NEW REGENT

Sun (Auckland), Volume II, Issue 596, 23 February 1929, Page 15

NEW REGENT

“LAUGH, CLOWN, LAUGH”

A screen masterpiece is all that will describe “Laugh, Clown, Laugh,” the haunting, enthralling and soul gripping drama in which Lon Chaney is holding crowds in an uncanny spell at the New Regent Theatre. Two men are responsible. Lon Chaney, master oC make-up and character, contributes what will probably go down in history as one of his greatest portrayals of the screen. Herbert Brenon. who gave the world “Beau Geste,” “Sorrell and Son,” and others, has reached" the very climax of his directorial talents. The combination is irresistible; the world’s greatest character actor and the famous director.

The story is a romance of the theatre the unseen side, with Chaney as the tragic clown whose great love and even greater understanding of the heart of a woman impels the terrific sacrifice that marks the climax of the astounding tale. Chaney, as Tito, the clown, covers

the gamut of acting. In the theatre scenes he stages comedy—comedy one would never imagine Lon Chaney capable of. He is one of the world’s greatest comedians —he proves that. Then, as the man behind the grinning clown, he gives his audience a glimpse into the inner workings of a human soul in torment. It is gripping, enthralling—almost uncanny in its strange grasp on one’s

senses. Loretta Young-, a new Cinderella of the screen, is the girl—very beautiful, and, under Brenon’s direction, taJented. Nils Asther as Luigi, the lover, is a romantic figure who can really act, and Bernard Siegel is a convincing foil for Chaney in the role of the other clown. Gwen Lee as Riane is a blonde vamp who allures and charms. Cissy FitzGerald is an adequate comedienne as Giacinta. The great theatre scene and other spectacular details are gorgeous, but even their lavishness is secondary to the gripping thread of the story and the powerful acting of the star. It is a real Chaney triumph—and discloses several sides of the actor’s many gifts that no one has ever seen before. The supporting programme is also of a high standard. The shorter films include a comedy, “Bo Gentlemen Snore,” and a gazette. The musical side is headed of course, by the already popular English comedian, Alec Regan, who sings several songs in his inimitable manner, also the theme song of the film, “Laugh, Clown, Laugh.” Bright musical selections, including the “Light Cavalry” overture are played by the Regent Operatic Orchestra under the baton of Mr. Maurice Guttridge. Mr. Guttridge also plays “In a Monastery Garden” on the Wurlitzer organ.