Cinema Reviews

Press, Volume LXXI, Issue 21449, 15 April 1935, Page 8

Cinema Reviews

CRYSTAL PALACE

"DESIRABLE"

U is usual to believe and say that American actors and American film producers cannot carry through sophisticated comedy without being cither too dull or too bright. There have been so many examples of this on the screen in the last lew years that it is refreshing to see a comedy well played by Americans, without the aid of spectacular photography and spectacular scene building. "Desirable," which began a season at the Crystal Palace on Saturday, contains more real cleverness than hair a dozen films of similar type. It is not an ambitious film, but it is entirely successful, in design and production, within the limits of its conception. The acting of the three principal characters, three persons who are not often seen on the films, is consistently bright and convincing, and their appearance together in such an entertaining comedy makes one hope that they will be brought together again, Greatest interest, of course, must centre on the future of the talented young actress, Jean Muir, who plays the part of a grown-up schoolgirl with such naturalness that one cannot imagine her age being more than 18 or 19. Jean Muir has been described as another "film discovery"—that is not an exaggeration. A great deal of the success of this film, however, must be attributed to the quiet and .confident acting of the veteran George Brent, and to the polished performance of Veree Teasdale, another stranger, as the necessary fly in the ointment. "Desirable" is the story of a famous actress and her daughter, a daughter who has been cooped up in boarding' school until she is well over age because her mother fears the embarrassment of her presence at home. Eventually, however, acting on the advice of a friend of her mother's, the inscrutable Stuart Macallister, Lois refuses to return to school. Helen, the mother, is forced to reveal her daughter, and, incidentally, her age, to the Broadway world. The girl is thrust into Helens gay life, with its unending parties and entertainment, and although she enJoys it to the full she rather shocks her mother's friends with her unprecedented innocence and her spontaneous gaiety. Her friend, guide, and philosopher is still Macallister, but Lois is led into the belief that she is in love with someone else, the wealthy son of a snobbish Long Tsland family. Tbrre is an engagement and a disillusionment, followed bv a "showdown" between mother and daughter and a revelation of Macallister'n love for the girl. The plot i.j conventional and simple enough, but the appeal of the film does not rest on plot or ingenuity. Its simplicity is its strength and its good acting its only adornment. The audience at the Crystal I'alace on Saturday night was surprised and delighted to see and hear the new Governor-General (Lord Gahvay) speaking at the swearing-in ceremony nt Wellington on Friday. The greater part of the film had evidently been prepared beforehand —its scenes of Maori life and island life, with the reception of Lord Galway's messages—but great enterprise was _ surely necessary to have this most important and interesting newsreel before the Christchurch public only a day lifter the event !!i the North Island. CIVIC «»HOME SWRKT IIOMK" AND "DANNY HOY" "Home, Sweet Home" and "Danny Boy" are both such outstanding pictures that their inclusion in one programme at the Civic Theatre provides a most generous measure of entertainment. Either alone would be enough to delight any audience, as the applause which was called forth on several occasions on Saturday night clearly showed. "Home, Sweet Home" is a picture is to be commended not only for its quiet but very natural and telling acting, but also for its striking and intelligent presentation of a theme which interests everybody. When Dicky Pelham returns to England after an absence of three years as a mining engineer in South America he learns that his wife is leaving him for another man. Before he discovers that she has changed her mind, events have taken a grim and dramatic turn; the man with whom Mrs Pelham was to elope is killed, and a manslaughter charge follows. The treatment of this story, though it holds the interest all the time, is never cheaply sensational. The conclusion is thoughtfully worked out without any straining of dramatic probability. John Stuart, an able English actor whose popularity is continually increasing, takes the leading role and, there is need to add, makes an excellenet job of it. Marie Ney, a New Zealand girl, plays his wife; she is a very good actress and at times shows admirably restrained dramatic power. The picture 1s not serious all the time by any means, and some of the minor characters provide some very piquant liumour. And finally a word of praise must be spared for the excellent photography. One need not look far to discover reasons for the great popularity of "Danny Bov." In the first place there is the excellent singing of well-known old songs that peoole are always glad to hear again. Second, the genera! production and setting of the picture is an artistic triumph. Again, there is the acting of Frank Forbes-Robert-son. who carries through with sure and unfaltering skill a role which it would be extremely easy to spoil by over-acting or false emotion. Actually the whole picture is a masterniece in careful and confident handling of emotional situations. To this there is added a group of skilful characterisations by the featured players and a considerable amount of humour. The personal anneal, too, of Ronnie Hepworth. <vn excellent rhild actor, and the charm of the leading lady, Dorothy Dickson, must not be forgotten. These two pictures go well together in one nrogramme. They are both thoughtful pictures and at the same time bright and well-sustained entertainment-

