Cinema Reviews

Press, Volume LXXI, Issue 21377, 21 January 1935, Page 6

Cinema Reviews

CRYSTAL PALACE REOPENED UNDER NEW . CONTROL Transformed internally In appearance, the Crystal Palace Theatre reopened on Saturday afternoon, and at the evening, session as well attracted a large audience, which roust retain pleasing impressions of the event. The J. C. Williamson Picture Corporation, Ltd., which has assumed control, is to be congratulated on the nature- of the alterations made. The attempt has- been made to bring the theatre more into line of modern ideas, and the result is a much improved appearance, and greatly increased comfort and safety for those who attend. . ■ The decorative scheme is Spanish, the walls having been treated by a -method which gives the effect of an old Spanish stone wall. The basic -colour is a medium brown. the charms: of the theatre which has thus been reconditioned is the lighting, in orange shades. A few additional changes are to be made, and tha dome will be repainted and lit with.Neon. lights. Judging frOm the remarks passed on Saturday night, the alterations have met with almost unqualified approval from those of the public who have seen them. The choice of "The Circus Clown for the opening night was quite a happy one, for there is in this picture many laughs, many thrills, and some human interest. There is a perennial fascination about the integral parts and the trappings of a circus, and there are few who.are not attracted by the sawdust ring, the trapeze ■artists, the animals, and the clown. The appeal of "The CircUs Clown is the appeal of the circus and of Joe E. Brown, an actor of parts, himselt no mean trapeze artist and clown. One has become used to pictures of this kind in which the animal part is overdone, but the producers in this instance have been laudably content to refrain from dependence on dumb actors. We see the horses and the elephants, but the only by-play there is with animals occurs when Happy Howard (Brown) temporarily mistakes at night a lion called Leo. a friendly and tractable creature, for another of fiercer temperament aptly known as Dynamite. Few actors have the peculiar gifts of Brown. He is naturally acrobatic, and is said to have had many years* experience of circus stunts; he has a comic face and a comic laugh, both of which he exploits to the full; he is capable of sudden and vigorous action, belying his slightly stupid appearance; and he can when the occasion demands create the atmosphere of pathos and wistfulness. Worthy support is given him by Patricia Ellis as Alice, who provides the sentiment, and by Harry Woods as Ajax, the Spanish-looking gentleman who throws his knives With commendable accuracy. Tributes must also be paid tq the unnamed trapeze artists, to Leo. and to the youthful Dickie. The beginning of the picture is designed to show the distastes which ■Happy's father feels for circuses, with which-he was involved in his own early life and which were the cause of great unhappiness to him. He is determined to keep his son from them at all costs, but the instinct has reappeared too strongly in Happy, and father and son r the latter having been nominally dispatched pn a fishing expedition, find themselves side by side at the circus which has come to their village. Happy departs with the caravan; he has been the means of saving Dickie, a boy who is claimed by Alice, * one of the trapeze artistes, whom Happy believes to be the boy's mother. He has also been introduced to Mademoiselle La Tour, a bare-back rider who-is -really a very . good .female ■ impersonator. The farce of Happy's attraction to this pseudo-lady is maintained until one day he becomes aware of the real situation and takes a vigorous revenge. He seeks earnestly for an opportunity to display his acrobatic gifts, which he possesses to a high degree as an inheritance from his father enhanced by strenuous training, but is kept for a long time at the task of scrubbing the elephants and looking after the lions. Alice has promised to persuade the manager to give him a chance, and When he overhears her making sucri a request he imagines that it is he for whom the girl is pleading. Instead it is for her brother, and Richard Is his child. To save him from appearing drunk on the opening night, for this sid the weakness for which he Was originally dismissed" from the company, Happy drinks his liquor, becomes intoxicated, and is himself dismissed. His return to the ring is dramatic, wheh, after punishing thfc brother who will not explain to Alice the true situation, he engages in some dare-devil acrobatics, to the delight of his father who has become reconciled to his son's predilection for a circus life, and to the delight of tne forgiving Alice. There is a worthy collection of supports, made up of a Cinesound review, musical numbers, and a comedy. The short in technicolour is very pleasant.

