CITY THEATRES

Press, Volume LXXI, Issue 21484, 28 May 1935, Page 7

CITY THEATRES

REGENT "MUSIC IN THE AIR" Good entertainment is provided by "Music in the Air," which is now having a season at the Regent Theatre. It is a well-produced and well-acted romantic drama of the type that should appeal to a great majority of theatregoers. There is a pleasant story, clean and attractive humour, romance, a good deal of fine singing by all the four principal characters, as well as by choruses, and spectacular staging. It is to the credit of the producer that the several elaborately presented scenes do not break the continuity of the story. Two of the leading players are well known. They are John Boles, who hitherto has appealed to many people more as a Ringer than as an actor, and Gloria Swanson. a talented actress who in this film shows decided aptitur.e as a singer. The other two leading playerj, June Lang and Douglass Montgomery, are new to Christehurch audiences, but they are very suitably cast. The story is simple enough, but is charmingly told, and full of interest. The supporting programme includes an excellent film of sword fish and tuna fishing in the waters ott Southern California.

"LIVES OF A BENGAL LANCEK"

r • ... .' '' :l P'-' ' i .'mCt;l\ ' which has been described by a London critic as "Hollywood's greatest production," will start at the Resent Theatre on Friday. It is one of ihose all-too-rare combination:; ol plot aacl characterisation that enUirail the :un.u_iic:' until the final scene.' "The Lives of a Bengal Lancer" is without doubt Gary Cooper's greatest picture, and it gains that distinction mainly because the character he portrays is more sympathetic than thoae of previous successes. The action is set In a glamorous, sinister North-West Frontier ~of ; India, where the fortunes of 300,000,000 people are controlled by a gallant handful of British-officered Indian troops holding back the myriad invading tribes from the rich plunder of the lower lands. Filmed in the shadow of the Khyber Pass, the picture abounds with romance, bloodshed, and intrigue. It swings on to the tune of Afridi rifles, the sound of galloping hoofs, and the cries of charging troops. Gary Cooper acts the part of McGregor, a big genial ScotsCanadian captain of the 41st Bengal Lancers.' As Lieutenant Stone, son of the Colonel (Sir Guy Standing), Richard Cromwell is most convincing, Franchot Tone plays well the part of Lieutenant Forsythe, a cynical young former officer of the Blues, who goes with McGregor into the camp of Hamzulla Khan (Monte Blue), to attempt the rescue of young Stone. A character of particular interest to New Zealanders is that of Lieutenant Barrett, another officer of the Lancers, who ventures in disguise among the hostile tribesmen and is at last caught and tortured to death. This is played by the Dunedin contest winner, Colin Tapley, who shows an amazing talent | for the screen. Others in the cast are C. Aubrey Smith, as the taciturn Major Hamilton, and Kathleen Burke, as the beautiful Tania Volkanskaya, who lures young Stone into captivity. Against a background so vast, and telling a st a-y so full of heroism and self-sacrifice, the film must be seen two or three times to be fully appreciated. Box plans are now open at the D.I.C.

MAJESTIC"SOCIETY DOCTOR" An interesting problem is dealt with in "Society Doctor," which is now showing at the Majestic Theatre. The question is whether a young man should place a comfortable and easy life above the opportunity to devote himself to hia profession. Chester Morris plays the part of a keen young doctor in a large hospital; he is a skilful surgeon, but his outspoken manner causes him to meet with trouble from the authorities, two conservative doctors, whose only interest is to keep on good terms with wealthy patients. Morris, on his own initiative, performs an exceedingly delicate operation, saving a man's life; but he falls foul of his seniors for taking the case into his own hands. He is dismissed, but a wealthy lady at the hospital uses her influence to have him reinstated. She offers to set him up in private practice; but there is a young nurse at the hospital (played by Virginia Bruce); she admits that she 13 in love with Morris, and she has no desire to see him sacrifice his work and ideals to become a "society doctor." A friend of Morris, another doctor (Robert Taylor), is in love with Virginia Bruce —he is constantly borrowing money from Morris to take her out —and she turns to him when nhe thinks Morris has forsaken his principles. ' The whole treatment of the picture is thoughtful and vary interesting. With all the events taking place within the hospital, it has something of the character of "Grand Hotel," for it, deals with the affairs of several of the patients, leading up to the point where they link with the rni'in plot, and providing not only humorous but also very exciting sidelines.