OTHER THEATRES TIVOLI "THE BARRETTS OF WIMI'OLE STREET" It is difficult to know what to admire most in "The Barretts of Wimpole Street," which on Saturday began a season at the Tivoli Theatre after showing for two weeks at the Regent Theatre. One has to admire the acting of Charles . Laugton, Norma Shearer, and Fredric March, both in their individual performances and as a combination of artists which the screen does not often present; one has to admire the insight and the keen analysis of the playwright in his shrewd delineation of the characters; and one has to admire the skill of the producer in making the screen version so gripping and affecting. Superlatives are not, out of place in describing the performances of the three principal characters. Most of the time Laughton plays the dominating part in the story; he rules his Mid-Vic-torian family with an unquestioned authority which seems incredible in comparison with present-day standards. A petty tyrant, a brute, dignified even though he is almost loathsome, pitiless and self-centred, and yet a pitiful figure in the end—he has a most difficult role to fill, but he does it to one's thorough satisfaction. As Edward Moulton-Barrett he is a man of strange character, strong and unyielding, but perverted. He might be a hypocrite, but one hesitates to judge him as that. As the daughter who defies her father. Norma Shearer is seen in an entirely different role. In all previous parts she has been the polished, assured woman of the world, and it is a tribute to her artistry that she loses her own self in the character of Elizabeth Barrett, unaffected, honest, and sympathetic. She acts as superbly in the scenes with Laughton as she does in those with March, as the poet, Robert Browning. March makes a handsome, vital character, both dominant and persuasive. He sweeps into the picture, but with a nice discrimination avoids any suggestion of swagger. He gives courage and life to Elizabeth Barrett, fostering and bringing out strength of charj aeter in her which breaks the despotism of her father. MAYFAIR "HELL IN THE HEAVENS" This week's lilm at the Mayiair Theatre is "Ilell in the Heavens," with Warner Baxter in the leading part. The story centres in the aerial lighting v/liich became so prominent, in the latter part of the Great War, with a feud that grew up between an American aviator and the leader of a German squadron, "the Baron," as the main theme. Warner Baxter, as the American, inherits the feud, with the command of the squadron, from his friend de I.aage, who has been brought down in flames by the Baron.

He and his companions are represented in several patrols and combats with German opponents, and not. the least interesting feature of the film is the way in which individual combats are presented. There is a fascination in watching the way in which one aeroplane turns and twists in pursuit of another, and the relentless spurts of flamo from machine suns—even in observing the ultimate destruction of man and machine when a "dog-fight." ends in the mad career to earth of one of the machines. Warner Baxter is shown at first confident, and eager to meet the dreaded Baron in single combat. He is perhaps a little boastful of his successes, and at any rate he is feted by his companions after each success. As an incidental the film reveals the fears of the youngest and most recently joined pilot, who ultimately conquers them only to be shot down while on patrol. Then gradually it is revealed that the commander, with 16 German machines to his credit, also has to conquer fear each time he goes up, although his condition is caused by continued strain.