LIBERTY "THE GHOUL" AND "HAVE A HEART" Those who have seen Boris Karlofi in his previous pictures will know the tenseness of the atmosphere which he creates, the* mystery and the thrills which he provides so well. Of "The Ghoul," which was shown at the Liberty Theatre on Saturday, a picture in which he, as Professor Morlant, plays the leading part, it can be said that it is the equal of "Frankenstein" and "Dracula" in these particular qualities. The story is that of a half-crafeed Egyptologist Who "returns to life" and searches for a jewel stolen from his hand after his supposed death, which was really only a State of corria. There follows his revenge, exacted in terrible wanner, and his own real death. Supporting KarlOff in this powerful picture is a strong cast, including Sir Cedric Hardwicke, Ernest Thesiger and Anthony Bushell. As Betty Harlow, the rightful heiress to the stolen jewel, Dorothy Hyson gives a splendid characterisation. The grotesque and ghoulish nature of Morlant's actipns are excellently reflected in the reactions of these players to them. "Have a Heart" the second picture of the double feature. programme, forms a very pleasant contrast to "The Ghoul." The leading parts are played by Jean Parker, as Sally, a young dancer who is crippled through an accident, and James Dunn, as Jimmy Flaherty,,an employee in an icecream company. It is from the name of the ice cream, which Flaherty sells in his light-hearted fashion, that the picture-takes its title. The story tells of Sally's romance, when, after the accident which has ended her dancing career, she is deserted by one who :Cftlled himself her friend, and forms Wi acquaintance with Jimmy Flaherty. There is in this picture much pathos, an abundance of comedy, a strong human interest, and jome good act-

played by Una Merkel and Stuart Erwiii. , / ' j The combination of two good pictures so contrasted in type offers entertainment of a . very pleasing character. CIVIC "BELLA DONNA"

The theme of "Bella Donna," which began at the Civic Theatre on Saturday evening, is exotic and romantic. The' Sphinx, the Nile, the Pyramids, that sense of strange antiquity which seems to be part of all Egyptian things, are in the background.. And in the foreground, there is a vivid demonstration of human emotion and character. It will readily be seen that here is material for melodramatic entertainment. One feels that the Twickenham Studios faced a problem when they began to make "Bella Donna," from Robert Hichens's book. It seems that they realised that there were parts, or characters, for the story which might be weak in a picture, and so they filled them with the strongest actors they could find. Sir Cedric Hardwicke gives a brilliant performance. He is absent for a good part of the picture, but he has the opening pieces all to himself and the impression that ■he makes is such that one is inclined to lose patience with the other actors, it seems strange that this should be, for all the actors do well, and probably the fairest conclusion one can come to is that the fault is caused not by the producers or the actors, but by a peculiarity of t;he story. It would not-be reasonable to complain qf anything else, for, When everything - has- been considered, it has to be admitted that "Bella Donna" is a very fine film. It is unusual, yet its strangeness does not provoke incredulity or hostility; it has moments of great coarseness and moments of beauty, and all its characteristics have been so carefully studied and brought out that one cannot help, admiring it. The tale is one of friendship between two men, Nigel Armine and Dr. Isaacson. Armine was to marry Moana Chepstow, but lEtiacson, whose ability was not confined to the practice of medicine, had very good reasons for thinking should not marry her. Isaacson's first- meeting with Moana Chepstow is one of the most brilliant parts., of the film, not only in acting but in dramatic quality. Armine martied his siren, and' on the way back to Egypt, where he lived (he had been in London) he met Mahmond Baroudi, an Egyptian, whose three main distinctions were suavity, evilness, and wealth. Baroudi was later to plot his death to steal his wife. The film is finished most unusually but satisfactorily by Dr. Isaacson. Mary Ellis is Moana Chepstow (Bella Donna)', and does well enough, while Conrad Veidt is outstanding as Baroudi. Sir Cedric Hardwicke is Dr. Isaacson, and John Stuart, Nigel Armine.

