CITY THEATRES

Press, Volume LXXI, Issue 21391, 6 February 1935, Page 3

CITY THEATRES

TIVOLI "LADIES SHOULD LISTEN" \ "Ladies Should Listen" —and this ' particular lady did listen. She was ' the telephone girl in a Parisian hotel, 7 and by listening diligently and at the ' right times, she was able to save a J young and handsome man from dis- { aster. The intrigues of a pair of vil- ' lains and her efforts to defeat them j make up the theme of the amusing , Paramount comedy which is now being J shown at the Tivoli Theatre. ' The . stars are Cary Grant (at the same theatre recently in "Thirty Day Prin- j cess"), Edward Everett Horton, and j Frances Drake. The film is interest- r ing also for the reappearance in a 1 small part of Charles Ray, a favourite < of 10 or more years ago. 1 The situation that arises is one that j lends itself to an infinite variety of - complications. The acting is good and ; at the right pitch of comedy. Edward ] Everett Horton creates a good deal o* ( the fun, with amusing lines and ex- : pressions, but Cary Grant is surpris- \ ingly good in a part very different ; from his usual. The supporting programme at the Tivoli is long and well varied. One i ingenious short traces the origin of the "Black Cat" superstition. A Paramount Pictorial gives some fine glimpses of a "windjammer" both in calm and in rough seas, and includes .also some pictures in colour of Californian exotic flowers. Best of all, however, is a Universal short made up of a series of vaudeville acts, most of which are amazingly good. The performance of a group of bellringers was one of the most popular parts of it, but there were three other fine acts by two "knockabout" comedians, an eccentric dancer, and a "singing cowboy." Another short showed Cab Calloway's Band in various numbers and settings, and there were the usual gazettes. Altogether, the programme is an entertaining one. "THE PURSUIT OF HAPPINESS" Like repeal, first brought "bundling" upon themselves because they tried to prohibit it! That, at least, was one reason for the rise of the practice that made it proper for young lovers to do their courting on the cold winter nights in bed, amply, protected by bags tied with drawstrings and a centreboard to keep them apart. The quaint custom of "bundling" is the subject of the famous Broadway stage success, "The Pursuit of Happiness," which will be presented at the Tivoli Theatre next Saturday. In the traditional manner the Puritan Fathers enacted* laws to curb courting. "Bundling," carefully supervised by papa and mamma, was the result of this prohibition. Rather than permit Prudence, Sarah, Faith, and Charity to meet their boy friends away from home, father and mother .remembered the "bundling-bed" of England, Scotland, and Wales. The next time Jacob came round, he and his maid were put to bed, thus saving fuel during the long hours of courtship. Joan Bennett, Charles Ruggles. and Mary Boland are the featured players in this hilarious comedy. Box plans are now open at the D.I.C. PLAZA AND THEATRE ROYAL "THE COUNT OF MONTE CRISTO" A remarkable picture with an even more remarkable cast —"The Count of Monte Cristo"—is now being shown at both the Plaza and Theatre Royal, and in it Dumas's immortal story is faithfully and convincingly brought to the talking screen. The directors have shown an almost uncanny skill in translating a novel.of such length and complexity as "The Count of Monte Cristo" to the screen, and the picture brings back vividly to the observer all the genius of the famous writer. Two of the actors are outstanding—as Edmond Dantes, Robert Donat, the London stage star, gives a perfect characterisation, while O. P. Heggie, as the Abbe Faria, is exceptionally good. Elissa Landi makes a charming heroine, and every member of the supporting cast does full justice to his part. Edmond Dantes, an unwitting victim of a plot against the King of France, is sentenced to solitary confinement in the prison at Chateau d'lf by a rival for the affection of his sweetheart, Mercedes. There are three concerned in his unfair condemnation—Mondego, De Villefort, and Danglars. Dantes endures terrible privations in the dungeon, remaining there for 20 years. The prison scenes are full of great sadness, and the meeting between Dantes and another prisoner, Abbe Faria, touches the sympathy of the audience. Together they plan to escape, and spend years laboriously chipping away stone to make a tunnel down to the sea. The Abbe dies, but leaves in Dantes's hands a plan to immense wealth on the island of Monte Cristo. Escaping by daring I methods, Dantes discovers the wealth, and sets about wrecking the lives of those who secured his banishment.

