BEBE AT HER BEST

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

BEBE AT HER BEST

“TAKE ME HOME’’ CHEERY MAJESTIC OFFERING Admirers of Bebe Baniels, and Majestic supporters generally, will have nothing but praise for “Take Me Home,” the headline attractions of the new screen week. It was greeted last evening with delight, and the only possible verdict is that the fascinating Jewess offers the best work of her

The Majestic management has not contented itself with one good film. From first to last the programme is of uncommon merit, and a first-class stage interlude supports the films. Cartoons are always popular, and the clever people who produce them strive for novelty. An excellent cartoon of the “Out of the Inkwell’ Variety was the hors d’oeuvre last evening. It paved the way for the latest Majestic magazine, a newsy potpourri.

A Billy Dooley comedy, with a fastmoving plot and many brand new gags, put tho audience in thoroughly good humour, and everyone settled down to enjoy Eve’s Review, a fashion glimpse of rare beauty.

Sixthly, one of the most successful stage cameos yet devised by versatile York© Gray—a scene entitled “Sonny

Boy,” and based on the popular sentimental number of that name. The human touch in “Sonny Boy” gripped the house from the moment the curtain rose. A charming little setting; a young father singing to his goldenhaired son by the fireside. It touched a responsive chord. Mr. Hartley Warburton and Master Besmond Casey were the soloists, and their performance was admirable. The man possesses a mellow, even voice, but it was the boy who made the interlude the outstanding feature it proved to be. A clear soprano Of exact truthfulness, he captured all hearts. Then away to the realm of theatres —to those forbidden places back-stage where leading ladies reign, and chorus girls flit to and fro. “Take Me Home” is a story of stageland, a rollicking comedy-drama with the spice of a pony ballet, the sparkle of a Follies ensemble, and the speed of a modern Bebe Baniels production. Furthermore, it contains a sympathetic plot that is plausible and convincing.

Imagine befriending a starving young vaudeville aspirant, finding him a situation in a musical comedy chorus, teaching him, encouraging him, loving him —only to see him vamped and dazzled by the leading lady. That is the situation in which Bebe of the chorus finds herself. Between gorgeous shots of a huge musical comedy in full swing, the action of the picture concerns itself with the rivalry between the two women. The climax is reached when Bebe is goaded to attack Lilian Tashman, the star. Transformed into female furies, the two stage one of the most realistic and diverting frays we have witnessed for many a day. The “hiccough” scene is another gem—too good to miss or to spoil by explanation. Altogether, the picture is. an ideal concoction of its kind. Neil Hamilton acts excellently opposite Miss Baniels. The Majestic Orchestra plays a delightful programme of music, grave and gay. “Street Angel,” a powerful story with an absorbing human love theme, made under the direction of Frank Borzage for Fox Films, is booked for an early release. In this production director and critics feel that they have found a fitting successor to “Seventh Heaven.” his great masterpiece of last year which created such widespread comment as one of the greatest pictures ever filmed. Janet Gavnor and Charles Farrell, the two youngsters who rose to fame overnight as the “Biane” and “Chico” of that production. appear together again ir* “Street Angel” at the head of an exceptional cast

Lewis Stone’s voice will be beard on the screen for the first time in “The Trail of Mary Dugan,” the all-talking screen version of Bayard Veiller's popular play which is now in production under Mr. Veiller’s direction at the Metro-Goldwyn-Mayer studio. Stone will play the part of the attorney for the defence in this picture, the cast of which includes Norma Shearer, H. B. Warner, Raymond Hackett, Mary Doran and Myra Hampton.