CITY THEATRES

Press, Volume LXXI, Issue 21445, 10 April 1935, Page 8

CITY THEATRES

TIVOLI

"A WICKED WOMAN"

A new and very bright star is seen | in "A Wicked Woman," which is now being shown at the Tivoli. This is the first picture Mady Christians made in America, and in it she was an immediate success. She comes from Vienna; she is beautiful, graceful, tender, brave.. When she played on the stage in Europe and in America she took the hearts of her audiences. Now she will continue to take them. It is easy to say she is a star, easy to say she is clever and beautiful, but not easy to find words to describe her truly. She is as unusual and as interesting as her name. "A Wicked Woman," from the novel of Anne Austin, is directed by Charles Brabin carefully and with well-chosen dramatic effects. The screen play tells the story of Naomi Trice wife of a rum-runner. Trice's brutality drives Naomi to murder him, not in com blood, but in an agony of mental sutfering for her children. Mady Christians' acting of this part of the story is notable—the struggle, the desperate work of disposing of the body the birth of her child, her pact with netGod to work for her children until thev are grown up, and then to give herself up to the law—these things are shown by a Mady Christians who is agonised, but not hysterical. She is Naomi Trice, (he woman who is intent upon her purpose of saving her children. The test of good acting is passed; the actress is forgotten, and the heroine alone is seen.

"THE MERRY AVIDOW"

Resplendent in its strikingly beautiful settings and costumes, filled to the brim with sly ingratiating humour, telling a romantic tale that cannot fail to delight everyone and echoing the memorable melodies of Franz Lcliar, "The Merry Widow," which is coming to the Tivoli Theatre shortly, is one of the finest film treats ever offered by the Metro-Goldwyn-Maycr studios. With a cast that could not be improved upon, and the superb direction of Ernst Lubitsch, this picture floats along like a bubble of merriment to tell its story of the debonair prince and the bewitching widow whom he waltzes away to romance amid the nocturnal delights of Vienna and Paris. Maurice Chevalier and Jeannctte McDonald have never enjoyed a greater triumph. They sing the Lehar songs as they have never been sung before, with the background of a magnificent symphony orchestra. Una Merkcl and George Barbicr help in the humorous scenes, and the beautiful dances by the Albertina Rasch ballets are a joy to behold. MAJESTIC "LIMEHOUSE BLUES" "Limehouse Blues," the Paramount drama of gang warfare and romance in London's Chinatown, now showing at the . Majestic Theatre, is first and foremost a triumph for George Raft. His is a superb characterisation of the young AmericanChinese silk smuggler, who, at the height of his domination of the underworld, falls in love with a white woman, only to realise before giving his life for her happiness that Last and West may never meet, lne story is told with a commendable absence of elaboration, but it grips the imagination by its simplicity and its atmosphere. It is at all times credible, and it is told by a talented cast, that includes Jean Parker, Anna May Wong, Kent Taylor, and Robert Jean Parker takes the role of Toni, the daughter of a "small boss" of the Limehouse district, who comes into conflict with Harry Young (George Raft), the Chinese half-caste who uses American gangster methods to dominate the silk smuggling trade of the Thames. Young saves Tom from the police when she is caught at her "trade" of pocket-picking, and he gives her a position in his cafe, the Lily Gardens, when Pug Talbot, her father, is "eliminated" from the competition among the silk smugglers. Tom however meets Eric Benton (Kent laylor),' and regrets her position as a member of a gang of crooks In spite of the jealousy of Tu Tuan (Anna May Wong) Harry Young to win Toni's love. Benton is to be eliminated" in the same way as Pug Talbot, but while Young and Toni are aboard a Chinese smuggling vessel on the river the latter learns of Youngs intentions. She pleads with him, and realising that she could never learn to love him, he determines to dash back to his cafe before his henchmen carry out his instructions. This involves running the gauntlet of the Thames river police, but though Young is fatally wounded, he reaches the cafe in time to save Benton and ensure Toni's happiness. There is a varied programme or short features, and during the interval Fred Argyle presents "Foothght Frolics," featuring Douglas and June, novelty dancers, Bob Tonge. Billie Williams's girls, Bob Bradford s band, and Rae Foster.

LIBERTY

"WE'RE NOT DRESSING" AND "THE HUMAN SIDE"

The bright musical romance, "We're Not Dressing," which, with "The Human Side," is now being shown at the Liberty Theatre, abounds with music, romance, and catchy songs. The inimitable Bing Crosby's role is that of a sailor on a palatial yacht, and his time as the sailor seems chiefly occupied in singing popular song "hits," and making love to a pretty heiress. Crosby is supported by Carole Lombard as the heiress and George Burns, as a perpetual drunkard, who shares a hilarious romance with Gracie Allen. , . , "The Human Side," which is shown in support, is a comedy-drama, and it contains some very fine acting on the part of all the principals, including Adolphe Menjou and Doris Kcnyon. Mention must also be made of the four children, headed by Dicky Moore and Charlotte Henry, whose skilful handling of difficult parts goes a long way to the film's success.