The tension is relieved when finally, just when he is going away on leave, he replies to a challenge from the Baron, and engages him in conflict until ultimately" both machines fall to the ground. In this final fight the American is spared the sorrow of killing a man whom he knows to be a courageous enemy, for the German is only wounded, whjle he himself has only a few scratches. Interwoven with the aerial part of the story is the love of the American for a little French girl, whose part is played by Conchita Montenegro, a young Spanish actress. PLAZA "BRITISH AGENT" A particularly dramatic portion of recent history, the results of which have reached far, has been drawn on for the story of "British Agent," which on Saturday, began its second wf»jk at the Plaza Theatre. It is fair to say of this picture that it has three great virtues. The first has been mentioned; the second is the fine acting and the very pleasant speaking voice of Leslie Howard in the main part, and the third is the very competent work pf the subsidiary characters and of the producer. The Russian revolution has caused the removal of the British embassy from Petrograd, Stephen Locke (Leslie Howard) being left there alone, without power and without assistance. The necessity of some action, when Russia was threatening to sign a separate peace with Germany and release the latter's troops for action on the Western front at a crucial stage, leads the British Government to accord Locke power to act, but unofficially. He meets and falls in love with Elena (Kay Francis), a young aristocrat converted to Bolshevism, and almost fanatic in her devotion to the cause and to Lenin. There is then a perpetual bitter conflict, between her love for Locke and the necessity of betraying him, in his work to overthrow the provisional Government and persuade Russia to re-enter the war, a conflict in which her patriotism holds the upper hand. Seldom have Russian scenes been better done than in "British Agent," where careful attention has been paid to all details. The scene in the British Consulate, when bullets shatter the windows of the crowded ballroom; Locke's attempt to persuade the Russians to refrain from signing the treaty; the first movements of the revolution; the shooting of Lenin; the hiding place in a garret of the foreign consular agents—all these and many others remain vivid in the memory. To Leslie Howard's acting tribute has already been paid. Kay Francis, too in a part demanding continual tense emotion, is very fine, and to those actors who play the consular agents and the leaders of the revolution praise must be given. "British Agent" is a film of great power, conceived and carried out on a high level. Among the supports is a special newsreel showing full details of the landing, official welcome, and swear-ing-in ceremony at the arrival of the new Governor-General, Lord Galway, together with Lady Galway and their family.

THEATRE ROYAL "A LOST LADY" AND "THE T 111 RT !•: E X Tir (: AND LE" Barbara Stanwyck's beauty and her fine and .sympathetic acting make "A Lost. Lady," now showing at th.e Theatre Royal, a particularly pleasing entertainment. In her role

as the beautiful wife oif the wealthy but elderly lawyer, she has a greater opportunity to prove her splendid talents than she has had in many of her other pictures. In "A Lost Lady" she is permitted to be gay, tragic, tender, and generous by turn. She is all these things, and few stars will shine as she does in them; for she is not brilliant biit human and gracious. And her acting is very suitably matched by that of the solemn, staid, very staunch Frank Morgan as Daniel Forrester, the lost lady's husband. The story of the film is taken from V/ilJa Gather's "A Lost Lady." Marian Ormsby is first seen two days before her wedding; tragedy comes suddenly and takes her lover from her, leaving her with her faith shattered. She is taken to the mountains and there for many long days she refuses to take any interest in books, music, hills, or trees. She goes walking one day and falls over a steep bank, to be rescued by Daniel Forrester. He falls in Jove with her, and she agrees to enter a marriage based on honesty, not love, with him. She believes that she will never fall in love again. But day at her beautiful home a young aviator, Ellinger (Ricardo Cortez), makes a forced landing on the lrwn. the rest of th'j picture dealing with the relationships of the three persons. There is a satisfying, puzzling, fulllength mystery in the supporting programme. "The Thirteenth Candle" shows Gibb McLaughlin working out the mystery with delightful sang l'roid and flippancy. Isobel Elsom plays the leading lady, with Joyce Kirby and Louis Goodrich supporting her. Important. male characters arc played by Claude Flemmin.g and Arthur Maude. MAJESTIC "FATHER UIiOWX, DETECTIVE" "father Brown, Detective," which is now showing at the Majestic, has iii it af> criminal, the theft of hall a dozen priceless diamonds, squads of police, and the chasing incidental lo the pursuit of the police after criminals, but it is not a thriller. It is the story written years ago by G. K. Chesterton brought to the screen with the greatest success, it lias made a picture well out of the run of ordinary talkies, and for that reason alone it would be a splendid piece of entertainment. However, "father Brown, Detective" has very much more to it than mere novelty. It has for one thing great acting from a team of performers whose work is .always unimpeachable, and, above all, it has running through it the priceless humour of Chesterton. The story is based on a crime, but it is the philosophy (hat the story contains that makes "Father Brown" so attractive. The dialogue has preserved exactly the whimsicality of the original, and iji this there is a strong appeal. Paul Lukas. as might be expected, is the super criminal. His work throughout is faultless, both as the suave villain, tin; accomplished lover, and as the rather boyish character that Chesterton made Flambeau. 1! is a part, that made .great demands on the actor, but. it is a part in which he does not for an instant falter. Lukas is good, but the lilm is made by the superb acting of Waller Connolly as Father Brown, ft is very dillicult to imagine any other actor so successful in the part, mainly because no other actor would have seen Father I'rovn in the li.ght. that, Walter Connolly ihd. One may be permitted lo ;;ue;s ihaf had Chesterton seen what was being done, he would Jiave made no other choice for father Brown. Waller Connolly's presentation is one tfit will live among tire few outstanding characterisation:; .thai the lilnigoer remembers for long. Gertrude Michael is a completely satisfying heroine both in her looks and in the work she does. "Father Brown, Detective," is a film that nobody claiming any discrimination should miss.

