AN OBJECT LESSON

Sun (Auckland), Volume II, Issue 460, 15 September 1928, Page 18

AN OBJECT LESSON

EXHIBITORS AND FILM QUOTA MR. HENRY HAYWARD’S VIEWS “1 regard this as an objectlesson from New Zealand to the rest of the Empire, 1 ” said Mr. Henry Hayward, president of Fuller-Hayward Theatres, this morning when commenting on the withdrawal of the compulsory quota from the Cinematograph Films Bill. “In England, before the present legal quota, the Government offered exhibitors the opportunity of adopting a voluntary quota, but because of disagreements they were unable to take advantage of this. We in New Zealand objected to the stigma of legislation, and it is a matter for congratulation that the exhibitors are now able to show their patriotism without compulsion.” MOVEMENT IN AUCKLAND The history of the movement against the compulsory quota of British films was given by Mr. Hayward, following the reported changes and amendments introduced by the Parliamentary Select Committee. “The movement began in Auckland last June when, at a meeting of exhibitors called by me, a motion proposed by Mr. T. A. O’Brien, that the Government be asked to modify the proposal, was adopted.” Mr. Hayward said that he then approached the Prime Minister and gave evidence before the Select Committee. Mr. Coates intimated that the exhibitors’ offer to observe the quota voluntarily would be considered, but he would have to consult the renters. Sir Victor Wilson, president of the Australian Film Renters’ Association, was able, evidently, to give a similar undertaking. HIGH PERCENTAGE. Mr. Hayward’s organisation owns, leases, or is directly interested in 68 New Zealand theatres, and he said that they had shown an average of 12£ per cent, of British films in the past 10 years. He said he felt sure nothing further would be heard of the compulsory quota. By accepting the voluntary undertaking, the Government would be saved the trouble and expense of a rigid inspection, which would be difficult to carry out, especially in the case of small country shows. The system would also have been irksome, for the returns- furnished by exhibitors were to have included statements of the rental cost of individual films. They had no desire to let the Government know -what their films cost, especially in the case of small country shows.

Douglas Fairbanks has begun production of ‘The Iron Mask,” liis newest picture, at the United Artists’ Studio in Hollywood. “The Iron Mask” is a sequel to “The Three Musketeers” and is directed by Allen Divan, who also directed “Robin Hood.” Fairbanks * plays once more d’Artagnan, a role he created for the screen in “The Three Musketeers. Leon Bary, original “Athos” of that picture, came from Paris especially to play his old role in ‘The Iron Mask.” Marguerite de la Motte, Dorothy Revier, Ullrich Haupt, William Bakewell, Otto Matiesen, and Lon Poff are also in the cast.

SHURA CHERKASSKY THE BOY PIANIST Shura Cherkassky, the world’s greatest boy pianist, was accorded a wonderful reception at each of the four concerts he gave recently in Christchurch. The musical critic of the “Sydney Morning Herald” said of him: “Shura Cherkassky revealed astonishing qualities as a pianist in his first Australian recital at the Town Hall, and excited his large audience to demonstrative enthusiasm. This youth of 16 . . .

immediately challenged comparison with pianists of three times his age. Indeed, many attainments have come to this boy which some older artists are still seeking. As the recital proceeded, enthusiasm grew, until at the last programme piece, when he gave a commanding display of virtuosity in the showy and difficult Schulz-Evler adaptation of the “Blue Danube” waltz, a roar of cheering broke upon the final chords.

“The demonstration which followed reminded one of the scenes witnessed at the reception of any of the great pianists, the crowd at length surginground the platform, and eagerly demanding further encores. It was a great achievement for such a lad thus to capture his first audience in his first recital tour in a new country.” z

John Barrymore’s next picture following “Tempest,” which is shortly to bo released in New Zealand, will be based on a European novel in which the hero is a Swiss mountaineer in the beginning of the 19th century.

AMUSING FARCE “MR. WHAT’S-HIS-NAME” ENDS Auckland theatregoers saw the last performance by Percy Hutchison’s company of “Mr. What’s-His-Name,” in His Majesty’s Theatre last evening. The clever comedy of Seymour Hicks’s famous farce, taken from the French, and the excellent acting of Mr. Hutchison’s company, will be missed. During its short season, beginning on Tuesday last, the production nightly entertained large audiences to the fullest extent. Mr. Hutchison will be remembered for his fine handling of an arduous part, as Adolphe Noblet. Miss Frances Dillon, as Suzanne Trebel, and Mr. E. Steuart West, as Gustave Conton, were convincing and amusing. Other players who scored were Mr. Raymond Cousens, Mr. Townsend Whitling, Miss Joan Rogers and Miss Mary Brackly.

“Mr. What’s-His-Name,” of a true Hicksian flavour, was thoroughly enjoyable.

Notwithstanding the popularity of slick-haired sheiks and big blustering he-men heroes, one of the most popular actors on the screen is middle-aged with grey thinning hair. He is Ralph Lewis, veteran actor of stage and screen, and on the basis of fan mail he is more popular with fans than the majority of leading men in pictures. His latest role is in the “Shield of Honour,” the Universal Jewel production.