Amusements Reviewed

Auckland Star, Volume LXXI, Issue 153, 29 June 1940, Page 14

Amusements Reviewed

"REMEMBER." ST. JAMBS'. Jeff H011and :.......... Robert Taylor. Linda Bronson.. Greer Garson. SJry Ames Lew Ayres. M"- Brone <>n Billie Burke. m f, ronso '> Reginald Owen. Mr. Mclntyre George Barbier. Director: Norman Z. McLeod. .M.-G.-M. Racy, rollicking comody, breezing along merrily throughout, is "Remember," showing at St. James' Theatre. Love is usually a serious matter, but, given a twist, it can become delightful comedy, and so it is in the story unfolded, in which the principals are Robert Taylor, Greer Gar.son, Lew Ayres and Billie ; Burke. Ayres is engaged to be married to Miss Garson, but has apparently not heard the adage "Never introduce your donah to a pal," as he does introduce her to his friend (Robert Taylor), and, of course, loses her. Although they were married, it so happens there is a doctor who is dabbling in drugs, and he concocts a potion which, when taken, causes the person to forget his or her past experiences. Ayres sees to it -that both Taylor and Greer get a plentiful dose and they forget they were married and that tliey are divorced. The pair then come face to face again and go through the same old routine they went through previously, except that this time Taylor does not introduce his wife to any of his male friends. Of course, they are married again and all is well. The plot is not altogether a new one, but Hi s served up as a different dish and ia more than seasoned with laughs. All play their roles excellently, and see to it that the amusing situations are continuous. Billie Burke is particularly good as the girl's mother. The varied supporting programme is excellent. The trek of refugees from Belgium reveals the terrible plight of the people, while burning buildings show the devastation caused by enemy bombers. "Jack Pot" is another of the "Crime Does Not Pay" series, revealing the fruit machine "racket. Two comedies arc "The Domineering Male" and the cartoon Puss Gets the Boot." "EACH DAWN I DIE." REGENT. Frank Ross I'. . • -James Cagncy. "Hood" Stacey George- Raft. Jovce Jane Bryan. John Armstrong George Bancroft.. Meuller Stanley Bridges. Carlisle Alan Baxter. Director: William Keighley Warner Bros.

