CITY THEATRES

Press, Volume LXXI, Issue 21384, 29 January 1935, Page 7

CITY THEATRES

REGENT WALTZES FROM VIENNA" 4. v jiJm which includes Jessie Mat- / ",'c, and Edmund Gwenn in its cast ,!^ W j a v C rs must be successful. Jessie Matthews is the personification of rf >'and feminine charm, and Edmd Gwenn is perhaps the greatest ""'"racier actor of the modern screen. i -wraltz"s from Vienna," which began sM«on at the Regent Theatre on Jinirdav thev are both given good n-io'tuiiities for displaying their pnif ' ,vith ,hc other members :a /; u'ell-seiccled cast, they have made *lm which must please anyone who * J- \VaJt;:e.- from Vienna" is one delightful musical comethat have yet appeared from Brif.Vh ctudio.-. h has the romantic background f,f nineteenth century f; cnpa the sayi-st capital of Europe, br.sis lies in the enchanting i Uic vf the Strains family, father and r ; t r There i- little to it in the way "pjot. be.-'(if- 'he inspiration and '':, n Y u !' r ,,rnp , '.-Hiun of the popular ?ni uc Danube" waltz and the jealousy „/ a conceiieci father toward an dually talented son. whose talents have not yet been recognised by the rr'S'cal world: but the romance and co-nedv are :c> light-hearted and ."iooth that <•!!«.■■ hardly feels the abie'nce of intrigue. The" musical interwgc which arc really the most imMrtant features if the film, have been we'll arranged. There is brilliant orchestral playing, pleasant singing, and clever pianoforte work. The "Blue Danube" waltz, which recurs continuously from the moment of its composer's inspiration in a bakehouse, is treated so Sent!;.- that its appeal is developed in cre-rendo until the great r-oment of it- presentation by the full rrrhestra of Johann Strauss, "Senior." tV/s majestic r.nd conceited person, pi'ayed b'v Edmund Gv.-enn. is the man r.f the dav in Vienna. His music is mng and 'whistled on the streets and «la'ved m the fashionable salons, and orchestra composed of the fincollection ' f instrumentalists ever fcriught toccthfr in the capital. His *oa Johnnn Strauss "Junior." played fcv Esmond Knight, occupies the humble position of a second fiddle in ji-VVather's orchestra. He has ideas of'his own of composing music greater >han his father, but he receives scant 'encouragement from that quarter. He fk fortunate enough, however, to be iaken up by a wealthy patroness (Fay ComptonK who sees entertainment in tin as weii as good music. She writes aome verses for him and he sets them 1o the music of the "Blue Danube" ■y.aliz. His father refuses to recognise 'Ts worth, and .Tohann Strauss "Junior" returns to pastry-cooking and his .vveetheart. the pastrycook's daughter, pjaved bv Jessie Matthews. Subserjuentiv. however, the Strauss waltz is orchestrated and played by the full Straps orchestra in the absence of the domineering conductor. There are painful scenes between father and ic.n, but these are compensated for by fii» reconciliation of Johann Strauss sad his sv.-eetheart, and by the convincing enthusiasm of the Viennese for their Danube waltz. Previously they had called for Strauss, meaning S'.rauss "Senicr." now they were calling for Strauss, but demanding the younger man.

"THERE'S ALWAYS TO-MORROW" ",V.!h two of the outstanding players r,f to-day together in what Hollywood has termed "the feasor's perfect cast," the mos*. distinguished drama of faulty life of the year, "There's Always To-morrow," will open at the Regent Theatre on Saturday. The picture features Frank Morgan and Binnie Barrel, and marks the American film ttbut of the fascinating second wife < f 'The Private Life of Henry VIII." The story. by Ursula Parrott, pic•jres two years in the life of a typical father of live children whose sole function seems to be that of a "meal t:ckct." The existence of the family :< tranquil until a girl who understands the husband-father re-enters his l:fe. Gay and hilarious in its earlier reels the picture builds to one of the most tense situations created on the screen for some time. In addition, to Morgan and Binnie Barnes, the cast includes Lois Wilson, as the wife, Louise Latimer. Universal's latest importation from Broadway, Elizabeth Young, who won distinction with Greta Carbo in "Queen Christina," Robert Taylor. Alan Hale, Maurice Murphy, Dick Winslow. Helen Parrish, and the rated New York comedienne, Margaret Hamilton. The film, which is one "f the most wholesome of the year, •ierives its sparkling, buoyant humour from the counterplay in a typical home. Box plans will open on Thursday at fee D.I C

