CITY THEATRES

Press, Volume LXX, Issue 21314, 6 November 1934, Page 7

CITY THEATRES

i PLAZA "THE HOUSE OF ROTHSCHILD" It is not merely the flawless acting of George Arliss which makes "The House of Rothschild" one of the outstanding film productions of the last few years. Arliss has excelled himself, but his triumph is assisted materially by the remarkable story, in which he is made the central figure. The entire story is a clever concentration of the dramatic developments behind the scenes in Napoleon's very nearly successful bid for European supremacy. It is a story of world events and world figures, and it is in this historical sense that the film has its greatest value and significance. It is a satisfying indication of the progress of the talking film that it can be used to give the world such an invaluable close-up of the past as does this production. For an all-too-briet moment we are taken from the rut of our own comparative ignorance of history and our political isolation; the film opens the mind to international history as no other medium of expression or education, and particularly in this case provides a timely link with events of the past and those of the present. An historical film, acted with such sincerity, produced with such a masterly touch of efficiency, and having at least the air of apparent authenticity "The House of Rothschild" should give a student of world affairs a fine insight into one branch of history which liter- ! ature cannot so easily or vividly penetrate.

The Rothschilds build up a powerful organisation, wealthy enough to aid materially in the first defeat of Napoleon. Later their application for a French restoration loan is rejected on the ground that the applicants are Jews. Nathan Rothschild retaliates by undercutting the new issue on the Stock Exchange and forces the capitulation of his enemies. Anti-Jew riots break out in Europe, but not until Napoleon escapes and once again threatens the peace ot Europe are the Rothschilds able lo buy freedom for their people. Again they provide the funds for the overthrow of Napoleon. Wellington defeats the adventurer at Waterloo and Nathan Rothschild is created a oaron for his services in bolstering up the Stock Exchange during the panic caused by Napoleon's first successes. Arliss is supported by an able company of players. The supporting programme includes a remarkable short of explorations under the sea and a Walt Disney colour comedy.

MAJESTIC "HOLLYWOOD PARTY" L ;, -e the "Scandals" and ••Follies" which the film studios delight to perpetrate every few months, "Hollywood Party" is a festival of brilliance on a large scale. Escaping from all that is drab in human existence, it seeks to portray that which perhaps is best described as the light and airy pleasure of a pleasant dream. Indeed, it makes a fairy tale of life, opens the door of the forgotten world of childhood where every daisy is a gorgeous sunflower, where the sun is always in the sky, and where a song of happiness is the end of every undertaking. The producer must not go unnoticed, for the effects arc as good 'is anything in the film. There is, for instance, the orchestra suspended in mid-air, and the Walt Disney Silly Symphony in technicolour, "The Hot Chocolate Soldiers," not to mention the f;warrns of beautifully attired women, and the twinkling of myriads of legs. A scene that should for long remain in the memory of all who see the film is Schnarzan's welcome to the lionowner, Baron Munchausen. This is extraordinarily well arranged with catchy music and a rich flavour of humour.

The cast is led by Laurel unci Hardy, Jimmy Duranle, Charles Butterworth. Folly Moran, Ltipc Velez, Frances Williams, and Jack Pearl, and others are Eddie Quillan, June Clyde. George Givot. Richard Carle. Ben Bard, Tom Kennedy, and Mickey Mouse. Jimmy Durante acts in his distinctively energetic way and is superb as Schnar/.an of Ihe forest and as the leader in a discourse on reincarnation. Laurel am. Hardy, proprietors of the Yes aw'. No Lion Farm, are very true to reputation, and the same may be said of Polly Moran and Lupe Velez. Mickey Mc use has been tjiven a prominent part, and brilliant camera craft has made his performance remarkable. A particularly interesting film among the supports is one showing Scott and Campbell-Black finishing m (he Centenary air race. Other films are a Fox Australian newsreel, a iravelofiue. "The Bis Ditch or Panama," and a reel of the Goory Movies.

CRYSTAL PALACE "DAMAGED LIVES"

The attraction at the Crystal Palace ; Theatre this week is "David Harum David Harum had a horse that baulked. After a good deal of trouble someone found that if the driver sang to it the animal not only travelled aiong normally but went like a racehorse. David Harum took it on to tlu. racing track and did well with it. He sang "Down Went Magnify" to start it off and "Ta ra ra boom de ay for racing up the straight. He had a lot of fun out ot that horse. Will Rogers as David Harum gets so much un out of it, and is at the same time so serious about il. thai the lunny side of it; all becomes infectious and • David Harum" established itself as one of the most delightful comedies ° f Through the agency of the Racial Hygiene Association, a P lcl ,^ re ha ® been produced, under trie title of "Damaged Lives." illustrating the danger, the horror and the tia e edy that arise from social diseases. I lie film will be shown at the! Crystal Palace Theatre next Saturday. | It is a picture solely for adults. Nearly 15 years have passed since the screening of Eugene Brieux's play, "Damaged Goods," m New Zealand, and just as the lessons of that film must have proved of value to its generation, so the lessons to be learned from "Damaged Lives" Should be ot benefit at the present time. The film deals with an unpleasant but vital subject openly and frankly, and the audience is not spared the sight of actual clinical cases of the many and terrible effects of the diseases. It goes further than that, illustrating the methods that have been adopted by science in its fight to prevent and cure the disease, making a genuine and sincere effort to warn the communitv of the danger of contraction and to impress upon it the importance of speedv treatment. There are two sections of the film. The first unfolds a simple but dramatic story of pre-sent-day American life, wherein a young husband contracts a disease and passes it on to his wife. When the terrible truth is revealed, the distracted wife, who is expecting to become a mother, seeks a way out by attempting to take both lives, but good fortune intervenes, and the story ends on a hopeful note. In its second phase, the film consists of an instructional lecture by a Canadian medical man. Box plans are now open at the D.I.C.

