Cinema Reviews

Press, Volume LXX, Issue 21319, 12 November 1934, Page 7

Cinema Reviews

TIVOLI «ONE MORE RIVER" «One More River" heads the outstanding programme at the Tivoli , Theatre this week. The story is a k , at j S fying elaboration of an episode from John Galsworthy's last novel, ..river the River," which completed his ..Hricly read series "Forsyte Saga." K adaptation takes up the threads f the story from the point where pure Corven, vilely ill-treated by her hiiiand, Sir Gerald Corven, leaves S and returns to England. Sir rwald refuses to facilitate her release hfcause 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 is an outstanding emotional actress. Her centrol 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 film js the remarkably fine team comprising the supporting cast. It includes Colin Clive, Lionel Atwill, Frank Lawton, Mrs Patrick Campbell, Jane Wyatt, Reginald Denny, Alan Mowbray, Gilbert Emery, C. Aubrey Smith, and Henry Stephenson. It is a erst worthy of the story. The settings are splendid, suiting the playing, which is in strict keeping with the quiet restraint and English charm of Galsworthy's novel. Great credit is due to jt. C. SherrifT, author of "Journey's End," and James Whale, who directed this'film. The story has been handled brilliantly and it is obvious—especially in the court scene and in some of the scenes in London and Oxford, that the directors have taken great care to make the settings of sufficiently good quality to ensure success.

CIVIC "SORRELL AND SON" For the splendid moral behind its story "Sorrell and Son," the talking picture at the Civic, is alone well worth seeing. The silent film version of this story of Warwick Deeping's was an outstanding success, but it is safe to say that the use of the new medium in films has not only heightened the intense dramatic effect, but has made the whole production really a splendid epitome of one of the greatest novels of the day. The unusual circumstances in which men find themselves to-day—the general spirit of unrest —gives point to this moving tale of a father's love for a son who proves fully worthy of it. One is able to appreciate the tribulations of both in a way hardly possible when the silent film of "Sorrell and Son" was shown. The intenfe pathos strikes home, and the tremendous sacrifices of the father move one strongly. The climax—the successful son's first major operation in his medical career —is presented with, perhaps, an even too close regard for detail. The son's career assured of success, the father is forced to announce the dangerously belated details of his own incurable illness. Both then face the greatest trial of their life of close friendship. The story ends on an intensely sad note, but so delicately told is this inspiring picture that one leaves the theatre really uplifted. The producers were fortunate to secure H. B. Warner, hero of the silent film version of "Sorrell and Son," for the talking picture. They have kept him close to the style of his silent film, but the story does not suffer from this. His acting is so sincere that it must have been difficult to select others in the cast to reach anything approximating his standards. But in this respect the producers have also triumphed, and one can enjoy the work of such people as the charming Winifred Shotter and Donald Calthrop. There are three interesting sections in the supporting programme, which has on this occasion a strongly martial flavour—soldiers, the Aldershot tattoo, the Prince of Wales inspecting his own regiment, and similar happenings in Great Britain. There is also an interesting short of the work of the fishers who supply most of England with oysters.

LIBERTY "STRICTLY DYNAMITE" AND "THE RIGHT TO LIVE" The programme at the Liberty Theatre' this week consists of a melotlrama, "The Right to Live," and a bright musical comedy, "Strictly Dynamite." "The Right to Live" is a film with a punch—action is its keynote. The story tells of the discovery of helozone, a chemical combination that defeats the effect ou human beings of poison gas. The discoverer, Who promotes a company to manufacture helozone, wants to use the combination, or rather to keep it, "for the good of humanity." But his directors come under the influence of a powerful personality wno has gained an interest in the company by mean?; that are far' from being honest and they want to make money. Accordingly they decide to sell helozone to the highest bidding nation. Everybody in the film now takes sides in a fight to the death. Things reach a satisfactory conclusion when the arch criminal, atte-npting to kill the discoverer of helozone with poison gas, kills himself instead. The cust includes Pat Paterson, who was given a contract in Hollywood at the Fox studios because of her work in this Picture, Richard Bird, Francis Sullivan, who makes a massive and imposing criminal, David Burnaby, Frank Atkinson, and Lawrence Anderson. The chief merit of "strictly Dyna-