MAJESTIC

"BABY, TAKE A BOW" The current show at the Majestic Theatre this week is well above the mere "good" class. The main film, "Baby, Take a Bow," is a thoroughly sound piece of entertainment, with Shirley Temple, Jimmy Dunn, and Claire Trevor. "Baby, Take a Bow," was exceptionally well received overseas, and reviews' of its American season led one to expect something out of the ordinary. The film is one of those romances which, without careful handling, might have become sickeningly sentimental, but it has been so carefully directed and is so superlatively acted that it is convincing entirely, and very satisfying. It is a simple theme, but it has had added to it some most exciting embellishments. "Baby, Take a Bow," is primarily a romance, but at many times it assumed the character almost of a thriller Thrills there are without stint. The . child prodigy, either on the stage or in any other setting, is generally to the majority of people something rather nauseating There is as a rule a smugness about the unnaturally clever child that healthy people find obnoxious, but Shirley Temple whose successes before this have established her as a firm favourite, appears to be a new kind of prodigy. She is at- all I times utterly natural and is a finished actress. Her part in the film is played with a deftness, and an appreciation of colour that would be a credit to a performer with years ofjixperience. Jimmy Dunn and Claire Trevor have been together before as .loyers with great success, and this their latest film will do nothing to injure the reputation they have made for themselves Jimmy Dunn is particularly good, and the film allows full scope for his great gift for whimsical humour. ',. . A Bing Crosby comedy of outstanding merit, "I Surrender, Dear," a Micky Mouse cartoon, a comic, ana several most interesting news reels complete one of the best programmes ever to be shown at the Majestic.

"CRIME WITHOUT PASSION"

"Crime Without Passion," a vivid, enthralling film drama, will commence at the Majestic Theatre next Saturday. The story, by Ben Hecht and Charles Mac Arthur, tells of the perfect crime that almost succeeded, and features Claude Rains, who will be remembered for his work in "The Invisible Man," Margo, a Spanish dancer, and Whitney Bourne. The production opens with a vivid courtroom scene, and quickly establishes Rains, who plays the part of Lee Gentry, as a ruthless, unscrupulous lawyer—a man who believes that "the only crime punishable by law is stupidity " Yet for all his shrewdness he is fickle m love, and when he wishes to leave a Spanish dancer for a stately blonde, to whom he has transferred his affections, he finds she will not give him up. He feigns jealousy, pretends to discover a hidden lover, and quarrels with the dancer. During the argument a shot is fired and the girl falls to the floor. Thinking he has killed her, the lawyer is about to flee in panic, but his shrewdness asserts itself, and he prepares to create what he thinks is a fool-proof alibi. In the end, however, his own shredwness proves his undoing. ~ "Crime Without Passion" is as brilliantly conceived and executed an example of motion picture drama as one could ever hope to see. Claude Rains is outstanding, and his performance will win many new admirers. I . ■ ____ LIBERTY "SAY IT WITH FLOWERS" AND "ELMER AND ELSIE" Entertainment of a bright and varied nature is provided by the fine doublefeature programme—"Say It With Flowers" and "Elmer and Elsie"— which is now being screened at the Liberty Theatre. The theme of the first picture is an entirely novel one, and the typical Londoner, his life, his humour, his philosophy, and his kindheartedness is vividly portrayed. One of the highlights of the film is a concert, a genuine cockney music-hall concert, and one is carried away with the cockney audience in its enthusiasm. Oldtime stars, including Florrie Forde, Charlie Coborn, and Marie Kendall, volunteer their services, and recapture for the moment the past glories of the music-hall artists. Others in the cast include George Carney as Bill, Mark Daly, and Edwin Ellis. . The supporting picture, "Elmer and Elsie," is typically American, and forms an admirable contrast to "Say It With Flowers." In this clever domestic comedy, George Bancroft, as a burly "rough-neck," deserts his friend, Roscoe Karns, for matrimony, and rapidly becomes a domesticated husband, much to his friend's disgust. As his wife, Frances Fuller is delightful. George Barbier, Nella Walker, and Charles Sellon take supporting parts.

REGENT

"THERE'S ALWAYS TOMORROW" The most noteworthy feature of the film at the Regent, "There's Always To-morrow," is that this excellent drama provides the vehicle for the American film debut of Binnie Barnes. With her clipped, foreign accent, intense voice, and great powers of emotional characterisation, she has probably been told by the critics that she is another Garbo. But in two ways this young woman has a quality wlucn not even the dynamic Garbo could elaim-a bright vivacity over which there is excellent command,, and a peculiar intensity of expression wnicn can be effectively used for dramatic emphasis. This quality of expression is so unusually intense that it is omy in really fine drama that Binne Barnes could ever give it full scope. In this story she is very well cast, with tne able support of Frank Morgan. The film is a dramatic tale of incomplete home-life—of a home, model in every sense with the exception that the father and husband is given none of the love which should be his due. io describe the story in words would perhaps make it seem commonplace drama, but it is far from that, and is wholesome. It Suffices to say that there is "another woman," who aPP ea £> at an appropriate moment to offer tne downtrodden father some of the aifection he deserves. But for the sake of his large family the affection must be platonic, and for the same reason it must eventually be sacrificed. This is a tantalising conclusion, and it seems that only in the drama could there be any satisfactory solution to the problem of this typical family. The woman herself.finds an ingenious solution and an end to the story. The film is finely acted, and the story nobly told. There is. as could only be expected from Frank Morgan much good comedy and many amusing situations. The two .stars are assisted by Lois Wilson, Louise Lattimore, Elizabeth Young. Robert Taylor, and several promising lesser lights. There is an interesting selection 01 "shorts" to amuse and instruct.