A word should be said for the direction, photography, and scenery. Each plays a considerable part, in the success of the film.

The supporting programme consists of two Pathe -News gazettes and an interesting demonstration of cameras since their invention.

MAJESTIC "THEIR BIG MOMENT" AND , «A CUP OF KINDNESS"

; Two of the greatest comedy teams have been brought together to make a gloriously funny programme at the Majestic Theatre this week. "Their Big Moment" is the latest achievement ot Slim Summerville and the pathetic Zasu Pitts, who this time scare themselves with dabbling in the psychic ether; their type of comedy affords an interesting comparison with one of the ever-popular Ben Travers farces, "A Cup of Kindness," in which the famous Aldwych Theatre cast, headed by Tom Walls, Ralph Lynn, and Robertson Hare, is as good as ever. Both films reach the heights of their particular type of Comedy, and "Their Big Moment" also has plenty of the atmosphere of a "thriller." Zasu Pitts takes a very large part of "Their Big Moment" to herself, and once more she. is so pathetic that she is exceedingly funny. The story is an unusual one, in which a rich and attractive young widow is under the influence Of a doctor who professes to be a psychic "medium" through which her dead husband may converse with her. Summerville and Zasu Pitts come to her house with a famous vaudeville magician to perform a decidedly faked "seance," and Zasu, who is to be the medium, suddenly takes a trance that is genuine, revealing some startling facts. From then on the magician and his company perform some real magic and provide a large number of thrills in detecting and solving a murder. Slim Summerville and Zasu Pitts are his assistants, who have an unfortunate capacity for doing the wrong thing at the wrong time, but nevertheless the magic is safely performed. With the two comedians are William Gaxton as. the magician, Ralph Morgan as the sinister doctor, Kay Johnston, and Bruce Cabot. The more seen of Tom Walls, Ralph Lynn, Robertson Hare, and the remainder of the delightful Aldwych Theatre cast the more they are enjoyed "A Cup of Kindness," although it may not be equal to the very best of their films, is an outstanding picture. The possibilities of glorious comedy are too many to count when Tom Walls and Robertson Hare are neighbours embroiled in a. family fued, which has existed "ever since the first Tutts wefe neighbours of the first Ramsbothams." With Ralph Lynn as the nincompoop son of Walls making things worse by falling in love with a daughter of Hare, the picture is then complete. While it is wonderful comedy it is a clever satire. The supporting programme consists of a cartoon and a Fox Australian News, in which glimpses are seen of the new aerial tower for IYA at Auckland .and. of the scouts' jamboree in Victoria. & . GRAND "HER SWEETHEART"

Marie Dressier, who was one of the most popular of screen actresses, and Lionel Barrymore, a member of a family with' outstanding gifts as actors, play the leading parts in "Her Sweetheart," a picture which began a return season at the Grand Theatre on Saturday. The plot of this, Marie Dressler's last film, is tensely dramatic, although amid its heart throbs and human touches are many delightful comedy interludes. The contrasting work of Marie Dressier and Barrymore is grippingly interesting in this tale of a country doctor who, under the lash of avarice, turns from an honest, kindly soul to a grasping sphemer, only to be guided back to his lifelong path of honour ;by the faith of an old servant. Marie Dressier, as the servant Abby,. has a role in which she rises to dramatic heights,. while never losing her intense humanness. The* Supports include chapter., 2 of the thrillingi serial, "Gordott of; Ghost City," starring Buck. JtmeA Box plans are now open at-'--;:'the 1