The earlier part of the programme contains a well-varied selection of short features, and also an entertaining turn on the stage by l«'rcd Argyle and hi:; Farmyard Follies.

REGENT "KVKI/VN PKKNTICK" fn "Evel.yn Prentice," now showing at the Regent Theatre, William Powell, undoubtedly an actor of many attractions, assumes once more his favourite role, that of defending counsel. Those who were fortunate enough to see "The Thin Man" wilt recall his line acting and the fine acting of Myrna Loy. These tvvo now appear together again, in a picture of somewhat more serious character than their last great success. There is a perennial thrill about a court room scene, when there is a battle of wits between two men, with one person's life or liberty at stake; and it is such a scene that fittingly forms the climax of "Evelyn Prentice." Myrna Loy is seen in a difficult role, one that might have been thought foreign to her powers, but she has in this film shown herself capable of handling effectively difficult emotional parts. Of humour there is a considable amount, for which credit is due to Una Merkei, one of the most popular of the younger comediennes, who appears as Amy Drexel, Evelyn Prentice's friend. Contributions are also made by Henry Wadsworth as Chester Wylie, and Jessie Ralph as Mrs Blake. The film is a fine example of a realistic blending of drama, emotion, and humour, well acted and well presented. As the wife of a very famous lawyer, Evelyn Prentice is much in love, but sad that her husband's work makes great demands on his time. He successfully defends Nancy Harrison on a manslaughter charge, and leaves shortly afterwards for a business trip to Boston. He finds that Nancy has booked a berth on the same train. Meanwhile Lawrence Kennard has managed to form an acquaintance with Evelyn and pretends for her a passion he does not really feel. She refuses his advances, but is indiscreet enough, while so doing, to write to him letters which might be susceptible of a dangerous interpretation. When about to leave on a holiday trip to Europe Evelyn receives a telephone call, in answer to which she goes to Larry's apartment, to find that his business is a demand for 15,000 dollars in return for the letters she has written him. She seizes a pisfol, there is a struggle, it goes off, and she sees Larry fall to the floor. Another person is accused of the murder, and Evelyn awaits day by day, hoping that she will not be forced to give herself away to save the girl whom she believes is unjustly accused. She persuades her husband to undertake the case, and the story works up to a splendid climax, when in court she is compelled to confess, is saved by ; her husband, and the real murderer is | disclosed.