TIVOLI "SHE LOVES ME NOT"' Balance is perhaps the chief merit tt "She Loves Me Not," a very satisfying screen comedy which began a Mason at the TivoJi on Saturday. That 5* to fay, jt has neither too many vaudeville interludes, nor too many improbable situations, nor too many complications of plot; but there is a reasonable proportion of each of these elements of cornedv. There is a type American comedy production which attempts a futile division of the audiattention between spectacular Vaudeville and a rather sketchy and indifferent plot. Such films rarely succeed in either aspect. So it is all the more plc-asing to find that the takers of "She Loves Me Not" have fallen back on the old straightforward comedy of errors and have used just much song and dance as will add tolour to the story, and no more. Principally, the scene is laid in the wildings and grounds of Princeton J-'niversity. American student life has ttftcn displayed on the films as a Mccession of dances and football '•'.stches. usually at co-educational col»ges:_ but in the early scenes of this Play it is made clear that Princeton is t'jbc presented as a college where serious work .k the main consideration. J'Vn j'iml Law ton, played by Crosby a student in his year, receives into his room out "f the- kindlier of his heart a runaway *:?bt-club dancer. The stage is K *'- for reallv entertaining of events. at the end of which manv strange and unauthorised persons descend upon l J niicetoi,. Awkward situations seem ''<■ fail to the lot of Lawton. Crosby is not the type of cornelian who involves himself in compilations by a series of impossibly foolacts Instead, he moves amiably «rd rather c.iffldently through life, • :ii;; dfierent aspects of a most ' 'rac'ivi (k rsonalitv in a variety of '-uatioi,. \ot that he is the only ij. tiif Jilm; to say that would h '- do ;nu;mjre to the genuine skill 'i,' Miriam Hopkins. Kittv Carlisle, and •toward Nugent, all of whom give excellent account of themselves. An aspect of the film worth xnen"tm js, the rare which has been taken w the preparation of the incidental «enes m and about the university, photography of the outdoor Kenc-s shows that attention has been Paiti to the finer details of production. There are a few pleasant songs, the oeit of which is "Love in Bloom," sung S Crosby without affectation yet •Jul sufficient feeling.

MAJESTIC "WAGGON WHEELS" AND "HERE COMES THE GROOM" With a typically good Zane Grey story as a background, and some excellent acting and singing, "Waggon Wheels," which heads the programme at the Majestic Theatre this week is good entertainment. The theme of the plot—the long procession of caravans going across the American colonies to begin the settlement of Oregon —gives admirable opportunity for dramatic and exciting scenes, and yet, although "Waggon Wheels" has equally as much excitement as the most bloodthirsty of the old "western" type of picture, it still remains realistic and enthralling. The theme song which gives "Waggon Wheels" its name is heard several times, and the choruses in which it features are a great part of the film's attraction. The tense excitement that permeates much of the picture is brightly relieved by some good comedy touches, of which the lion's share is taken, and well taken, by a child actor, Billy Lee. Raymond Hatton and Jan Duggan provide the rest of the humour, and the hero and heroine, Randolph Scott and Gail Patrick, are each outstanding in a well-acted picture. "Waggon Wheels" in its clever delineation of the old type of American colonist is extraordinarily interesting, and the story of the long caravan journey from Missouri to Oregon is without a dull moment. The attacks by marauding bands of Indians on the trespassers on their strange territory are very well done, and if "Waggon Wheels" is a foretaste, "western" pictures may again came back to take a firm hold in the tastes of picturegoers. The second attraction on the Majestic programme this week is an hilariouslv funny comedy-romance, "Here Comes the Groom." The story on which the plot depends makes the picture one of ultra-sophistication, but it is remarkably clever and filled with amusing situations. The complications and twists of the plot, are endless, and each is funnier than the last. The climax is a masterpiece of humour. Jack Haley and Mary Boland take the leading voles, and provide excellent entertainment. The programme is completed by an interesting Australian newsreel.

