Round The Shows

Sun (Auckland), Volume II, Issue 502, 3 November 1928, Page 15

Round The Shows

BLONDE INDIANS

REMARKABLE effect of CAMERA future lied* Indians will always . niUfie up’’ to appear in motion Dij r S ‘ tho brave’s copP * ry s^n has usually been sufficient

make-up for this purpose, as its true colour value was well brought out on the ordinary films panchromatic film is responsible for the change. On ordinary film .light blue photographs white, and red photographs black, and so it was that in

r ‘ °^ er Aims, pictures made in the under clear blue skies had blup ? 1 - ia r appearance owing to the Wi.u ? 8 appearing white, j, panchromatic film all this urtJ?£ ,llsed * By using light Alters to UL ,d to *h e cameras it is possible a hU, a * e s^ie s look natural, and b« light and shade effect can | pu ot>t 3ined in backgrounds, also [ r e i|-tT® c ®n be made to appear to ex- } * - advantage. This is not the r n -’however, with the copper-red of j « tkZ^T n< V ans - which disappears, and j ® People lose their colour and ! pjHj® blondes. stf. e ®. Thomson, the famous Western , n discovered this fact while maklateflr m - era tests for “Kit Carson,’’ his 1 Picture for Paramount.

METHODS OF FAMOUS ACTORS EMIL JANNINGS LIVES HIS PART As widely different and distinct as the different nationalities of the Hollywood actors themselves are the methods they employ in the practice of their art. One of the most finished actors in tho world at present is the Paramount star, Emil Jannings. His method of work is perhaps the most simple and yet the most difficult in execution. It is the method that has been used by most of the greatest actors that have graced the stages and show screens of the world. Jannings lives his part long before the production on which he will work is started. He will wrestle with a characterisation, will pick out the flaws as he sees them, study the strong points and seek out the humanity of the role. In “The Patriot,” his latest production just completed, he was absolutely wrapped up in the characterisation of the mad Czar, Paul I. For the time he was almost mad himeslf. Here lies the secret of his art, and the reason for the almost uncanny sincerity that he injects into his roles. To some degree all picture artists must have this power, though there are endless varieties of the manners in which they employ it.

EVERYBODY’S “ADVENTURE MAD” Peacocks were not more conceited than Barbara Fiske. Nor was the splendour of their plumage more dazzling. But Barbara learned the futility of externals on her wedding eve. “Vanity,” now at Everybody’s Theatre, starring Leatrice Joy, is the story of a girl reared along social register lines. Carefully sheltered from the brutal forces of life, believing implicitly in the rules of the game as dictated by her friends, she is quite incapable of understanding that there are other standards for other people. On the evening before her wedding, Barbara, acting upon impulse, visits the

captain of a tramp steamer whom she had met during the war, and sees a man killed before her eyes. She understands at last that culture vanishes when confronted with fundamental situations, and that the one all-powerful law is that of survival, before which

ail t-Ise iu(les into insignificance. ‘•Adventure Mad” is the title of the second attraction on the programme. The stars are Lillian Hall Davis and Nils’ Asther, and the fascinating story is set -against the glamorous background of the Mediterranean.

SAILOR DON JUAN COMEDY AT THE MAJESTIC Over the white-flecked rollers of the seven seas surged a little tramp schooner carrying one, Spike Madden, a shell-back sailor of the old school, to his lady love. No matter in what direction the bows headed. Spike’s destination was the same, for, like all good-looking sailormen, he had a girl in every port. These were the circumstances in which a hugely-delighted audience at ♦he Majestic Thea-

ti-e - last evening met Victor McEaglen, erstwhile star of “What Price Glory.” His new production. “A Girl in Every Port,” was both a good comedy and a gripping human document, while the supporting items were up to the highest Majestic traditions. After outlining the chief characteristics of Spike,

the story proceeds to tell of his adventures in Buenos Ayres, where he discovers that a rival has been capturing the affections of Chiquita, she of the dark tresses and flashing eyes. He goes on his way, but meets his rival in Panama, where the two become convinced of the perfidy of women, and journey on together. They are fated, however, to quarrel over a show girl at Marseilles, for Spike’s new-found friend realises he is being tricked and deceived into laying his worldly wealth at the feet of one who plans to rob and desert him. The closing— reel tells how Spike's eyes were opened, and how he sought open waters once more. The atmosphere of this virile and interesting film is essentially cosmopolitan, and one accompanies Spike on an adventurous cruise here, there and everywhere—a cruise punctuated •by racy sub-titles of just the right ■colouring. Louise Brooks, plus a strong little cast, assists McLagien in making this picture enjoyable from beginning to end.