"GRAND CANARY"

A story of compelling interest, excellent acting, and clever technique makes "Grand Canary," which will commence at the Regent Theatre on Saturday, a memorable film. The plight of a young but brilliant doctor, who has been accused of murdering three patients, forms an introduction which at once arouses the sympathy of the audience. He decides to seek peace in the oblivion of the Canary Islands, but has been there only a short time when there is an outbreak of yellow fever. A young woman with whom he has fallen in love on the passage out from England is stricken by the disease. He decides to put his theory into practice and inoculates the patients with his serum. The conclusion of the story is both logical and pleasing. The role of the doctor is given a brilliant interpretation by Warner Baxter. His vivid personality fits the part like a glove and in all moods, whether dejected or triumphant, he appears perfectly natural. A more dramatic characterisation has seldom been seen on the screen. Madge Evans, as Lady Mary Fielding, who ultimately proved the doctor's salvation, is also well cast, and the sincerity of her acting provides a perfect foil for Warner Baxter. Zita Johann takes a difficult role and plays it well. The supporting cast includes such well-known names as H. B. Warner, Roger Imhof, Marjorie Rambeau, and Barry Norton. Box plans are now open at the D.I.C. CIVIC "THERE GOES SUSIE" AND "THE MAN I WANT" Two full-length pictures form the programme at the Civic All-British Theatre this week, and it would be a difficult task to differentiate between them, as both are excellent films. Musical comedy at its brightest and best is provided in "There Goes Susie," which feature; the popular stars, Gene Gerrard and Wendy Barrie. The story is light, clean and entertaining and certainly a good deal more original than is usually found in this type of film. It concerns the ups and downs of a struggling artist, Andre Cochet, and Madeline Sarteaux, a wealthy manufacturer's daughter. The film shows how the wealthy manufacturer, through a series of hilarious complications, unknowingly uses his daughter's beauty to advertise his soap. Gene Gerrard as the artist is excellent, and his singing of two catchy songs, "If It's Love" and "Susan" are extremely good. Of Wendy Barrie's acting and personal charm nothing but praise can be said. The second film, "The Man I Want," is a particularly pleasing comedy drama, possessing an abundance of bright humour and clever dialogue. Henry Kendall and Wendy Barrie as the stars are a sufficient guarantee as to' the merit of the film. Box plans are now open at the theatre, where seats may be reserved at no extra cost.

"NELL GWYN" » "When "Nell Gwyn" commences at the Civic All-British Theatre on Saturday next, Christchurch theatre-goers will see not only the most ambitious picture ever produced by a British company, but, according to British and American critics, the greatest success in British talking picture history. Two celebrated stars head the cast, Sir Cedric Hardwicke, leader of the English stage, being seen as the Merry Monarch, Charles 11., and the charming Anna Neagle in the role of r~etty, witty Nell, the orange girl of Old Drury. The story, based on the pretty orange girl's historic love affair with Charles 11., keeps closely to history and brings back to vivid reality one of its most picturesque and romantic periods. Box plans are now open at the Civic Theatre, and intending patrons are advised, to make early application for seats. The members of the English women's cricket team and the Canterbury women representatives will be the guests of the management of the Civic Theatre this evening. GRAND "BRIGHT SIDE UP" A film satire on Hollywood, full of romance, music, and humour—"Bright Side Up"—is now having a return season at the Grand Theatre. Pat Patterson, the beautiful English comedienne, makes her debut in American films in this picture. Stie is ably supported by John Boles, Herbert Mundin, and Spencer Tracy. The story tells of the experiences of three adventurers with screen ambitions. They plan to carry Hollywood by surprise, sign up contracts by bluff, and are well cast in leading parts before the scheme is exposed. The supports include chapter 7 of the serial of "Gordon of Ghost City," starring the popular Buck Jones. v Box plans are now open at the J).I.C.