mite" is that, it gives Jimmy Durante a >i opportunity for some of his whole--1 hearted' fooling. Durante, a radio comedian, has a pretty but flighty Partner and an entirely senseless young "ghost writer." The film sets these three oil in a series of situations V/hich work well enough until the Producer sends the partner off with the writer on an elopement. Those *ho see it will probably be sorry 'hat there is not more of durante and a little less of some of the others. Marian Nixon, ar, the faithiul wife of "ie eloping husband, has little enough to do but she does it wisely jtafl well. Lupo Velez, as Durante's radio partner, is her usual passionate Se |t but she does not seem to bo suited by the part. Norman Foster °n,d Eugene Pallettc also have prominent roles. "Strictly Dvnamite'' contains five new sur." ■.

PLAZA "THOSE WERE THE DAYS" Sir Arthur Pinero's sound comedy "The Magistrate" has been brought to the screen as "Those Were toe Days," and the packed audience which saw it at the Plaza on Saturday agreed that the change has done nothing to detract from its many merits. The film has every chance of being a great one. because there is a particularly strong cast, and the very most is made of the abundant material of the book. The setting is the naughty nineties, when London was a city of spontaneous gaievy, when the horseless carriage was beginning to make its reeking and comical appearance on the roads, when the ©ld-t*me music hall was at the height of its popularity, and when the last rema.ning shreds of that oxaggerated Victorian chivalry made ihmsy points of honour the main preoccupation of the leisured classes. The spirit of the film is the spirit of the time, and to us, removed 30 or 40 years, sophisticated we imagine, the ingenuous pleasures of our progenitors appear irresistibly funny.

There is no attempt in the film to play up unduly the extraordinary appearance of the people of the tms, the clothing they wore, or the amusements that they considered so dashing. A slice has simply been taken from the life of the London of the time, and the film is successful on its merits alone. This department of the film is excellently done. There was in the house of this time a vast amount of peculiar furniture, and on the persons of the people of the time a vast amount of clothing, and every smallest detail has been faithfully revived by the director. The story is the best type of British comedy, not the ultra-sophisticated modern type, but that honest mirthmaking that is seen too seldom in these days. The story tells of the domestic complications set up in the house of the magistrate through a lie told him by his wife, a widow when he married her, about her age, and the age of her son. The son is the leading spirit in the scrapes into which the family is thrust, but the comedy is sustained by each member of a large cast. The plot is involved, but it hangs together so well that interest never for a moment flags, and there is not a moment when something to laugh at is not presented to the audience. Many of the old songs of the time are revived with great success, "The Man Who Broke the Bank at Monte Carlo." "Champagne Charlie," and "A Little Bit Off the Top" are but three of them. Will Hay has the part of the magistrate, and handles it with tremendous humour and understanding. Claude Allister is a crystallisation of the popinjay military officer of the time. If for nothing else, the film is well worth seeing because of its faithful picture of the lives our forebears lived.

The short features are admirable. One film, in colour, "Not To-night. Josephine," is as good as anything that has ever been done with short comedy.

REGENT

"OF HUMAN BONDAGE"

There is some superlatively good acting in "Of Human Bondage," an adaptation of Somerset Maugham's I novel, which was screened for the first I time at the Regent Theatre on Saturday. The screen play is no more than an adaptation of the book, and is concerned almost wholly with the relations between a young medical s.udent, Philip Carey (played by Leslie Howard), and each of three women, Mildred, Nora, and Sally. The book itself (it is an exceptionally long novel) tells a good deal more than this; but in essence it has been preserved on the screen. Maugham's theme is the power for good or for evil which a woman may hold over a man; his title is "Of Human Bondage." He tells a grim story, but like all his fiction it has the ring of real life about it, the more so because here the author is drawing from his own experiences. The young student, a sensitive, gentle boy, whose physical disability (a club-foot) has already made him the butt of his fellows, becomes infatuated and obsessed by a cheap little waitress in a cheap little London cafe. From firs; to last she treats him abominably, but he is in bondage to her and he cannot escape. She uses his money and abuses his love. From plain vulgarity she goes to an almost terrifying pitch of unscrupulousness and hatred; yet while he gradually awakens to her tyranny he s.ill cannot resist helping her and exposing himself to her further onslaughts.