Resembling no other prison picture in the whole, but combining the grimmer elements of all of them with a fresh and compactly-wound story, "Each Dawn I Die" is a powerful melodrama which fittingly heads the new programme at the Regent Theatre. It is melodrama supreme, and in spite of the fact that the story is heavy, and, in some respects even harrowing because of the cruelties practised by prison guards on prisoners, it holds one's attention throughout. Moreover, the picture has deep human appeal, since the story reveals that the hero, a prisoner, was innocent, having been framed by crooked politicians; There are several situations. that strike forcibly at the heartstrings. The situation in which the hero s mother visits him at the prison and tries to control her emotions, is a memorable one. The closing scenes, showing a prison break, are thrilling. As a matter of fact, thrills occur throughout. The romance of this all-absorbing film is very touching. "Each Dawn I Die" is well stocked with names of high standing in the film world. At the top of the list of these are ' the strategically-paired James Cagney and George Raft; In this highly-explosive picture Cagney is cast as a newpaper reporter and emerges from the carnage a hero. Between them, these skilled portrayers of . hard-boiled characters give magnificent performances. The framing of the reporter and the escape of the gangster from a courtroom full of policemen are brilliant examples of picture production and technical accomplishments. George Raft is at his beet in a sequence shared with Jane Bryan and several felonious associates, which is the pivot of a most ingenious plot. It is here that the point of the Picture is made, which is to the effect that a gutter youngster who grows up to combat injustice from the right side of the law, in this case as a reporter, can get more done about it than another gutter voungeter who tackles the problem from the wrong angle. The film, while starkly graphic in its depiction of cruelty and suffering within the prison, contains no material which could conceivably incite the young to choose a career of crime. The new programme also includes a fine array of short films. "TRAITOR SPY." . MAJESTIC. Healer 0 •• • • Bruce Cabot - Freyfla Healey Marta Labarr. Marie Dufreyne Tamari Desni. Det.-Insp. Barnard Edward Lexy. Det-Sergt. Trotter Cyril Smith. Beverly Blake Komilly Lunge. Director: Walter Summers Pa the. AUo: "DANGER ON WHEELS," with Richard Arlen and Andy Devine. There is a succession of thrills in "Traitor Spy," featured on the current programme at the Majestic Theatre, and the film comes at a time when it has a particular interest. The story centres round a Nazi agent in Britain, with Bruce Cabot cast in the leading role. He is employed in a factory producing antisubmarine motor patrol boats, fitted with a secret torpedo device, and manages to photograph blue prints, but refuses to hand them over to the enemy unless he is paid £.6000. Then follows a set of exerting complications. There is an attempt by. the,, enemy to get the photographs, but the British Secret Service rises to the' occasion in traditional way. In the end there is gun-play, a surrounded house which becomes a blazing inferno, the shooting of the Nazi villain of the piece, and a thrilling end to everything. Splendid acting makes "Traitor Spy a notable production, and one that is particularly apropos at the present moment. The talented Marta Labarr is featured with Cabot as his wife, and Tamara Dean ■ does striking work as a ■ British Intelligence worker. • The associate screen attraction is "Danger .On Wheels," in which are featured Kirhard Arlen, Andy Devine and Peggy Moras. Arlen is a dare-devil test driver for a big motor car company, and portrays a reckless racing driver, with Devine as his mechanic assistant, and Peggy Moran in "romantic role opposite Arlen. The picture shows how the ace racing drivers risk their lives for fame and fortune in the world's most dangerous sport, and the thrills, spills and crashes of highpowered racing cars provide exciting entertainment. Speedway contests are spectacular highlighta of the production. There is an excellent and varied supporting programme of topical events of the day...' PLAZA. Brilliant acting oy every featured player and faithful adaptation of the screen play from the famous -novel by Daphne lfu Manrier are ingredients that help mater* ally to make "Rebecca," at the Plaza Theatre, one of the outstanding films ot the year. It is a particular triumph for Alfred Hitchcock, director, whose skill in capturing the mood of psychological mystery has been demonstrated previously in'the filming of "Jamaica Inn," "The 39 Steps" and "The Lady "Vanishes." His complete understanding of the spirit of the book is evidenced by his selection of the cast. Laurence Olivier, whose most recent success was in "Wuthering Heights," .maintains the high reputation he gained in that film with a fine characterisation of the leading male character. Joan,, Fontaine, in her first starring role, shows that she, too, has all the attributes of a really high-class dramatic performer. The story '"talk of the way in which the home of the young married couple depicted by the principals is overshadowed -by. the .mocking? spirit of the man's first ■"- wife, and of the complications that follow. George Sanders, Judith Anderson and ' I Nigel i Bruce-«ra outstanding in the "supporting «a»t.

"ALL AT SEA." CENTURY.

Sandy Sklpton Sandy Powell. *> lana Kay Walsh. *? rown John Warwick. by Gus McXaughton. 5,.,, V George Merritf. W i , "»- ■■ Leslie rerrins. Director: Herbert Smith. .British Lion. That extremely droll British comedian Sandy Powell, of the expansive beam, gleaming spectacles and warm Yorkshire accent, is something of an institution with local audiences, with a definitely plebean apostolate developed via • vaudeville, radio, gramophone and the screen. The latest of his ventures, "All At.Sea," a British produced nautical farce, screened for the first time to crowded audiences at the Century Theatre yesterday, directed by his British Lion sponsor Herbert Smith, exploits as background the British Navy in a splendid yarn about a secret explosive and foreign spies. The full co-operation of the British Admiralty has enabled the producers to register some high seas spectacle and action flashes easily from the Chatham Barracks drill ground to the grey giants of the Home Fleet. The story is a rather dramatic excuse for Sandy Powell's peculiar but excellent brand of easy fooling, and casts him as a chemist's messenger enrolled in the Navy by mistake. Most of his slapstick hinges upon his efforts to get back a tube of explosive stolen by some crooks. The comedy, all of it clean, involves complications in the drill squad, falls down main deck ventilators, paint on the officers', uniforms. A most amusing and mirthprovoking episode is one with Sandy and Gus McNaughton playing an invisible violin. George Merritt's beefing petty officer, Kay Walsh's lively Diana, anil Gus McNaughton's "Nobby" adds much to this really excellent production. The secondary film subjects on this new programme are alone well worth the price of admission. There is a British newsreel, which arrived by air. showing the arrival in England of soldiers evacuated from Dunkirk, and amongst other current incidents, a Polish submarine now serving with the British Navy. Many exciting and sensational wrestling bouts are seen in " 'Dribble Puss' Parade," and there is also showing another of the popular "Screen Snapshots" and a Western musical short, "Love. Goes West." OXFORD.