Prior to the of the principal feature, the Majestic male quartet took the stage and presented a brace of Negro Spirituals as to the manner born. They are to be congratulated on the effective novelty of their stage setting—a giant melon, the centre of which opened in a luscious cut and disclosed four merry heads protruding from the pink heart. Their singing was up to all expectations, the harmony and control of the voices being quite exceptional. Last evening’s programme opened with a New Zealand publicity film, at Mount Cook; and in the vicinity of the Hermitage. It showed glorious views, perfectly photographed, with each sequence wisely trimmed. The latest news of the world is always a feature of the Majestic programme and the newest Metro-Gold-wyn-Mayer budget.was all that a good news film should be. It was accompanied by a delightful Pathe reel of selected scenes contrasting summer and winter sports. This was a gem of colouring. Lastly, a rapid-fire comedy, “Do Detectives Think?” This proved to be something right out of the ordinary in two-reelers, and brought hearty laughter'from the first scene. It gave a sound programme just the right touch of gaiety.

“THE NIGHT BIRD” RIOTOUS CABARET SCENES Webster Hall, the scene of the an-, nual artists’ ball in New York, has been reproduced at Universal Studios and is being used for one of the gay sequences in Reginald Denny’s new starring vehicle, “The Night Bird,” directed by Fred Newraeyer. The entire chorus of the Los Angeles musical comedy, “Tell Me again,” axe appearing as guests along with the pick of atmosphere talent. The party is a wild one, but according to those who have attended Webster Hall affairs the screen version, while sensational, is merely a lawn party compared with the real thing. The walls of the hall are done in a weird futuristic style and the costumes —! Any way, with Denny doing a dance, it is expected to be one of the most hilarious sequences of the year. ROSE SHOW NEXT WEEK The Rose Show, organised by the Auckland Horticultural Society, will bo held in the Newmarket Municipal Hall on Thursday and Friday next. The entries close on Tuesday.

“THE GIRL FRIEND” DELIGHTFUL COMEDY AND MUSIC Tremendously strong in comedy, “The Girl Friend” has also the other big virtues of musical comedy, tuneful numbers, and gorgeous ballets. Heading tho comedy forces are Gfbs Bluett, who has improved out of sight, Leo Franklyn, an Englishman with more than a talent for facial expression and torso contortion, May Beatty, New Zealand’s own comedienne, as bright as eve*r, and Billie Lockwood, the snappy “girl friend,” with the Charleston and grin habits. Of course, the %tar is Miss Annie Croft, the delightful English girl with the melodious voice and the graceful limbs. With Reg Sharland, a really English leading man, she sings and dances her way through the piece, captivating big audiences each night at His Majesty’s Theatre.

Tho pyjama party at the Hotel Wendell, when all the girls come to wish Kitty Brown, who is a fictitious bride, happy dreams or perhaps the idealisation of them, is discreetly gay, no male being allowed to intrude upon the assembly of* silken sleepiness. Snappy numbers are plentiful in the show. “The Girl Friend,” by Billie Lockwood and Leo Franklyn, is a good and it reoccurs in tantalising rythym on several occasions. Annie Croft sings the Gypsy song, “I Travel the Road,” in a delightful solo, and with Reg Sharland shq has. the brighter moments of “Blue Room” and Mountain Greenery.” “The Girl Friend” will be presented each evening until November 10, when “Hit the Deck” will be staged. There will be a matinee this- afternoon.

GOOD PICTURES AT BRITANNIA An excellent programme will fbe presented at the Britannia Theatre this evening when, in addition to two big pictures the popular Ha-Ha Boys will make a reappearance with new songs, jokes and dances." The pictorial programme is headed by “Wyoming,” one of those vivid historical romances of the early days of the West, when new states were being founded and welded into the United States of America. Tim McCoy, the handsome outdoor actor, has the leading role, and is supported by beautiful Dorothy Sebastian. Tho dramatic story, “Sealed Lip’s,” featuring Cullen Landis, will be the second attraction.