Some people will probably consider that this situation has been overdrawn, that a man of his refined emotions would never have submitted to her as he did; and cer.ainly it seems here the more severe because the picture necessarily lacks so much of the detail, the changes of scene, and the background of the book. But for such a situation there have been many precedents in fact; and the brilliance of the acting sustains it from the beginning of the picture to the end. Leslie Howard plays the main part with remarkable sensitiveness and sympathy. He is always restrained; yet every detail of his acting makes a wonderfully strong impression. So, also, B'ette Davis's portrait of the waitress is perfect. Previously this actress has had only elementary parts, parts which have not even suggested the ability she displays here to act. Her bearing, demeanour, and speech are admirable; and she plumbs the very depths of the frightful young cockney character to whom Carey gives the best years and emotions of his life. The cast includes also Kay Johnson, Francis Dee, both very attractive and understanding as the other two women whom Carey meets, Reginald Denny, as a boisterous fellow-student, and Reginald Owen in a superb characterisation of an autocratic old schoolmaster. In one or two scenes the film seems to have suffered somewhat from cutting, and one scene, in which the waitress is shown destroying Carey's pictures and books, has become almost isolated. The photography and technique are both very interesting. Those who prize fine acting on the screen should be sure to see "Of Human Bondage. The supporting programme comprises a gazette, a Gaumont "Mirror, a cartoon, a travel picture of Damascus, and a new series of "screen snapshots."

GRAND

"TUGBOAT ANNIE" "Tugboat Annie," which is having a return season at the Grand Theatre, is a gloriously amusing film. In her fr 10 prurvs M ss„ Dr s her Powers, wji been Sore flneTy displayed than, in "Tugi?nM Annie " Tugboat Annie is a manysided old creature, gaunt, ugly, sentimental humorous, and formidable. Wallace Beery also scores one of the greatest successes of his long career as Annie's inebriated husband. Box plans are now open at the D.I.C.

MAJESTIC ! "STINGAREE" Few have not been stirred and delighted by tales of "good bad men," of outlaws and highwaymen of Robin Hood style—gay, dashing, debonair, reckless, and gallant—who defied unjust laws and assisted the weak at the expense of their strong oppressors; and few will not be delighted and stirred by "Stingaree," the main picture on the Majestic's new programme which opened on Saturday, which has the full flavour of old-time romantic melodrama—stimulating and refreshing—in a story of a bold, benevolent bandit who defies death and hazards his liberty time after time to assist a "Cinderella soprano" with whom he had fallen in love. In its class this picture must take a place in the first rank of those made since talking films were introduced. It blends delightfully the elements of melodrama—sensational incident, violent emotions, tuneful melodies in songs interspersed in the manner of stage-plays of this type, end romance leading up to a happy ending. Rash romance rides high again and does not fall; a lovable, courageous rogue risks his life and loses his freedom to help a poor girl; love endures; in a stirring climax the outlaw's grey stallion outstrips pursuers athough carrying a double burden. It is all rare fun and splendid entertainment. Incidentally the title of the picture is taken from the name by which this outlaw was known throughcut Australia during his career in the late 'seventies, and most of the action is laid in Australia.

