"PARTNERS IN CRIME”

Sun (Auckland), Volume II, Issue 478, 6 October 1928, Page 14

"PARTNERS IN CRIME”

NEW REGENT ATTRACTIONS Familiarity does not breed contempt for the now famous Paramount comedies of Wallace Beery and Raymond Ilatton. Rather does it produce a wholesome respect for the apparently endless variety of their fun-making.

“Partners in Crime” is the latest production of a popular series that has included “Behind the Front,” “We’re in the Navy Now” and “Now We’re in

the Air.” It opened at the Regent Theatre last evening in conjunction with an attractive proprogramme embracing well - selected supporting pictures and a novel, not to say sensational, act entitled “The Enchanted Web.” of-

»* anavc uccry uuaumu weu, offered by Mdlle. Michel and her Parisian Models. The setting - of the act was strikingly novel and represented a giant spider’s web on which a bevy of pretty girls were posed. Mdlle. Michel, a flying trapeze artist, whose ability and daring leaves nothing to the imagination, gave a thrilling exhibition on special apparatus. Assisted by the “spider” she performed high above the stage and, at times, swung far out beyond the footlights. Later, the “flies” in the web came to life and contributed their share of the acrobatics in fascinating fashion. It was a beautifully-con-ceived act. ' Laughter dominates every scene of “Partners in Crime” and, without question, it is one of the most amusing scenarios arranged for the Beery-Hat-ton partnership. Moreover, in several ways, it is off the beaten comedy track, for there is an unusually strong thread of romance running throughout the picture, and the unrelieved melodrama is jas thrilling as the most modern “creepy” five-reeler. Beery plays the part of a “dud” detective, and although the role is very similar to that in “We’re in the Navy Now,” Beery has a lot of new business that never fails to register. Hatton portrays a new character—that of a yellow-journal reporter, whose quest for sensational copy leads him into a sequence of situations that would quench the most hardened newspaperman’s thirst for excitement. Everything happens as a result of the pretty face possessed by Marie Burke (Mary Brian), who is worshipped by three people. The detective and the reporter are hopelessly infatuated, and the assistant to the district attorney is deeply in love. The young hero is kidnapped by the gang and the story goes ahead with a sprightly rush when the Press combines with the police to carry out the necessary rescue. Raymond Hatton’s acting is really excellent. He handles a dual role in a manner that justifies fully his inclusion among the foremost character actors of the screen, and his comedy is applied with a sure touch. With Hatton, as with Chaplin, laughter is never very far from tears. That is one of the secrets of his success.

Wallace Beery represents the man who means well but is always doing the wrong thing, in the wrong way, at the wrong time. And because all men have that weakness to a greater or less degree. Beery’s characterisations find universal sympathy. The principal features of the Regent programme were preceded by a topical review, a cunningly-drawn cartoon and a two-reeler comedy. Last but by no means least was a M-G-M two-reel drama, superbly coloured and exceedingly well acted. Mr. Maurice Guttridge and his orchestra were in top form and the leader played two charming numbers — “Indian Love Call” and “Beautiful” —on the Wurlitzer orgaVi. TRIALS OF A CAMERAMAN It is a well-known fact that in the photographic art, colours rarely photograph in their correct tint of light and shade. This is one of the great problems of motion-picture production. A white dress shirt will not photograph white, it will sparkle like a crystal. Red appears black, blue and yellow white, green black; there are some other colours that will not photograph at all, giving a dirty grey tone when printed. Reflection and glare are the chief difficulties of the motion picture cameraman. He has his own terms of course; for instance, he never speaks of glare, it is always “halations,” or “highlights” or just “kickbacks.” Nowadays, with the art to such perfection as it is, the only halation that is seen on the screen is the curious little light that plays about an actor’s lips. This is an halation from the moistened lip rouge and is practically impossible to eliminate. “WINGS” AT EDENDALE “Wings,” the greatest aviation picture ever made, will be shown again this evening at the Edendale Theatre. “Wings” is an epic of the air, and is filled with momentous incidents. The audience, as spectators, is taken right into the battle, as passengers on one of the fighting planes. But “Wings ” is bigger than the usual run of war stories, and the decorations of Allied officers, the scenes of the work of French troops, and the chivalry of the German aviators, takes it above the usual run of the majority of war and aviation stories. The story of the love of two boys, which runs through the picture, is only equalled by the love of the little girl in the story. A SPANISH BEAUTY “A modern Cinderella’* is the term that can be applied to' fascinating Maria Alba, winner of the Fox Films beauty contest in Spain. Well might she ask what chance had any girl in far-away Spain of ever seeing the inside of a motion picture studio. Then in a few exciting weeks, Miss Alba found herself transported to Hollywood, and was actually a part of this fascinating industry. Miss Alba’s delineation of a small role in “A Girl in Every Port” won her first feminine lead in “The Road House,” witli Lionel Barrymore and Warren Burke. It is a gripping story of youth and the pitfalls that finally lead the son of a prominent family to court, charged with murder. The arrival of the New Zealander, Heeney, from America, was filmed bv the Paramount cameraman in New Zealand. The arrival of the “Southern Cross” at Christchurch was also filmed. Paramount chartered a plane to “shoot” the flight of KingsfordSmith from the air.