Essentially the same story as the film of the same name in 1923, "Little Old New York," showing at the Oxford Theatre, emphasises the final success of inventor Robert Fulton's historic "Clermont," the first steam 'boat to operate successfully. Portrayed by Richard Greene, the young inventor comes to a waterfront tavern kept by "Pat O'Day" (Alice Fay) ■where he carries on work in spite of interruptions and reverses. He also finds time in between political skirmishes and intense research work, to win tho heart of his hostess. The production is a memorable addition to the type of historical highlights with which Darryl F. Zanuck has delighted the picture-going world during the last few years, and the fulfilment of Fulton's enterprise contains-;- an undeniable historic interest. The names of such highly-rated actors as Fred MacMurray and Andy Devine on the supporting cast are evidence of the standard of the film. In addition, the depiction of the carefree, riotous life of New .York when the big city was just a little old world village has been excellently carried out.

"FROZEN LIMITS." STRAND. SJi 5&.% onacr Boys. Craxy Gang. Tom Tiddler Moore Marriott. HI" *«.n ; • -Eileen Bell. S* ■S3. .Anthony Hulme. Bill McGrew.... Bernard Lee. SSZV " -";; — Eric Claverin. Director: Marcel Varnel Gains-borough-General. Also: "YOUNG AS YOB PEEL," with too "Jone* Family." The Crazy Gang—Flanagan and Allen, -\ervo and Knox and Naughton and Goldcontinue their high spirited knockabout and vaudeviUian baefcehat, this time set ™v£ Klond >: ke frame, in Gaumont British's d^~ Z %[ lts whicb opened at the Strand Theatre last night. The "Wonder Bom read in a paper, which serves as an eating vessel for their fish and chips, the fact that a gold-rush is taking place in Alaska. Deciding that their joint fortunes obviously lie in the far north, the boys manage to reach the cold wastes There* men are men and women are glad of it') only to find that the paper thev read was 40 s*" old. Only temporarilv dweoncerted, the boys start a gold rush of their own, thereby incurring the displeasure of dangerous Bill McGrew (Bernard Lee), whose thoughts begin to turn in the direction of carefree parties— Jyndhing parties. Things look black for the boys, to say nothing of the heroine (Eileen BeH), who is. faced with the prospect of marrying dangerous Bill when the dashing hero! lex OBrten (Anthony Hulme) arrives in the nick of time, accompanied by a posse of North-West Mounted Police bent on getting their man. It is all excellent light entertainment with the principals at their craziest. Moore Marriott, as Tom Tiddler, the heroines aged and somewhat forgetful father, and Eric Clavering as "Foxy " who acts up to his name, both give excellent 'characterisations. "Young Ah You Feel," another of the Jones Family series, which also shows, is well up to the standard of previous productions, with Dad turning playboy and Mother going all glamorous in the midst of the sizzling hot spots of Broadway. ROXY—TIVOLII Suave Warren William portrays a debonair gentleman crook, hero of the latest screen version of. a Louis Joseph Vance adventure yarn, -"The Lone Wolf Strikes," at the Rosy and Tivoli Theatres. William has had a distinguished career in screen roles of this type, and he is right up to his best form in his latest effort. In the development of the plot, Michael Lanyard, alias "the Lone Wolf," emerges from a self-imposed retirement as an amateur fish fancier, lured into action by a priceless string of pearls that has been stolen. Before the matter is cleared up there arc two murders and enough thrills to keep the most blase filmgoer wriggling on the edge of his seat in excitement. For upwards of 30 years there have been films centring round Vance's intriguing here, and this is one of the best. Lovely young Joan Terry introduces the romantic interest, and the supporting cast includes Eric Blore and Alan Baxter. Ann Dvorak and Preston Foster, as a night club entertainer and her sweetheart respectively, clean up a large-scale American racket in the second attraction, "Cafe Hostess." DANCING. Crystal Palace Ballroom, Epi Shalfoon's wchestra; Municipal Hall. Newmarket, Cliff Russell and his Olympians; Manchester Unity Hall, Len Meredith and his band; Masonic Hall, Newton, Switzerland Swept Swingers. CABARETS. Peter Pan.—Theo. Walter's "Fersonalitv Band."

