NEW YORK NIGHT LIFE

Sun (Auckland), Volume II, Issue 474, 2 October 1928, Page 14

NEW YORK NIGHT LIFE

The hectic, sophisticated, artificial hot-house life of Broadway after da«rfc, a jazz symphony of night clubs, musical shows, tabloid newspapers, butter-and-egg men, cynical reporters, promoters and chorus girls, salesmen, parties, picnics and brawls—that’s the atmosphere of “Show Girl,” First National’s initial production to introduce vivacious Alice White as a featured player. Based on a famous stage success, this vehicle is said to offer Miss White many unique opportunities of displaying her uncommon and colourful personality to the best atlvantage. First National Pictures intend to make “Show Girl” a particularly luxurious setting for this alluring new star. Charlie Murray as “The Head Man,” is destined to cause considerable merriment in this, his latest First National production. Brimful of every sort of fun, from sheer burlesque to whimsicality, this is also a very human and cleverly evolved picture. Murray for once gets a real chance at pathos, drama and realistic and definite character portrayal. Two miles of frankfurters! Believe it or not, that quantity of the good old Irish dish was used in banquet scenes in “Love Me and the World Is Mine,” the Universal production. They were used in scenes supposedly showing the Bosman-Herzegovinian army being fed. It was rather expensive, but there ie nothing in the world that looks like a frankfurter except a frankfurter, so the real article was used. “Love Me and the World Is Mine” was directed by E. A. Dupont, with a large cast, including Norman Kerry, Mary Philbin, Betty Compson, Henry B. Walthall, George Siegmann, Albert Conti. Martha Mattox, Emily Fitzroy, Charles Sellon, Charles Puffy and others.