TTV'OLI "ONE MORE RIVER" "One More River," after a successful season at the Regent Theatre, was equally well patronised when it : opened an extended season at the Tivoli Theatre on Saturday. The story is ] a satisfying elaboration of an episode from John Galsworthy's last novel "Over the River," which completed his widely read series "Forsyte Saga." The adaptation takes up the threads of the story from the point where Clare Corven, vilely ill-treated by her husband, Sir Gerald Corven, leaves , him and returns to England. Sir | Gerald refuses to facilitate her release because he fears the effect a divorce would have on his career in the Government service if it were thought that he had been partly responsible for the rift. When he discovers that neither pleading nor brutality will make his wife return to him he determines to sue for a divorce himself. Diana Wynyard is exceptionally good starred in the role of Clare Corven. She proves beyond doubt that she an outstanding emotional actress. Her control is admirable both in the tense scenes when her husband makes his attempts to take her back and in the court scenes. One feature of the hint is the remarkably line team J-'™; prising the supporting cast. It includes Colin Clive, Lionel Atwill, I'rank Lawton, Mrs Patrick Cam-bell, Jane Wyatt, Reginald Denny, Alan Mow- | bray. Gilbert Emery, C. Aubrey Smitn and Henry Stephenson. It is a cast j worthy of the story. The settings aie splendid, suiting the playing wnich is | in strict keeping with the ■"*" re- ' straint and English charm of Crais- | worthy's novel. Great creait is due to R. C. Sherriff, author of "Journey s End," and James Whale, who ui~ j this film. The story has been nandlcd brilliantly and it is obvious— especially in the court scene and in some lof "the scenes in London and • -<>ru. that the directors have taken i care to make the settings of sutnciently good quality to ensure success. Some of the scenes, 100, have hau to oe greatly elaborated from their form m the book but no elaboration has been more helpful. This film is a singularly successful produ-'ioti. ] The supporting programme its <>i : good quality. LIBERTY j j "AS THE EARTH TURNS" AND "MAROONED" The two pictures chosen lor the programme at the Liberty Iheatie this week are curiously contrasting. Ones "As the Earth Turns," is a film of the land. it. tells of life on a New i England farm, of the pleasures, suflcl - ings, vices and virtues of the people. While the main ingredients 111 "Marooned" are comedy and drama, room has been found for some oeauty in setting. This is provided by glorious views of coastal scenery and storm-tossed seas. The part of the lighthouse keeper is taken by Edmund Gwenn, who is equally at home in the drama and the coined v'. He is seen at his best whof. a mighty sea breaks over the lighthouse, injuring his daughter, and at the same moment the police-nan discovers the convict. Gwenn is ably supported by Victor Garner, Wal!> Patch and Hal Waters.

REGENT "THE SCAKLET EMPRESS" AMI (HO.STIAKOFF The Kus.-ia of the Tsars and 'isarinas was u country with 110 counterpart in any age or place, l'cw other lands could be so uncomfortable to live in or so attractive to Hollywood, which has now discovered it. Joset van Sternberg, who made "the bearlet Empress," hud a harder task than it lie had been a pioneer; but he uses a different approach from lhat ot the director of "Catherine the Great," ano, it is said, keeps closer to history. Certainly the story on which lie works is in no way inferior to the oilier, and his technique bears the Sternberg trade-marks of competence and ingenuity. Marlene Dietrich has sometimes sulfered in the past, because of the Dietrich beuutv and the Dietrich lefts; producers have thought that these two attractions made others superfluous. But this time she is given every chance to act, and she shows why her abuity as an actress was recognised before .she wus billed the most beautiful woman on the screen. She is given more than adequate support. Her mother and father he is hard-faced old C. Aubrey Smith—and the Gorman aunts are perfect m their way. The Grand Duke Alex, a new star, John Lodge, brings to Tici home the message that she has been chosen to marry the heir, escorts her back to Russia, find thereafter forces his way out of the background as a rival to her husband whenever the slightest chance appears, and all with a "slightly sinister but thoroughly grand-ducal smile.

CIVIC "SOKKKLL AND SON" It is safe t.o say that no talking play has ever created such a profound impression as is being made by ''Sorrell and Son," at present showing at the Civic All-British Theatre. "Sorrell and Son" has three attributes which place the picture among the best that have been produced since the talking films were introduced. The acting is outstanding, there are no weaknesses in the cast, and the selection of players for the different roles could not be better. Warwick Deeping's famous story was successful as a silent fil" 1 ; but beyond question it is better still as a talking picture. H. B. Warner again plays "Sorrell," the part he made famous, and his performance must rank as one of the best characterisations yet seen. His son "Kit" is excellently played in the early scenes by Peter Penrose, a clever boy actor, and in later scenes by Hugh Williams. Donald Calthrop as Dr. Orange, Margot Grahame as Mrs Sorrell, and Winifred Shotter as Molly Pentreath are all seen in performances in keeping with the worthiness of the production. Three splendid supports include the latest Pathe Gazettes, precede the main feature. Plans are open at the theatre from 10 a.m. daily. GRAND

"BUREAU OK MISSING I'KRSONS" There is much fine drama in "Bureau of Missing Persons," the story which deals with the work of that division of the police which endeavours to trace kidnapped men and women and those who disappear in mysterious circumstances. The three main players, Bette Davis, Pat O'Brien, and Lewis Stone, share the honours in some excellent pieces of acting.