ST. JAMES' "RAYS OF SUNSHINE" "Rays of Sunshine," the third weekly programme of Stanley McKay's revue company, which is appearing at St. James' Theatre, is so varied that it should satisfy most tastes. It gives, as one may expect, plenty of the comedy, sketches, dancing, singing, and music such as are usual in revues, but it includes several items which are not often seen, and because of that, as well as for their qualities, are the more appreciated. The company is very well balanced, and it is doubtful if one person stands out more prominently than another. A great deal of work is done by the two leading comedians, Frank Perrin and Ike Delavale, and they are well supported by Ted Stanley. The company is fortunate in its ballet, which compares favourably with any that has been in Christchurch in similar shows in recent years, and excellent work is done by Phyl and Verna and Lee and Barrie. The singers of the company are Victor Burke. Cecil Perry, a bassbaritone who sings "OF Man River," from "Show Boat," and Rae Foster, a soprano. All have voices above the average of most revue companies, and their songs offer a welcome break in an evening of comedy. An artistic act is that of the Grecians, three accomplished athletes who pose in a series of statuary groups, while another interesting act is that of Fred. Argyle, who presents character studies from the Avorks of Charles Dickens. He has chosen the grandfather of Nell in "The Old Curiosity Shop," and Bill Sikes in "Oliver Twist." The music of the revue is played by an orchestra under Miss Doreen Daly, while Mr Argyle is the producer. Seats may be reserved at the D.I.C. till 5.30, and then at the theatre sweet shop. Day sales are at Knight's Milk Bar and the theatre sweet shop. The company will present a matinee to-morrow.

CIVIC "BELLA DONNA" Now in its second week at the Civic All-British Theatre, "Bella Donna." the Twickenham Studios' production of Robert Hichen's famous storv continues to delight Chiistchurch theatre-goers. An indication of the tremendous interest this film possesses may be gauged by the rapt attention paid to it by audiences at every session—a tribute not only to the story but to the fine performances of a sterling cast. Conrad Veidt as Baroudi, the Egyptian lover, maintains his usual high standard of acting. Mary Ellis makes an auspicious screen debut in the title role, and her performance makes one look forward to her next appearance. Sir Cedric Hardwicke as Dr. Isaacson, is outstanding, his perfect English speech and. dynamic portrayal of the role being a special feature of the production. Already a favourite, John Stuart increases his reputation in a splendid performance as Nigel Armine, Bella Donna's husband. Acted with artistry by so competent a cost, this popular story of a white woman's infatuation for a fascinating Egyptian offers entertainment that appeals to men and women alike. Box plans are now open at the theatre, where seats may be reserved at no extra cost. CRYSTAL PALACE "THE CIRCUS CLOWN" "The Circus Clown," which is having an extended season at the reconditioned Crystal Palace Theatre, contains 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 pai'ts, himself no mean trapeze artist and clown. 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 ot' 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.

LIBERTY "DEATH ON THE DIAMOND" AND "WILD BOY" The two pictures on the programme at the Liberty Theatre this week are "Death on the Diamond" and "Wild Boy." In "Death on the Diamond" a baseball player is killed on the diamond before an attendance of 80,000 people, and more than 30 persons are suspected in turn of murder. Not until the last few feet of the film is the mystery explained. Robert Young and Madge Evans have the romantic leads and act well. C. Henry Gordon plays the part of Karns, one of the suspects, and Davis Landau the part of Pop Clark, manager of the baseball team. Twenty-five famous baseball players and the St. Louis Cardinal team appear in the picture, and also in the cast are Nat Pendleton, Ted Healy, Edward Brophy, and Paul Kelly. In "Wild Boy" nearly 700 dogs, representing a capital of £40,000, appear, with Mick the Miller in the canine lead. The famous dog races in the film, and still shows his uncanny knowledge of the track. With his amazing capacity for making the rails and keeping to the inside of the course, he might reasonably be called the "Gordon Richards of the greyhound track." The leading players in the film with Mick the Miller are Sonnie Hale, Gwyneth Lloyd, Leonora Corbett, and Lyn Harding.