ST. JAMES' THEATRE "HAPPY MISS REVUE" ; The Gaieties of 1935 continue to attract large audiences to SC James' Theatre, and their new programme, "Happy Miss Kevue," which was presented for the first time on Saturday night, deserves special commendation for its variety and sustained brightness. Frank Perrin, the leading comedian has outstanding talents which must attract most theatre-goers and not one of his efforts in the new programme failed to appeal to the house. Next to Frank Perrin. the acrobats received, and deserved, generous applause. Their act is unique, and nothing like it for grace and daring has been seen in Christchurch for a considerable time. The French clowns, besides being comedians of special merit, show equal ability and lightheadedness in their well-planned exhibition. They performed with marvellous agility on Saturday night, and Ivy Ivel, in a different way, showed perfect rhythm and balance. Argyle gave a serious but none the less effec-. tive act. His impersonations of Dickens's characters appeared fascinatingly easy, and he has a real depth of unstrained acting ability. Uriah Heep was more convincing than Fagin. Victor Burke's singing of "The Rose of Tralee" was one of the features of the evening, and Rae Foster, with a lighter touch, was equally competent. Nell Fleming was at her best with Cec Perry in "Lunch in the Open," the last of a series of sketches which owed much of their attractiveness to her. The ballet, for whom many opportunities were provided, danced with their usual skill. In the two larger episodes. "The Old Spinning Wheel" and "The Little Dutch Mill," they provided a rhythmical background and in their own tap speciality later in thq programme they showed neater and faster dancing than any other performers in the company. Lee and Barrie were happiest in their adagio number on Saturday night. Their dancing has a charming and youthfull vivacity which puts it in a class, of its own, and with the ballet they contrived to be a little more than the usual revue combination. The dancing throughout was most accomplished. The production concluded as it had begun with an effective open chorus, "Happy.'* The mounting and stage-effects are admirable. Therft is plenty of colour in "Happy Miss Revue," and the production throughout, is excellent. New artists will join the company this week, making their first appearance at the matinee to be held next Wednesday. One of them is Ike'Delavale, known as the "Yiddish comedian." who was a great favourite in Australia and New Zealand during, the days of tb Fuller circuit, and who has appeared exclusively in Sydney and Melbourne for the last two years. .

REGENT "TREASURE ISLAND" It is a wonder that "Treasure Island" has not been filmed before. It makes the sort of picture everyone goes to see, and, if it is well done, everyone enjoys. American film producers have long realised the wisdom of filming. famous books. Their advertising has been done for them, and they are sure to make their films acceptable to the multitude if they adhere faithfully enough to their subject matter. The producer of' "Treasure Island, which entered its second week at the Regent Theatre on Saturday, has been careful not to improve on the story. He has used his material effectively, and he has chosen players who fall naturally into the important parts. Those who see the film will in future think of Long John Silver in terms of Wallace Beery and Jim Hawkins will be nothing more to them than young Jackie Cooper. ~■■,".,_' Beefy was the obvious choice for the part of the. cheerful old rogue, John Silver. As in his recent "Viva Villa," he can indulge his flair for looking evil and dirty and vile in every way, retaining, in spite of all, his simple charm and sly humour. There is beauty in extreme ugliness, and there is beauty in the ugliness and vileness of Long John Silver. He is really a nightmare pirate figure, exercising a powerful fascination over the boy Jim Hawkins, but Stevenson gave him a liberal share of twisted humanity and honest unscrupulousness. Beefy fills the part well, without difficulty because it suits him. He is complete in every way, even to the single leg and the parrot, and he is as agile with his murderous crutch as the bird is skilled in squawking "pieces of eight." Jackie Cooper has a difficult part to play, but he does it competently. Jim Hawkins was always a vague, impersonal figure, but Jackie Cooper has made him into a well-knit lad in knee stockings and curls. Lionel Barrymore has been used as Billy Bones, the blustering old evil-doer With the secret of the treasure in his chest, but, unhappily, he fades out of the picture early. Captain Smollett, who commands the Hispaniola on treasufe trove, is played by that competent actor, Lewis Stone, who is used for stock parts probably more than any other man in Hollywood.. Ben Gunn, the itching madman of the island, is played by Charles Sale, Squire Trelawney by Nigel Bruce, and Dr. Livesey by Otto Krugef.