There is a Laurel and Hardy comedy in support. They are funnier than ever, it seems, and yet it is rumoured that they are about to dissolve their partnership If this is one of the last chances of seeing them together, nobody should miss it. Their work is not merely slapstick comedy, for they have given a subtle turn to slapstick that has made it into a real art. On the stage there is the welcome variety of a Fred Argyle show, "Bubbly."

TIVOLI "BEHOLD MY WIFE*' "Behold My Wife"—and she is a Red Indian. She enters New York with a smashing of press cameras and convention; she wears the latest Parisian and North American models, speaks the very latest American, Red Indian, and French, and can fairly claim to be a most original heroine. As the wife of a miscreant son from Fifth avenue brought to New York only to shock his family, Sylvia Sidney is the central figure in a picture that is delightfully "different." Whether she is lighting with a Red Indian in a bar in the far north, or snubbing her guests in Fifth avenue, or even when she is smashing press cameras, she is quite as convincing as she is entertaining and charming. Gene Raymond is here again as the son of one of that legion of harried Wall street financiers, with plenty of money and nothing to do but break women's hearts. He finds himself somewhere in North America, and there lie meets Tonita, the amazing Red Indian girl who has been through colleg , and can perform a surgical operation to save his life as well as she can ride her horse. She falls in love with him—it is inevitable. Back she comes to New York, as Mrs Michael Carter of Fifth avenue. Sylvia Sidney and Gene Raymond are supported by a strong cast, which includes if. B. Warner md Juliette Compton. The supporting programme is a pleasing one. It includes a good rr.modv. a Tectorial film, and a cartoon.

MAYFAIR "THINGS ARE LOOKING UP" Cicely Courtneidge is not pretty, she is net petite, she is not glamorous; in fact, she is not most of the things that film stars usually are. But she is amusing and clever. In "Things Are Looking Up," a British musical comedy which is now having a season at the Mayfair Theatre, this star gives the audience a laugh or a chuckle every few minutes. There is not a dull moment in the running time of the film. The story is that of three sisters, one a circus queen, one a mistress (Berlha) in a girls' school, and one (Mary) a pupil in the school. Cicely Courtneidge takes the parts of both circus star and school mistress. The principal of the school is about to retire. The new principal will be Bertha Fitte or another member of the staff. Bertha is stem and strict, very solemn and serious; she is a brilliant tennis player. Suddenly she forgets to be the staid school-ma'm and prepares to elope with "The Black Fox," a member of the circus company owned by the other Miss Fitte. Young Mary is horrified and rushes to her circus sister for help; the circus manager turns out to hunt up the elopers and Miss Fitte courageously decides to save the family name; she impersonates her sister as the staid schoolmistress. It is impossible for her to be staid, more impossible for her to teach geometry—her first lesson is most bewildering for all concerned—but she manages to take the part. With the music master (William Gargan) she composes a jolly song, quite unlike anything the pupils have been taught before, and things in the school really do begin to look up. But Miss Fitte has to meet Suzanne Lenglen; she does so and wins the title for world tennis champion—because the brilliant Lenglen walks off the courts in disgust. But Miss Fitte is happy and very popular. Then comes an offer for the circus; the ;rosnectivc buyer demands to see a performance. So Miss Fitte the schoolmistress has to become again the bareback rider, tight-rope walker, and trapezist for one performance. Unknown to her, the girls of the school attend the circus that night; she sees them when she is in the midst of an act. Cicely Courtneidge's acting in this part of the story will provoke not only laughter but also admiration. She is very good. At the last moment, when the chairman is about to announce the choice for new principal, Miss Bertha Fitte arrives from her mad trip; some clever juggling brings the story to a successful close. The acting of other members in the cast, Max Miller. Mary Lawson, Henrietta Watson, and Ciceiy Bates, is in the right mood to support the main characters in their rollicking behaviour.

LIBERTY "SPITFIRE" AND "STATE TROOPER" It is doubtful whether Katharine Hepburn has ever been given a role more suitod to her peculiar talents than that provided in "Spitfire," which heads the now programme at the Liberty Theatre thi:; week. Miss Hepburn dominates the picture from start to finish, and her part-that of a wild, untamed creature of the mountains, a curious blend of human understanding and almost childlike simplicity would have presented insurmountable difficulties to any other player. She is assisted by Ralph Bellamy, who is cast, as an engineer in charge of the construction of a dam in a nearby valley, and he gives a sympathetic portrayal. "Spitfire" has many strop.;; emotional and dramatic situations, but Miss Hepburn excels in the dramatic, and here she has been Riven a part in which site easily outclasses any of her previous performance:. The supporting feature. "Slate Trooper," is full of action and thrills. Its story is centred about the American oil industry, and, if one oan believe all one sees on the screen, it gives an iusight into American "but business" and the unscrupulousness of the American business man. The leading parts are taken by Re&is Toomey and Evaljjn Knapp.

