PLAZA

Sun (Auckland), Volume II, Issue 592, 19 February 1929, Page 15

PLAZA

“THE MAN WHO LAUGHS” In these days of facial surgery, chin lifting and permanent waves, it is hard to believe that less than 300 years ago similar arts were used to disfigure people rather than to beautify them. Vet in ’’The Man Who Laughs,” which is now at the Plaza Theatre, _ the hideous handiwork of the child-mutilat-ing Comprachicos forms the basis of one of the world’s most gripping love stories. Conrad Veldt in “The Man Who Laughs,” plays the role of one of these disfigured clowns, a man who wore from childhood an eternal grin. Hideous as ho is, he is loved by another victim of fate the beauteous blind Lea. wonderfully portrayed by the lovely Mary Philbin. These puppets of 18th century civilisation enact their way through tragic beginnings to final happiness in one of the most heart-gripping motion pictures ever screened. Paul Leni directed the picture for Universal. His artistic genius had full swing in creating the picturesque scenes and bizarre settings to be seen in the picture. The picture is brilliantly accompanied by Howard Moody's Symphony Orchestra, and Mr. Hartley Warburton sing’s “Laugh, Clown, Laugh and “Love Comes Stealing.” An entirely new programme will be presented on Thursday lieadeo by “Phyllis of iho Follies,” a picture of fun and frolic back stage, with Alice Dav and Matt Moore as the tars. The second attraction on Thursday will be “The Crash,” Milton Sills s latest picture, and an exciting railway drama. LYRIC SHOWS “RED WINE” Ono of the big scenes in “Red Wine” is tho lavish safe sequence wherein tho Marion Morgan dancers romp and

stomp to heart s content. More than a hundred “extras” in full evening dress furnish the atmosphere. In addition to the Marion Morgan ballet are specialty numbers featuring I»o Ling, the Chinese dancer; Lialani Peas, Hawaiian hula hula girl; Margaret La Marr, Spanish beauty with the casta- ■ nets. ‘Red Wine,” % which is now at the Lyric Theatre, in the last analysis is an eiiwao how tired business men relax, and is the last word in night club life. It was written and directed bv Raymond Cannon, whose “Life’s Like That” stamped him as a director of artistic standing and keen * ll “The" Romantic Age.” another fine story of jazz and flapper, is the second feature.