LIBERTY

DOLBLK ri ATI'KE PROCRAMMK "Hawaiian Nights." a musical extravaganza of the South Sea islands, and "Paddy, the Next Best Thing," comprise the new double feature programme now showing at the Liberty Theatre. Janet Gaynor, as Paddy, gives a delightful performance in the role of the girlish heroine of the main attraction, and she is supported by a very strong cast. Miss Gaynor takes the part of an Irish maid who tries to improve the circumstances of her once influential family. Warner Baxter gives another polished performance as Lawrence Blake, the rich man who alternates between the charms of one sister and the other, and his stalwart romantic qualities stand out sharply against Janet Gaynor's whimsical humour. "Hawaiian Nights," which is shown in support, is a hilarious farce, combining humour and romance with tropical songs and dances. Some good comedy is provided by a fine cast of comedians, headed by the inimitable Mary Boland, who plays the tyrannical island queen with delightful vigour and whole-heartedness. The action takes place aboard a yacht filled with newly rich, and manned by the aristocrats of the American social register of 1929, and the story concerns the adventures of the party when they are marooned on a Hawaiian island. Polly Moran gives a forceful interpretation of the vessel's social adviser, and plays to perfection the hard-boiled American business woman. GRAND "MEN IN WHITE' 1 "Men in White," (he drama which began a return season at the Grand Theatre on Saturday, is excellent entertainment and gives a unique insight into the organisation of a modern hospital, and the lives of its doctors and nurses. Faultless acting, magnificent photography, and smooth direction make "Men in White" a distinguished production. Clark Gable has one of his best roles as young Dr. Ferguson, who is torn between his love for his profession and his love for his sweetheart. Myrna Loy does well in the part of a rich girl who cannot realise that a doctor's work must come first. As Hochberg, the eminent surgeon, who would sacrifice himself and his assistants in research work for the good of all humanity, Jean Hersholt gives a magnificent performance. The supports include chapter five of the serial. "The Perils of Pauline" and a Silly Symphony cartoon.

NEW PROGRAMMES

"THE MERRY WIDOW" The 10:i5 talking iilm version of Franz Lchar's world-famous opera, "The Merry Widow," will be screened at both the Tivoli and the St. James' Theatres next Saturday. Gay Viennese music, Parisian revels, and charming old-world romance are blended with massive spectacle and glamorous settings in this outstanding production. The music is presented on a scale never thought possible 011 the stage and the costuming is the most lavish yet shown ou the screen. Maurice Chevalier, who has always been at home in a uniform, has never been better than as the dashing, rollicking fun-loving, romantically inspired DaniJo whose madcap frolics almost bring a nation to ruin. Jeanctte MacDonald plays the part of the widow, Sonia. Together the romantic pair sing such famous Lehar numbers as "Girls, Girls, Girls," "To-night Will Teach Me to Forget," "Vilia," "Widows Are Gay," and "Melody of Laughter," and their interpretation of the famous "Merry Widow Waltz" gives a new conception of this form of the dance. The picture is said to have cost more than a million dollars. The dazzling splendour and impressive size of the various palace scenes, the colourful brilliance and sparkle of the great Ambassador's Ball, and the spectacle of the sequence at Maxim's cafe' in Paris with hundreds of dancers and an orchestra of a hundred pieces—all bring about an illusion of grandeur and richness the like of which has not been seen before on the screen. The stars receive splendid support from a cast which includes Edward Everett Horton as the ambassador, Una Merkel, and George Earbicr as the amusing king and queen, and Minna Gotnbell as the beautiful Maxim's charmer. The box plans are now open at the D.T.C. "I)> YE KEN JOHN PEEL?" From Saturday next at the Civic Theatre, Christchurch theatregoers and holidaymakers will have the opportunity of witnessing for the first time in the Southern Hemisphere the latest Twickenham Studios success, "D' ye Ken John Peel," acclaimed by English critics to be one of the most entertaining films ever released from a British studio. Inspired by the wellknown ballad, this rollicking story of the good old hunting days comes to the screen with a most distinguished cast which is headed by such favourites as Winifred Shotter, John Garrick (the popular baritone lead of "Rose Marie" stage production), Stanley

Holloway (the unforgettable "Father O'Flynn in "Lily of Killarney"), and John Stuart. An excellent &tory is studded with several rousing choruses and songs which are superbly rendered by the principals assisted by the Orphcum Singers. Box plans will open at the Civic Theatre to-morrow morning at 10 o'clock. "THE OLD CURIOSITY SHOP" Ail the genius of the famous master is brought to the screen in "The Old Curiosity Shop," which will be shown at both the Plaza and Theatre Royal shortly. No more powerful example of the author's great understanding of his characters could possibly be found than this brilliant screen adaptation presents, and, it is said, if Dickens himself could have directed the film version lie could scarcely have made a more faithful or entertaining reproduction of the original. But mention must be made of the portrayals of the cast. Elaine Benson makes a superlative little Nell, and Ben Webster is almost perfect as Grandfather Trent. Others include Hey Petrie as Daniel Quilp, Gibb McLaughlin, and Lily Long.