Pirate Shippe, Milford.- Old-time dance carnival.

"AMAZING MR. WILLIAMS." CIVIC. Kenny Williams Melvyn Douglas. Maxlne Carroll Joan Blondell. Captain McGovern Clarence Kolb. Effie Ruth Donnelly. Buck Moseby Edward S. Brophy. Lieutenant Blsler... Donald Macßride. Director: Alexander Ha 11... .Columbia. "The Amazing Mr. Williams." . . . Bather, "The Amazing Mrs. Williams." . . . Well, it is an amazing film, anyway, and the rapt attention and the laughter that greeted it at the Civic Theatre last evening, when it had its first showing in Auckland, was more than justified. It is the most delightfully* mad melodramatic mystery we have seen since the first "Thin Man," and that is saying something. It is Melvyn Douglas and Joan Blondell, plus Ruth Donnelly, in their most engaging mood. We all know the film 6tory of the girl whose boy friend is always breaking dates because of the call of duty or danger— but most times we have seen those said gentlemen as daring commercial pilots or I star newspaper reporters or something equally unhealthy. This time, behold Douglas as Lieutenant Kenny Williams, sure-fire, ace-high, No. 1 "get-hfe-man" detective of the "Homicide Squad," with Clarence Kolb as his chief slave-driver and date-smasher. Behold Joan as the mayor's secretary, and Lieutenant Kenny's girl friend, who also gets her man—for a minute or two at a time. Marriage bonds are a little difficult to tie under such circumstances. So Joan sets out to get the said Lieutenant Kenny demoted to the role of Mr. Kenny, exdetective. In the process she enjoys a party with a murderer under sentence, Sets knocked over the head by a wouldbe murderer, is jilted on her wedding day, a "d finally does a spot of sleuthing herself. Douglas strikes a certain amount of trouble himself, and he and Joan, and Ruth Donnelly and Clarence Kolb and quite a few of the other characters deliver themselves of some smart pieces of repartee (e.g., wise-cracks). It is all most exciting, most amusing and most excellently conceived and played, with a climax that is worthy of O. Henry. It is certainly worth seeing as an antidote to excursions and alarums. Outstanding feature of the short programme is, of course, the record of actual fighting in Flanders— towns, air raids. tank attacks, refugee columns, the march of Nazi shock-troops, bombing of civilians, aerial dog-fights between Spitfares and Messerschmitts, and bombing attacks by R.A.F. 'planes on oil dumps and enemy concentrations. EMBASSY. The story of what happens when an alluring American blonde with a predatory gleam in her eye visits the house of a professor engaged in applying a little *rottdh polish to aspiring English and American diplomats, is told in the romantic farce, "French Without Tears," still drawing large crowds to the Embassy Theatre. Ray Milland and Ellen Drew were brought from America to act in principal roles and their performances indicate that the trip was worth while. It is no criticism of them, however, to say that the personal triumph is reserved for a newcomer to the films, Ronald Culver, who, as the cautious, ultra-dignified naval officer who gets gloriously inebriated following a romantic reversal, brings down the house. The entire male population of the pocket academy places its collective bead beneath the foot of thir provocative visitor with one notable exception, played by Ray Milland—and even he is forced to capitulate eventually. Janine Darcey as Ellen Drew's foil is excellent, ■while David Tree and Guy Middleton strike happy notes as two of the students.