THEATRE ROYAL "HOUSEWIFE" AND "I AM A THIEF" The double-feature programme, "Housewife" and "I Am a Thief," which is now being shown at the Theatre Royal, provides directly contrasted entertainment. "Housewife" exploits the "eternal triangle" theme. Anne Dvorak plays the part of the wife who pushes an unenterprising husband into being a successful advertising magnate. Shortly after his success, the husband develops the habit: of working every night—the third corner of the triangle is in place. Bel to Davis plays perfectly the part of the husband-stcalcr, and soon has the husband, played by GeorgG Brent, in a compromising situation. John Halliday is also in the cast, as the lover of the unconsidered wife. The happy ending is effected, but conventionality does not enter into it, because of an unexpected climax.

"I Am a Thief" is melodrama which fortunately pretends to be nothing more. It has the addtional and rare quality of remaining mystery until the end. The situations arising out of a contest between the French secret police and a band of jewel robbers made up of penniless nobles and gentle-faced nondescripts. The cast is headed by Mary Astor and Ricardo Cortez, .supported by Dudley Digges, Robert Barrat, John Wray, and others.

PLAZA THEATRE "THK GREAT DEFENDER" The law courts have often provided good dramatic backgrounds for talking pictures, bu: never before has a murder trial story been used to better effect than in' The Great Defender," and rarely have the actors been better selected. "The Great Defender," which is now having a season at the Plaza Theatre, is one of the most successful British films to be released in New Zealand. Much of its success rests with Matheson Lang, an accomplished player, who is seen only too seldom on the films, and with Margaret Bannerman, an actress whom New Zealand playgoers have seen and appreciated on the stage, but the- whole production has been so competently handled by playwright, director, and photographer that there is little one could possibly find fault with. The play is intense drama, with natural and unoxoggerated comedy relief, and it does not pretend to be anything else. There is a thrilling plot, with plenty of incident to relieve the dominating court scenes, and with a really magnificent climax; there is excellent dialogue and powerful oratory; and the characters, from the most to the least important, have been selected by someone who knows his London types. Matheson Lang plays the part of a great London barrister, known for his success in defending accused persons in whose innocence- he believes, but - whose cases are weak to judge and jury. "The Great Defender" is the stor3' of Sir Douglas Rolls' last great case, the defence of ail artist charged with the murder of his model.

AVON "KID MILLIONS" Richard Tauber's outstanding success, "Blossom Time," which has nowentered its second week at the Avon Theatre, will be shown finally on Thursday night. "Kid Millions," Eddie Cantor's latest musical extravaganza, and a firstclass supporting programme, will be shown at the Avon Theatre on Friday next. "Kid Millions" shows the comedian at his funniest and best. It is simply crammed with humour of the most hilarious type, and also has its quota of tuneful melodies, s»ectacular ballets, elaborate sets, and glorious girls. The Goldwyn girls, who have been a feature of all the yearly Cantor films look more beautiful than ever in "Kid Millions." Eddie Cantor has able support from Ethel Merman, Warren Hymer, Ann Sothern, and George Murphy. The picture shows Cantor as a boy "Cinderella" of the Brooklyn waterfront who turns out to be the sole heir of Professor Wilson, an Egyptologist, who left a fortune in buried treasure in Egypt. The presence of seven. l * other claimants to the fortune makes the story fast, funny, and furious. Chief of these is Ethel Merman, who poses as the Professor's wife, and a gangster, played by Warren Hymer. The fun begins before the treasure hunters even embark, and runs high during the crossing when Ethel Merman and Hymer try unsuccessfully to put Cantor out of the way. Whcfi they arrive in Egypt, Cantor becomes mixed up with the sheik (Paul Harvey) and his gorgeous harem of Goldwyn girls. The picture is brought to a brilliant and unexpected climax. The chief songs are "An Earful of Music," sung by Ethel Merman, "When My Ship Comes Home," a novelty number sung by Eddie Cantor, "Your Head on My Shoulder," a duet by Ann Sothern and George Murphy, and "Okay Toots," which Eddie Cantor sings with the Goldwyn girls. The two big features of the show are the minstrel parade, in which Eddie Cantor, aided by the Goldwyn girls, all the principals, and two outstanding coloured step-dancers, sings that popular Irving Berlin number wiandy"; and the wonderful techni colour, "Ice Cream scena," which is the finale to the show. This scene shows Eddie realising his life's ambition by providing ice creams to the children.