TIVOLI "THIRTY-DAY PRINCESS" "Thirty-Day Princess," the Paramount picture which began a season at the Tivoli Theatre on Saturday, is an extremely fresh and original comedy, full of good Ideas and neat acting., oi its kind, in fact, it is pretty well in the same class as "It Happened On© Night" and "Tide-Out," two admirable comedies which have been screened here in recent months. The theme is the old theme of impersonation, but it is most cleverly treated and the film abounds in those little touches of humour and originality which proclaim first-class direction. Sylvia Sidney, remembered from her performances in "An American Tragedy," "Jennie GeVhardt," and "Madame Butterfly,'" acts delightfully in what is for her an entirely new type of part, and she is well supported byi Cary Grant and several of Hollywood's neatest light comedians^ In order; to float a loan for the kingdom of Caronia, it becomes necessary that the people of the United "States, who are to provide the loan, should be made Caronia-conscious. Accordingly the very charming Princess Catterina, of Caronia,. is brought to New York for a "goodwill" tour. She at once falls ill'with the mumps, and the promoter of the' loan is faced with failure. He believeeC that somewhere in New York there must be someone sufficiently like the princess to impersonate her, and he sends out an army of detectives to find the substitute. She is duly found in" the person of Nancy Lane, a penniless young actress, who accepts the engagement for a payment of 10,000 dollars, with art additional 5000 thrown in if she manages to "vamp" a young newspaper publisher who has been attacking the loan. She does her job and does it magnificently, and-when,twofnen try to expose her as a fraud she .very cleverly outwits them. There are complications, for the course of true love never did run smooth, especially for young ladies who pretend they are princesses: but in the-end everything is straightened out, and she is quite glad to find she is not a princess after all. Every moment of the film is thoroughly enjoyable, and-for light entertainment it is strongly to be commended. Apart from Sylvia Sidney, who is delightful in the

THEATRE ROYAL "THE SONG OF THE PLOUGH" "The Song of the Plough," which began a return season at the Theatre Royal on Saturday, is a singularly successful English propaganda film. Its propaganda—that of the British farmer and his difficulties—is not blatant enough to be in the least offensive, and in its quietness lies its effect. The film, produced by the "Sound City" Company, has been admirably directed and photographed; there is art in its direction and high art in its photography. Scenes of the picturesque English countryside are generally shown in moving pictures, as if they were meant for postcards. They have rarely contained life and expression. But in "The Song of the Plough" every device of the selective camera has been used, with superlative effect. The cameramen have drawn on Continental ideas, they have approached their work from new angles, they have seen the possibility of revealing the whole by showing only a part, and they have introduced pleasantly soft tones into their film. If the photography is excellent, the subject matter is even more -strikingly "different." Glimpses' of everyday life on an English farm, of the sheep on the rolling downs, of the toiling horses in the furrows, of the barnyard geese, of the busy market place, of Shepherds and milkmen at their work, of dogs and their masters, introduced unobtrusively throughout the film do more than conscious effort could do to construct the countryside. There is a slender plot, running through the film, just sufficient to add secondary interest and to deflect the mind frpm the more important objective, and this plot is in the hands of an exceedingly capable company of character actors. There is a typical small farmer, played with restraint and understanding by Stewart Rome, faced with bankruptcy and the ever-present problem of tithes. He has a daughter (Rosalind Fuller), who does his housework and shares his worries, a grandchild (Diedre Gale), and a much-beloved sheepdog. The dog is a champion of its kind, a true friend* and an intelligent header, and his success in the trials is the simple enough climax to a simple drama. Some of the most effective scenes in the film are made in a village tavern, in which is gathered the most delightful collection of bearded farmers and yokels. Their songs and games, over their pints of bitter, and their remarkably good character acting' add just the right touch of humour to an otherwise serious play. The whole film seems to have been made with the object of exciting sympathy for the English farmer during a period e-f depressed prices and growing overseas competition, and it certainly goes a long way towards achieving that object. The remainder of the programme has been well selected and arranged. There are two comedies, one English and the other American, both of which are entertaining, and there is a particularly interesting news reel.