ST. JAMES STIFFY AND MO SEASON With popularity undiminished after a season of four weeks, “Whirligigs,” the delightful revue company heat°d by the irrepressible and inimitable comedians, Stiffy and Mo, continues to draw large houses to St. James Theatre. The programme is made up of a pleasant blending of music, mime and comedy. The diverting snap-shot sketches, the dancing of the Radio Six. and the Charleston Symphonic Six all help toward the excellence of the entertainment. Stirffy and Mo cannot say the simplest thing without provoking laughter. a,nd their every action is a revelation of the comic art: Among the singers, Amy Rochelle, who is equally effective in light or heavy work, takes the leading place. Sadie Gale also sings pleasantly and dances daintily. “Whirligigs” will revolve again this evening. JUVENILE ENTERTAINMENT ST. BENEDICT’S HALL, TUESDAY A grand charity juvenile entertainment will be given in the St. Benedict’s Hall on Tuesday evening. This has been arranged by Miss Aileen Beresford. who will be assisted by Mrs. Parry, Messrs. R. N. McKay and J. A. Sharp and “The Snappy Three.”

CHORAL AND ORGAN RECITAL TABERNACLE CHORUS CHOIR A great programme of organ and choral works will be presented by the Tabernacle Chorus Choir in the Baptist Tabernacle on Wednesday next. Mr. Arthur E. Wilson will be the organist, and Mrs. T. Brame-Clark the pianiste. DIXIELAND CABARET Tile English tennis team will be the guests of the evening at the Dixieland Cabaret this evening, when the usu.% Saturday gala carnival will be held. The Dixieland Dance Band will play, and an enjoyable evening is assured. A "Guy Pawke's Night" will be the attraction at Dixieland on Monday evening. TECHNICAL COLLEGE ENTERTAINMENT Tho annual entertainment by the pupils of the Seddon Memorial Technical College will be given in the new assembly hall on Friday and Saturday next. The picturisation of the well-known Somerset Maugham play, “The Letter,” wiH soon be started at the Paramount Studios. Evelyn Brent and Paul Lukas will be co-featured in the production, and Claude King, veteran of stage and screen, has an important part. Edmund Burns, who, with Edith Roberts and Walter Long, will be seen in Norman Dawn’s production for Australasian Films, Ltd. “The Adorable Outcast,” now on release in New Zealand, is also cast in “The Princess of Hoboken.” a forthcoming Tiffany production for release by Master* Pictures. Also in the cast are Blanche Mehaffey, Lou Tellegen and Ethel Clayton.

SOMETHING SPORTING

RICHARD DIX AND BRIGHT VAUDEVILLE Light, bright and breezy, the new programme at the Regent is a particularly pleasant mixture of original vaudeville, excellent music and sporting pictures. It can safely be recommended as a delightful relief from preelection spruiking. In fact, no candidate should miss it. It will give him strength and confidence to go in and win, like Richard Dix.

Mardo and Wynne, and also Teddy, tho “talking bulldog,” provide a neat and original turn between pictures. The lady, in effective colour scheme, gives Mardo a chance of some bright backchat and patter just by way of a beginning. Shortly afterwards the man finds his legs, and most amusing legs they are. He dances an eccentric affair which, besides being original, is full of humour. A duet, guitar and mouth-organ, which surely have never run in double harness before, is an item out of tho box. Teddy gets his chance toward the

end, up till when he has been very bored with the proceedings. A handsome fellow, he takes his cue to j voice a . series of j protests ’ against j things in general. \ and mouth-organs | In particular. The \ turn is direct from \ the Sydney Tivoli J and is well worth! , watching and listening to.

wfh?? feature of the programme which to ets a good hearing is the plavmg of the “Maori Lullaby” by the Regent Operatic Orchestra. This soothing melody was composed by the orchestra s conductor, Mr. Maurice Guttridge, and by Mr. L. Sinclair. Though we do not understand so very much about the game of baseball m this ignorant corner of the world, one cannot but help getting excited about “Warming Up,” which stars the manly Richard Dix. Finer points may go astray, but the big idea gets homo to the spectator when he finds the country boy called upon to save his team from the ignominy of defeat in the final of the tremendously important “World’s series.” There is plenty of romance and plenty of humour in “Warming Up.” It would be next to impossible to feel chilly about it. Dix is a country lad who comes to the metropolis to show the world that he can pitch a ball with any of the cracks. And he does. He also finds a sweet young thing to look after his interests and pull the strings for his benefit. So, while he believes everything is coming to him because of his merit, the girl knows “what every woman knows.” The heroine is a slim, delightful creature with a sense of humour.

