NEW REGENT

Sun (Auckland), Volume II, Issue 315, 28 March 1928, Page 17

NEW REGENT

“A GENTLEMAN OF PARIS”

An excellent and diversified programme is drawing crowded houses to the New Regent this week. The eternal triangle is given a novel treatment in the Adolphe Menjou Paramount picture, “A Gentleman of Paris,” which will be shown for two more days at the New Regent Theatre.

The valet is a gay young gentleman bachelor, a man of “affairs”—oh, ever so many affairs—discovers that his master is carrying on an affair with his wife.

In extenuation, it must be said that the master does not know that the lady is his valet’s bride.

The valet would like to fight a -fuel with the master, but as a servant he cannot challenge a man of superior social position, so he determines to quit his job, A superb cast surrounds Menjou in the picture, including Shirley O’Hara, the leading woman; Arlette Mai-chal, Lawrence Grant, William B. Davidson, Lorraine Eddy and Nicholas Souss - nin as the valet.

A delightful divertisement is -resented by The Midget Moselles, six sparkling juveniles, Avho in song and dance and contortion are seen in a charming bijou revuette. Some interesting items are included in the strong supporting pictorial programme. An excellent film taken at the test match last Saturday, and a special film of ladies diving at Parneil Baths, are particularly good. The Australasian Gazette also includes some “shots” of the French tennis players in action. Bobby Vernon, in “Wedding Wows,” a very funny ..omedy, and a beautiful scenic “Dairying in Queensland,” complete the programme.

Leslie Harvey continues to be popular at the Wurlitzer, his items this week being a Paglialli selection and “The Russian Lullaby,” by Irving Berlin. Maurice Guttridge and the Regent Operatic Orchestra render a firstclass musical programme.

For her first United Artists produc“The Garden of Eden,” Corinne Griffith had several scenes photographed in colour. Douglas Fairbanks’s “The Black Pirate” is the best-known full-length colour film. Miss Griffith is one of the few major screen actresses to experiment with colour in film production. She considers the use of colour in “The Garden of Eden” particularly appropriate because it is employed in picturising highly fantastic dreams.