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George Arliss turns to another old favorite in his latest picture, "The Man Who Played God," which was offered last night at the Warner Theatre before an enthusiastic audience. It is a charmingly poetic idea that has received tasteful and reverend attention from John Adolfi the director. Mr. Arliss delivers another of-his effective and meticulous portrayals as a celebrated pianist named Montgomery Royale, who is afflicted with deafness and subsequently finds joy in eavesdropping on distressed souls in Central Park by reading their lips through powerful field glasses as they talk to each other.

It is a neatly conceived story as it comes to the screen, with effervescent cheer in the introductory sequences, then a period of melancholy, and finally episodes of thankfulness and happiness. It was no wonder that this first night audience, after watching and listening in silence throughout the production, were stirred to applaud as Royale sat at a church organ and played "Onward Christian Soldiers."

This beguiling tale was written years ago by Gouverneur Morris and it was dramatized by Jules Eckert Goodman. A good deal has been added to it in transforming it into a film and while it seems a little lethargic at times, it has such a genuinely gentle and appealing touch that one would not wish it to be told any faster.

There are the glimpses of Paris, with Mr. Royale suffering from too much adulation from those who enjoy his piano playing. Grace, a young girl, is infatuated with this elderly musician and she watches his nimble fingers through her field glass as he plays. He discourages Grace from loving him, but she worships music and therefore adores this master of the piano.

In a beautifully staged series of scenes Royale is beheld ready to play before a kingowhich king is not stated. This monarch is delayed, and Royale decides that the concert must start. He plays and receives an ovation, and after the concert is over and Royale is holding a reception in a private room, in comes the king. He had been held up by a breakdown of his automobile. Through dark shadows one appreciates that something alarming is going to happen, and immediately after Royale sits at the piano to play especially for the king a bomb is thrown through the window of the room. Apparently nobody is hurt, but the shock of the explosion destroys the musician's hearing. He is dumfounded by the sudden stillness and there is an affecting glimpse when, after a valiant attempt to play again, he arises from the piano and realizes that he is deaf.

The once jolly Royale becomes sour and gloomy. He will not play another note and he returns to New York filled with bitterness against God. He countermands the order for an organ he was going to give to a church in memory of his mother and he smashes a violin. He even thinks of suicide, but he is stayed from this by his faithful servant, Battle, acted by Ivan Simpson. Royale keeps to his apartment, but one day an expert on lip-reading comes to him and the pianist turns out to be an apt pupil. As soon as Royale learns to understand what persons are saying he becomes more cheerful and then one day he chances to observe Grace's field glasses on a window seat.

He looks down into Central Park and reads the lips of a young man who has been told that he has consumption and must go away. The girl with him is willing to sell herself to her employer to raise the money to help cure the man she loves. Royale hurries Battle out after the couple, and just after they have finished praying Royale's servant appears with an envelope and they read the note it contains. It asks for their address so that the writer can send the money needed to make them happy.

Royale mocks God even at this stage, saying that he is himself answering their prayers. But subsequent events change his demeanor. He does not confine himself to aiding grown-ups, but also sends toys to poor little children, and during one scene Royale and Battle are perceived having a rollicking time while trying out and packing the presents.

Besides Mr. Arliss's masterful acting, there is an excellent performance by Violet Heming, who appears as Royale's sincere and sympathetic friend. Bette Davis, who plays Grace, often speaks too rapidly for the microphone. Mr. Simpson and Louise Closser Hale do splendidly in their respective roles.

It was a pity that the print screened last night was often extremely noisy in the first stages. The undertones sounded as though a thunderstorm were going on in the distance.

THE MAN WHO PLAYED GOD, based on a story by Gouverneur Morris and a play by Jules Eckert Goodman; directed by John Adolfi; produced by Warner Brothers. At the Warner Theatre.
Montgomery Royale . . . . . George Arliss
Mildred . . . . . Violet Heming
Battle . . . . . Ivan Simpson
Florence . . . . . Louise Closser Hale
Grace . . . . . Bette Davis
The King . . . . . Andre Luguet
Harold . . . . . Donald Cook
The Doctor . . . . . Charles Eva

Fourth-generation musicians with musical roots reaching back to their great-grandparents, The Abrams Brothers grew up playing music in an atmosphere where generation-spanning family musical collaborations are practically tradition. Comprised of John (vocals, guitar), James (vocals, fiddle), and cousin Elijah (bass), this young, Ontario-based Americana/Bluegrass band pairs a rich musical background with a youthful exuberance. Live performance veterans dating back to the ages of 11 and 9, The Abrams Brothers show is augmented by banjo and drums.

Though young, the band has already racked up some impressive credits, including being the youngest Canadians to appear on Nashville’s iconic Grand Ole Opry in 2005. The Abrams Brothers has performed overseas, touring Europe in 2006 and playing the European World of Bluegrass Festival, as well as performing at the 2007 and 2008 Jacob’s Ladder Folk Festival in Israel.

In 2005, the group was named Emerging Artist of the Year at the Canadian Bluegrass Music Awards, and in 2006, it received the Daniel Pearl Memorial violin, given to especially gifted young musicians. The band has been featured in publications like Bluegrass Unlimited, Bluegrass Now and Maverick Magazine and has appeared on CBC Radio, PBS Virginia and CKWS Television.

In 2008 The Abrams Brothers recorded Blue on Brown, a tribute to folk legends Bob Dylan and Arlo Guthrie. The album of bluegrass and gospel covers features an all-star cast of Canadian artists such as Bruce Cockburn and Amy Milan (Broken Social Scene) and demonstrates the groups deft musicianship as they keep up with Dylan and Guthrie’s fast rhythms and intricate guitar finger-work. They even got the nod of approval from Arlo Guthrie himself when the man heard them playing his songs and said, “these guys are way too young to be that good.”

The Abrams Brothers were recently featured on the Canadian national TV show CBC “The National” and also appeared on the renowned radio show Acoustic Cafe. Look for them on CMT with a new video for “Mermaid Town,” the first single off their new album Northern Redemption.