PLAZA AND THEATRE ROYAL "SPLENDID FELLOWS" The Australian studios, in. their youth, have tackled something comparatively new and done it with surprising success. They have produced in "Splendid Fellows" (which is at both the Plaza and Theatre Royal this week) a picture which draws upon history only three months old and still hot from the mould. The venture has been rather a daring one, but the Australian producer, in emphasmg attractions of a story written about events which are still fresh in everyone's memory, has in some measuie hidden its disadvantages, and the picture is pleasantly topical as well as an interesting and thrilling piece of fiction. It is really good entertainment and well in keeping with the standaid earlier films from Australia have established. It is easy to appreciate the attraction for the photographers in this novel idea of filming a story sbout events only three months old. They have simply taken "shots" of the events happening and these have been included in the film, blending closely with fiction. These "shots include the visit of the Duke of Gloucester to the Centenary celebrations, scenes in the Centenary air race, and a flight with Sir Charles KingsfordSmith over Melbourne. Australian producers have also an ever-ready assistant in nature itself; the beautiful natural settings are there aplenty in the backblocks of Australia, where a considerable part of the story is filmed —the kookaburras, koala bears, and the famous Australian bush —all add a great deal to the attraction of the film. The story is about the adventures of the Hayseeds at the time of the Centenary air race, and into it is brought a fair smattering of comedy, drama, and romance, all of them in very good proportion. It is a story about a "flying parson,'" the Rev. Arthur Stanhope, whose parish in the backblocks of Australia stretches across practically the whole width of the continent. He lives with the Hayseeds, Dad, Mum, and Eileen Mcßridc, m. the middle of the Australian bush, and ilies from home to home in the vast expanse of bush and desert country. There arrive at the homestead a young Englishman, the Hon. Hubert Montmorency Ralston and his valet, sent out by a disgusted father, and it is not long before they set off for London in an aeroplane of the parson's design to compete in the air race. The Hayseeds go down to Melbourne for the finish, the parson arranges to fly down alter them, and the stage is set for a triumph. Needless to say, the Australian machine leads the way, with Scott and Campbell Black flying second, but then comes a fine piece of heroism in which the Australian machine throws away its chances in the race to search for the parson, who with a blind companion, has crashed in the desert country. Meanwhile the Hayseeds are anxiously waiting in Melbourne; but everything turns out successfully, although the winning of the race is left to Scott and Campbell Black.

The acting of the all-Australian cast is good. Eric Coleman has the leading part, as the "flying parson," and with Frank Bradley, who is "Dad"' Mcßride, he is one of the two most impressive players. Frank Leighton is the Hon. Montmorency Ralston, and others in the cast include Leo Franklyn, Isabelle Mahon. and Andrew Higginson. There is an excellent supporting programme. "THE COUNT OF MONTE CRISTO" Another very fine film will be simultaneously released at the Plaza Theatre and Theatre Royal on Saturday, a production which will not. only maintain but enhance the reputation of the J. C. Williamson Picture Corporation as purveyors of all that is finest in screen entertainment. This film is "The Count of Monte Cristo," which has already achieved overwhelming success everywhere. Here is a production that answers the cry of critics and public for a really great film that will please all tastes. Already the leading critics in England and America have declared tnat "The Count of Monte Cristo" will undoubtedly be well in the running when the awards for the best picture

of 1935 are made. It has been produced with remarkable fidelity to the original story by Alexandre Dumas, on a scale of magnificence not seen since some of the great productions of the silent era. Robert Donat takes the starring role of Edmond Dantes, and Elissa Landi is ideally cast as Mercedes. Box plans for the double screening will be opened to-day at the D.1.C., to enable intending patrons to reserve in good time. GRAND "QUEEN CHRISTINA" "Queen Christina," which has been acclaimed by critics as Greta Garbo's greatest film, is in a return season at the Grand Theatre. It tells of Sweden's glamorous regent of the seventeenth century who sacrificed her country and her throne for love and religious motives.. The role is Garbo's greatest triumph. She is not only every inch a queen, but she has never previously shown greater diversity in moods. She is supported by John Gilbert, Lewis Stone, and lan Keith. The supports include chapter 6 or the exciting serial, "Gordon of Ghost City." _________