman, Xed Sparks, Lincoln Plummer. Tom Kennedy. Maurice Murphy. George West and others play principal roles in the supporting cast.

“BEN HUR” AGAIN RECORD-BREAKING FILM That triumph of moving' picture art, “Ben-Hur,” is still the sensation *of the city, though it has entered upon the sixth week of its Auckland season. Presented at the Strand Theatre with a perfect musical accompaniment and a delightful prologue, “Ben-Hur” is a great entertainment. Its merit is such that many Aucklanders have preferred to see it twice or even thrice, rather than go to an unknown picture. “Ben-Hur” has the quality of the best in art and literature, its infinite variety never stales, and one -can see it over and over again w-itli pleasure. “A magnificent picture,” This was, the comment made by H.R.H. the Prince of Wales after attending a special screening in London of the picture “Ben-Hur.” Never before in the history of the screen has a picture attracted such distinguished audiences throughout the world; never before has the criticism of Press and public been so overwhelmingly enthusiastic; never before have the churches of the world been so unanimously in support of a production. That is the power that “Ben-Hur” possesses. It is too big, too massive, too overpowering, for petty barriers of creed and class and colour. It makes an appeal to every human sense —to every man, prince and commoner alike —to every woman and child. It may interest picturegoers to know some of the pictorial masterpieces on which the makers of this Metro-Gold-wyn-Mayer film have builded: —William Blake’s “The Star of Bethlehem”; Raphael’s “Sistine Madonna”; Gustave Dore’s “The Nativity” and “The Star in the East”: Ruben’s “The Holy Family”: Millar’s “Christ in the Carpenter Shop”; Dores “Dante’s Inferno” (for scene in the galleys) ; Tissot’s “Pool of Siloam,” and many other Holy Land paintings; Leonardo da Vinci’s “The Last Supper”; and Munkacsy's “Christ Before Pilate.’’ These scenes are incidental to the wonderful romance of “Ben-Hur,” a contemporary of Christ, in the epochmaking picture based on General Lew Wallace’s world-famous stage play and novel. The picture has been playing to capacity since its opening. “BRIGADIER GERARD” COMING TO AUCKLAND Packed from start to finish with highly thrilling and charming scenes, “Brigadier Gerard.” Rod La Rocque's latest De Mille star picture, is due for release in Auckland at an early date The production, superbly directed by Donald Crisp, rises at times to the dignity of great drama, and the featured players, including Phyllis Haver, Julia Faye, Sam de Grasse and Sally Rand, appear to excellent advantage. The fascinating period of Napoleonic rule in France is the background of one of the best pictures in which Mr. La Rocque has appeared since he became a star. As the dashing young cavalry officer Mr. La Rocque has a picturesque role which he makes the most of. The picture is the screen version of Sir A. Conan Doyle’s celebrated novel “The Adventures of Gerard,” and is vibrant with real drama and thrills whilst there are many humorous scenes. The love interest is strong, the action rapid, in all a picture that is well worth seeing.

UP TO MAJESTIC STANDARD “PRIVATE IZZY MURPHY” It seems almost incredible that more than 1,000,000 dollars could possibly be obtained from the Jew-Irish or „IrishJew theme. Despite the fact that Anne Nicholls has adjusted her bank balance with that , sum, George Jessel is still under the ; impression that he can substitute an Isidore for an Abie. Warner Brothers supported that contention. “Private Izzy Murphy” presented at the Majestic Theatre before a large audience last night has much in common with the Nicholls’ farce. True, it is not Rosemary who dissembles on this occasion. Izzy is the culprit. The enterprising young provision merchant was imbued with such a sufficiency of the natural business instinct of his race, that he was Jewish in a Hebrew community, while his shop, in the Irish quarter, was run under the name of Murphy. How Izzy could possibly be mistaken for anything but a son of Isreal seems beyond comprehension. One peep through the window of his delicatessen store (whether it be Irish or Hebrew*), woud decide that point for all time. One thing was certain—lzzy’s nose certainly came from the right side of the Jordan. Patsy Ruth Miller is the allegedly Irish maid who was resnonsihle for T7?v

is responsible for Izzy 3 forgetting scruples | of race and religion I and proving such a | disappointment to | his exceedingly or- | thodox parents. No ■ wonder they were I alarmed. If this I racial admixture I continues it will inI deed be difficult for I these respective I peoples to retain I their identities and I characteristics; that is to say, it would r appear that such

might quite possibly be the case in the United States if we are to believe the purveyors of modern comedy or the equally industrious scenario writers. Amusing were the scenes where Izzy Goldberg-Murphy was besieged by an enterprising matrimonial agent, who produced in turn the photographs of the various Jewish women he would like to see presiding over the GoldbergMurphy provision shops. Not even a prospective bride with a dot of 40.000 dollars could secure Izzy’s affection to a member of his own race. The agent was eventually forced to cool his heels in Izzy’s freezer. The Majestic patron was transported from the opal isles of Sicily to Jerusalem the Holy, by the different travelogue pictures—by no means an inappropriate screening in conjunction -with the filming of “Private Izzy Murphy.” The Italian island, with its centuries of eulturer behind it. resulting from the different occupations, was decidedly interesting, though Jerusalem had the the advantage of being photographed in colour. Eve’s Review and a Fox comedy completed the pictorial bill. "Potted Overtures,” in which many familiar airs could be detected, was presented by Mr. J. Whiteford-Waugh and his augmented Majestic Orchestra in his usual entirely satisfying manner. The orchestra, under his able guidance, more than maintains the Majestic's sound reputation for the general excellence of its musical offerings. The divertissement was entrusted to Mr. Walter Brough, a baritone, who sang “Will o' the Wisp” and "Fishermen of England.”