The chief supporting picture is a coloured silly symphony, "The Tortoise and the Hare," one of the best by the master cartoonist, Walt. Disney. The story is the old fable of the hare scoffing at the slowness of the tortoise and then feeing beaten in a race.

CIVIC "BREWSTER'S MILLIONS" On Monday next British and Dominions Films will reopen the Civic AllBritish Theatre with the presentation for the first time in the southern hemisphere of the outstanding production, "Brewster's Millions." When it was recently released in London, "Brewster's Millions" proved a sensational success, overshadowing any previous premiere for a British picture. Even hardened film critics acclaimed it as one of the greatest entertainments ever produced by a talking picture studio. Jack Buchanan, undoubtedly one of the most popular screen players of to-day, is the star, and he is supported by the charming Lili Damita, who is making her first appearance in British talking pictures. Jack Buchanan takes the part of Jack Brewster, the young man-about-town who, under the terms of his uncle's will, is obliged to spend half a million pounds in six months in order to qualify for a legacy of six millions. The desperate and fantastic things ho has to do in order to accomplish this provides entertainment of a kind that will keep any audience in fits of laughter. No British picture has had such catchy songs, clever dancing, and riotously funny episodes. With a plot famous on both sides of the Atlantic and embracing all the factors that combine to make entertainment of universal appeal, "Brewster's Millions" is something theatre-goers can look forward to as outstanding screen entertainment.

The management announces the appearance, for a limited season only, of Miss Iris Mason, the popular lady organist, who some months ago delighted Christchurch audiences with her brilliant playing of popular selections on the city's grand organ. Miss Mason will come to Christchurch after seven months of success at the De Luxe and Paramount Theatres, Wellington, during v/hich time she has added a long list of novelties to her extensive repertoire.

The box plans will open at the Civic Theatre on Thursday morning at 10 o'clock. Patrons are advised to make early application for reserves, for which no extra charge is made.

GRAND "ViVA VILLA!" A story of Mexico, with some exceptionally fine characterisations, is presented in "Viva, Villa!" which is now hnving a return season at the Grand Theatre. The production is one of varied interests, the photography, acting, story, and presentation all being of high order. One great purpose is served, even discounting other qualities, and that is to show Wallace Beery as a player of versatility and talent. He has to be Pancho Villa, the almost legendary bandit saviour of the peasants of Mexico. It is undeniably a difficult part, but Beery acquits himself with conspicuous success, dominating a picture which provides attractive entertainment. Fay Wray and Leo Carrillo, Henry Walthall, and Stuart Erwin are among the other prominent players. The supporting items include a chapter of the serial, "The Perils of Pauline," and a Charlie Chase comedy. Box plants are now open at the D.I.C.

CRYSTAL PALACE "THE PRIVATE LIFE OF DON JUAN" "The Private Life of Don Juan," which is now being shown at the Crystal Palace, is one of the brightest satires which has yet been built around a theme which age has not withered. It is a film anyone could enjoy. It sparkles with clever situations and wit, it has colour and laughter in every foot, and the producer seems to have spared no expense and trouble in the construction of scenes and background. Alexander Korda, the man who made "The Private Life of Henry VIII." and "Catherine the Great," was responsible for this new success, and picturegoers will soon begin to take nis name as the guide to great films if he makes many more like these. It might have been thought that Douglas Fairbanks was a back number when it came to balconyclimbing L.nd tropical love, but he has, as the Americans say, "staged a comeback" which will freshen his popularity and recall the palmier days of Robin Hood. He still carries his cloak with carefree abandon, and shaves his beard to a romantic point. In short, he is still the Douglas Fairbanks of the early film days, whom so many people admired and with whom so many more loved and laughed. But in this most entertaining and farcical film Doug.

las Fairbanks laughs at himself. He is Don Juan grown old, and Don Juan grown old, although he may possess all the desirabilities of the younger gentleman, finds that he does not command the same respect among women. Woman is fickle, and woman attaches more importance to the label than to the parcel—or so one is taught by "The Private Life of Don Juan."