PLAZA "THE LAST GENTLEMAN" There is a perennial charm about the acting of George Arliss which makes it natural that his latest picture, "The Last Gentleman," sandwiched between "The House of Rothschild" ana "The Iron Duke," entered its fourth week at the Plaza Theatre on Saturday and continued to attract large audiences. It is a comedy.of modern times and modern manners, and it finds both Mr Arliss and his dialogue writers in admirable spirits. There is a good ddal of novelty in the story; the acting is shrewd and refreshing. Some of:'the early scenes are uproariously funny, and the denouement is as exciting as a detective plot. "The Last Gentleman" tells no very substantial story. What it amounts to, after the fierce and ancient Cabot Barr has finished the task of making monkeys ■ out of his frightened , relatives, is that the old man wants to maintain the gallant line of Barrs after his death.: Cabot himself was a shrewd New' Englander, proud of his ancestry, edcentfic to the point of madness, cfochety, and stubborn. He believed in stuffed peacocks, old clocks, and arguments. Almost everything else he hated, including weakness of character. His only son, Judd Barr, is a scoundrel who wants the old man's money, and becomes a little impatient at his father's long living. So Cabot arranges for his young niece, whom he considers the only, authentic Barr in the family, to develop an affection for his sister's adopted son, and thereafter tries to persuaae the boy to change his name to Barr. Up to the last 10 minutes of the film you believe, against your better nature, that the ingrate and scheming son will get the fortune, but the late Cabot Barr takes care of that, and very nicely. After his epic excursions into history, Mr Arliss drops into this feathersWeight comedy with a really ingratiating gaiety. He is crochety, he is severe, he is funny, he is charmingly sentimental. His lines are good and he speaks them to perfection, giving each word and phrase its maximum meaning. In addition to the delightful humour of line and character which fills the picture, "The Last Gentleman" employs several situations of the kind which never fall. Orte of them, and a vastly entertaining one, is the scene in which a reverend clergyman officiating at a memorial service finds it necessary to blow his nose in the epic style, to keep his voice from drifting off into a ghastly whisper. The relatives of the quarrelsome old man are portrayed by some very good actors. There is a special fitness in Edna May Oliver's appearance as his sister, since she happens to, bear quite a striking resemblance to'mm. Charlotte Henry (the famous "Alice") also resembles Mr Arliss quite markedly, and Edward'Ellis is excellent as the millionaire's former convict butler. "The Last Gentleman" is a neat, pleasant and homorous photo-play.

. 'NEXT CHANGE "WALTZES FROM VIENNA" ! The enchanting melody . of "The Blue Danube" will, never be forgotten, and throughout "Waltzes from Vienna," the musical romance Which Will commence at the Regent • Theatre on Saturday next, the melodies of Strauss are predominant. The picture makes the most'of the opportunities to present the music of Johann Strauss and that of his son, who composed the ;"Etlue Danube." The playing. of this ibeautiful and never-to-be-forgotten waltz is a highlight of the introduction, and the skill and charm of its ; performance has earned much wellmerited applause. With a notable 'cast, romantic story, and delightful set- , tings, the whole production strikes a : different note in entertainment. Jessie .Matthews, who was so successful in "Evergreen," has the leading role. Edmund Gwenn depicts the elder Strauss and Fay Compton is charming as an accomplished Countess. Box plans will open at the D.I.C. on Wednesday.

includes Henry Stephenson, Lucien Littlefield and 'Vince Barnett. The supporting programme at the Tivoli is exceptionally long and interesting. It comprises a Hal Roach comedy set to music, another very pleasant musical comedy set in .the south, a Gaumont mirror, gazettes, and scenes from Archbishop Redwood's im-