PRINCESS AND TIVOLI

Sun (Auckland), Volume II, Issue 351, 11 May 1928, Page 15

PRINCESS AND TIVOLI

GOOD DOUBLE BILL Numbers of people are boxing enthusiasts, and many who are not read the accounts of fights in the newspapers, and wonder if anything is entertaining in what was once called “a brutal and demoralising sport/' These people would do well to see “The Count of Ten," a story of the effect of domestic home life on the career of a prziefigliter, which commenced at the Princess and Tivoli Theatres last evening. It is the story of a young boxer attempting to provide a worthy home for his wife, her lazy father, und young brother. The brother gets into trouble, which he passes on to his sister. The hero, with a broken hand, fights when he lias been ordered to rest, in order to obtain money which his wife's brother wants for a purpose other than what he tells the boxer. The hero receives a severe lacing at the hands of the champion, and his manager, with whom he has broken, throw r s the towel into the ring. Mentally and physically broken, the boxer leaves the ring. He is acquainted with the true state of affairs, but in his bitterness toward his wife he orders her to leave. However, a reconciliation between the husband and wife is effected, and the picture finishes with his hopes for the championship of the "world, and for his domestic happiness both realised. Some mediocre attempts at boxing matches have appeared on the screen from time to time, but “The Count of Ten” is very near the real thing. People get tired of seeing the hero and his opponents, or the hero and the villain, fight with their elbows instead of their fists, and this new picture affords a welcome change, although only one actual fight is screened.

The second picture on this enjoyable programme is "The Chase.',” featuring Harry Langdon. and it is indeed a veritable feast of fun. The picture was one long laugh. Langdon is shown as a much-married man, the victim of a nagging wife, and, worse stil. a mother-in-law. A man with such home companions does not feel in a very amusing position, and thinks it anything but a joke. In this film Langdon holds the same opinion as other henpecked men, but he succeeds in making his matrimonial adventures extremely funny for his audiences. Thinking that even a husband should get a little pleasure that is not to be had at home, Langdon goes to a dance, and on arriving home is confronted by his irate wife and her mother. In the ensuing “explanations" he manages to prick his mother-in-law with the sword which is part of his costume. When the case is tried before the court, she testifies that she was stabbed. The judge sentences the husband to don women’s clothes, and do household work, as a means of curing him and making him realise his rights of manhood. This provides plenty of scope for Langdon to put across some real comedy, and he makes the most of it. Langdon proves himself a master comedian in his latest production, and he is ably supported by a capable cast. The whole programme is enjoyable, from the overture to the National Anthem. The music played by the Princess Orchestra included “Floraison d’Amour" (V. Dyck), selections from the opera “Crispino e la Comare" (F. Ricci), “Amour Magique” (Charles Vania*, “Entr'acte et Valse Coppelia” (L. Delibes), overture “La. Roi la Hit" (L. Delibes), overture “The Four Ages of Man” (Lachner), “The Enchanted Cottage” (Dr. F. H. Cowen), “Meditation” (J. Clifford), and “Suite" (ColeridgeT ay lor).