The title role is played by Richard Dix, who was a great favourite in the days of silent films, and, judging by this performance, bids fair to creating a record for long service as a star. He makes a fascinating, colourful bandit, and the twinkle of his eyes, his splendid carriage and physique, and a pleasant voice, are peculiarly suited to this part. Following his character part in "Cimarron" some months ago, this role stamps him as an actor from whom much more may be expected. Many should be pleased. It is a concession nowadays to be permitted to see on the screen a man with a strong chin, a hawk-like nose, and a carriage that indicates physical fitness and manliness—a being resembling men as they are in real life. The reception this film received from a packed house on Saturday, proved beyond doubt that stories of the type of "Stingaree," with their special human appeal are still appreciated. A performance of exceptional merit is given by the feminine star, Irene Dunne. Cast as an orphan girl with vocal genius, the story gives her great scope for an undoubtedly good voice. Before appearing on the films, Irene Dunne was trained for opera, and in this picture sings a number of songs including excerpts from operas. The theme songs are "Stingaree Ballad" and "To-night Is Mine," the latter a delightful melody. Irene Dunne also sings "The Jewel Song," from "Faust," "The Last Rose of Summer," from "Martha," and "When Other Lips and Other Hearts," from "The Bohemian Girl." The music in the film alone is worth hearing. The supporting cast is very strong including Mary Boland, Conway Tearle, Henry Stephenson, Uma O'Connor, George Barraud, Andy Devine, and Stub Pollard. The direction of the film is first class and the photography always good, and at times outstandingly good. For happy entertainment suited to all tastes this film can be recommended and children should be thrilled by it. The supporting programme is of "shorts."

| CRYSTAL PALACE ! "DAMAGED LIVES" i | An earnest attempt to make the public i'ook squarely at the facts of venereal disease in the modern community is made in "Damaged Lives," which opened at the Crystal Palace on Saturday. The sponsors of the picture are deeply in earnest in their desire to make public the facts, and they have made a legitimate and laudable use of one instrument at their disposal, the talking film. No criticism of their aims can be made, and very little of their methods. The programme is divided into two parts, a film showing the introduction into the lives of two persons of the disease, its worst effects being hinted at rather than shown, and a lecture by Dr. Gordon Bates, a Canadian authority, in which activities ol: the disease are plainly shown. The story is of two young persons, Joan and Donald Bradley, whose marriage hat been delayed until Donald "settles down" in fixed employment. He is guilty of one indiscretion, the effect ot which he does not realise, and his marriage subsequently takes place. When he and his wife are expecting a child the family physician makes the discovery that they are both infected, and in despair Joan attempts to destroy both their lives. The acting of Diane Sinclair and Lyman Williams in the two main parts is quite good, but it has suffered, as it was bound to do, by the didactic intent of the picture. The lesson of the unfortunate results of ignorance, not only in its physical but also its mental consequences, is forcibly driven home, and there is m addition an attacK on quackery, when the! pseudo-doctor is shown assuring Donald, for 100 dollars, that he is free from a disease which in point of fact he has. The picture could with profii have been decreased in length, but these considerations are secondary to the purpose. The lecture is illustrated by diagrams, and has the merit of clarity and frankness. The living illustrations shown of victims of ihe diseases are startling, even shocking, and it is here that some may criticise the picture on grounds of taste; but those who make this criticism must admit that the subject is an unpleasant one and its treatment, if successful, must bear the same character. It must be dealt with in plain terms, not suggestively or by innuendo. The programme provides a complete document on the nature of the diseases, their consequences, and the fact that early treatment produces a cure. It is to be commended, not as entertainment, but as a laudable attempt to disseminate knowledge on a subject that is largely ignored. "Damaged Lives" is shown under the auspices of the New South Wales Racial Hygiene Society.

NEXT CHANGES REGENT "Viva Villa" will be classed as entertainment which is decidedly different. A version of the spectacular career of Pancho Villa, the great Mexican revolutionary leader, filmed in Mexico and assisted by thousands of Mexican peons, will long be remembered. Wallace Beery, as Pancho Villa, plays his part true to life. Also in the cast fire Fay Wray, Katherine De Mille, Leo Carrillo, Donald Cook, Stuart Erwin, Joseph Schildkraut. "Viva Villa" has been hailed as one of the greatest productions in screen history. Box plans open at the D.I.C. on Wednesday.