‘Scrambled Weddings” is an Eddie Horton comedy. Horton is a Hollywood artist vyith a nice sense of the ridiculous and excellent facial control. The picture nearly begins with a murder, but it quickly revives and creates a situation which is entertainingly ludicrous. Tangled romances are helped out by a few kidnappings, and most of the people in the piece are satisfied with the result, except a few motliers-in-law who, of course, do not matter. The Regent Gazette has gathered pictorial news from England, America and Australia. There is the King racing his Britannia at Cowes, and the launching of a great seaplane, and the pageant of the Lord Mayor’s procession and lots more. Tho Regent Operatic Orchestra does its bit towards the evening’s entertainment. notably with the overture “Away From You.” and with the “Maori Lullaby.” Incidental music includes melodies on the Mighty Wurlitzer. There is also a romantic Inkwell Tmp cartoon, entitled “Ko Ko’s Earth Control,” being the adventures of two imps who pull the lever which brings the curtain down on Mother Earth.

GREAT AVIATION STORY COLLEEN MOORE AS “JEANINE” In “Love Never Dies,” the Colleen Moore super-special, the remarkable air crashes are far more thrilling and spectacular than anything ever before attempted on the screen. Colleen Moore, as the little French girl Jeanine, who “mothers” the British aviators billeted on her home farm, is a vivid and appealing little figure, investing the characterisation with all those deftly charming touches of homour and pathos for which she is justly famous. Gary Cooper, as “No. 7,” is a fine manly young figure, and brings to his role a refreshing earnestness and distinction. Released in America as “Lilac Time,” this production is reputed the greatest the perennially charming Colleen has ever made.

COMING PROGRAMMES IN PREPARATION AT HOLLYWOOD Fourteen Paramount pictures are now being filmed at the studios and on location, and will be seen in New Zealand in from six to eight months’ time. Three pictures are on the sound stages, “Interference,” the screen version of the stage play, and the Fmil Jannings production, “Sins of the Fathers.” Nancy Carroll and Richard Arlen are working on “Manhattan Cocktails,” a story of the stage. Richard Dix is filming “Redskin” on location, as also is Jack Holt, who has the lead in “Avalanche.” In the studios nine pictures are now in the course of preparation. Adolphe Menjou's next, “His Private Life”; Charles Rogers in “Just Twenty-One”; and the final scenes of “Moran of the Marines.” Others are “The Wolf of Wall Street” with George Bancroft: “The Canary Murder Case”; “The Case of Lena Smith,” the Cooper-Schoedsack picture based on the Mason novel, “Four Feathers”; a new Bebe Daniels picture, “Number Please.” and “The Tong War,” featuring Wallace Beery. PICTURESQUE CHARACTER MILTON SILLS IN “THE BARKER” Milton Sills has, in “The Barker,” a role that might specially have been written round his rugged personality. Nevertheless this colourful production has been adapted from a very unusual Broadway success.

“The Barker” outlines the life of show people, presenting all the crude vicissitudes of the ilk with deft touches that never fail to leave a very vivid impression upon the memory. Dorothy MacKail and Betty Compson. as the picturesque female characters, act up or rather down to

what is required of them, particularly Miss Mac Kail as the “vamp” who is eventually hoisted by her own petard, and falls in love with the boy she thought to “frame.”

Milton Sills just lives the role of the tearing, stvearing “spruiker” of a sideshow, his only saving grace, love of his fine young son. “The Barker” is to be recommended as unique entertainment in every respect.

“THE JAZZ SINGER” PRAISED The Moving. Picture World is reviewing: the picture “The Jazz linger” says under the heading of “The Beet Show on Broadway”—“Entertainment all the way through, the sort of boxoffice combination of tears and smiles that always will be sure-fire. ‘•The Jazz Singer” is nothing short of a magnificent triumph for Warner Bros, for A 1 Jolson and for Director Alan Crosland. Jolson is a surprise and a revelation on the screen, and the acting of the supporting cast consists of those small perfections that unite to form a superb entirety. Each player may flatter himself that his contribution is a facet in a brilliant diamond.

Even a great story may be spoiled by the poverty of its setting, but in “Prince of Adventurers” is a spectacle which has never been surpassed for realism or magnificence. Venice itself in carnival dress was held at the disposal of the producers. Russian royal palaces appear in the luxury of pre-war days and every scene is a convincing reality. Romance in such a setting is more amazing than any tale from the “Arabian Nights.” The thousands of dresses in “Prince of Adventurers” when presented in colour, depict the most astounding scene ever presented in a moving picture.

“Show Life” is the first production to be made by Richard Eichberg under his contract with British International Pictures, starring the distingushed Chinese star, Anna May Wong. The story tells of a little outcast orphan girl rescued by a. destitute down-at-heel Englishman, a one-time famous music hall star. He makes her his partner in a knife-throwing act, then the woman who has been the of his previous downfall appears again, and tense situations are crowded one upon the other with rapid success.