Cinema Reviews

Press, Volume LXXI, Issue 21506, 22 June 1935, Page 9

Cinema Reviews

ma GIRL OF THE LIMBEKLOST"

AVON

Everyone w ho has read "A Girl of the Limberiost" will remember the vividness of the American rural setting in Indiana—the swamp and the forest, nod the log cabins and the inter«eting people who lived in them. It js one of the most pleasant experittms .maginabl* to see it all presented so realistically on the screen, m the picture which is now in its second week at the Avon Theatre. The film treatment of the book is admirable: it >i of course impossible to follow the storv i" «-verv detail, but the atmofiphcn- and spirit of the original are reproduced in a manner which Is bevond '-ritieism. It is easy to sympathise and feci an affection for the characters in Gene Stratton-Porter's novels —thrv are depicted in such a lifelike manner-and the Elnora of the film is iust as much a real person as the Elnora of the book. Her first <l«y at high chool, when she arrives badly dressed and carrying her lunch in a tin pail, .s excellently acted, and it is impossible not to share her mortihcation. In the same way one cannot help ffclin" a glow of satisfaction at Elnora's triumoh the next day. when her friend:;, the kindly old couple. WcsVv and Sinton, have fitted her out with new clothes and everything *•],*? -tie needs to impress her fellowstutfent,- Her mother's resentment towards her and her struggle to secure an education bv selling her collections of ninths and Indian relics, make exceedingly interesting material for the picture' and here again the listeners feet that they are following the fortunes of a personal friend. Marian Marsh plays the part of Elnora. She Is a charming young actress, and admirably portrays the development <i a schoolgirl into an attractive vouns woman. Louise Dresser plays >he most difficult role, that of Elnora s mother, Mrs Comstock. She has to Hhow an antagonism towards her daughter, with an underlying a free lion which suddenly becomes evident when 4h,' learns that the love she has chcr- > sited for her husband was not wortn while. Sh" depicts the conflict of her emotions v-ith wonderful skill, and makes H impossible not to like her and sympathise with her, even though she is her daughter's enemy. The scene in which .'he arrives alone to see the graduation which marks the end of Elnora'.; hard-won school career is very well acted indeed, and so is her change when she learns of her dead husband s infldeli'y. Ralph Morgan, a distinguished character actor, makes an admirable Weslev Sinton, a typical rough, kind-hearted American former. The other members of the cast. Henry B Walthall Helen Jerome Eddy, Betty Uiythe, Eddie Nugent, Barbara Bedford, Tommv Bupp, and Gigi Parrish, give excellent support. Altogether the acting is well in keeping with the tone of the story and none of the characters teems out of place.

LIBERTY

"IIU; COIN'ST C'HAIKMAV* AND "(JAMBLLM.." That love should not interfere with jjft''jtir-i is the theme or the main at'f/i'y.v.i at. the Liberty Theatre this 4'fcek, The picture is entitled "The Count-.- Chairman" and the story tells i-t ;'..-; excitin:; election in an American comity for the district attorney. Will Honors, a-, uncouth and lovable ::is cvvV," makes an ideal and living com)'.'." 'ch.tirnvm. his confirmed obi--"* b"im; to select, a candidate with "'• wiri, "t,;'d'<c-it the sifting attorney, j/Vf.-iom-' tnem.y of his. Kent Taylor, i:i me adopted son of the county < hairmar.. and his choice as a candiflal<* fcr '-he attorneyship is convinc- ■■\», v.hdr the part of the sitting at- - ;nlev's beautiful daughter is played by Evelvn Venable. Stepin Fetchit, Will Rogers' coloured manservant, adds much of the comedy by his ftrsTvtmg voice and funny actions. This vi a very pleasant story and well up to the standard of Rogers's previous successes. Others on the east are

Louise Dresser and Mickey Rocney. The story of a loving father who en 'he day of his daughter's expected return from her college in Europe finds first that sho has eloped and then that the has been murdered, is told in the other attraction at the Liberty this week, "Gambling." Having made his money by running a gambling club, he sacrifices all this and even gives himself up to the police that he might attain his object: discover the murderer of his daughter and show the person up in he eyes of the world. The difficult part of the father stricken by grief ot the death of his daughter is portrayed by George Cohan, Dorothy Burgess is the secret wife of the murderer, and this versatile actress makes the most of her opportunities. As the sophisticated companion of Dorothy Burgess. Wyne Gibson introduces a pleasant, humorous relief from the drama of the picture.

MAYFAIR

•'BROADWAY BILL" Warner Baxter, whose carefree boyishness never seems to wane, and Broadway Bill, one of the finest racehorses imaginable, combine to make this film one of the most enjoyable snd fast-moving of the year Obviously enough, It is a story of the turf. but there are so many new and bright 'features about it that the usual development to the final fortune-winning gallop retains the interest and excites the Imagination to a much greater extent than might be expected. It has a great deal of real humour and a cast of players capable of interpreting good humour. There is action enough for the most restless, and there is a pleasing, unobtrusive love story which Ehould appeal to the most, hardened. Warner Baxter plays the part or a reckless lovnble horse-owner, who finds the life of the course move mt«resl:i!2 than managing his father-in-law's' box factory, and who deserts th» more mundane business for the chances of the turf. He has opposite him Myrna Lov, one of the most talented and charmins younfj ladies of Vie w— >. n in a part which suits her sOmost a; well as that she played m

"Tha Thin Man." of popular memory. TV.Yh of them have taken "Broadway Bill" !ighth\ in the way it was intended to be taken, and thsir team-v-ork has made the film most enjoyable. The two leading players arcvery ably supported by Walter Connolly. ai-,o of "The Thin Man," who is wide! 7 recognised as one of the best '•haractc-r actors !n the United States. 'lhe din.ctor is Frank Capra, well known for his work in "It Happened One Night" and "Dirigible," and the Photography and arrangement of "Broadway Bill" have certainly added to his reputation. The story concerns Dan Brooks, mo favourite son-in-law of a small town magnate, who runs away with a horse aad » horse-float In preference to remaining in business harness. He falls m with racing people, as impecunious ns himself, and their determination to +rln the Imperial Derby leads them into all sorts of adventures. All their nopta are centred on Broadway Bin, and Broadway Bill, in the end, justifies- all confidence, but not before Ho has been threatened with fever, confiscation, and crooked dealing. . The supporting programme a', tne Mayfair includes a.iother successful coloured cartoon, and an interesting **wa-«*l from Australia. .-.-.:.

TIVOLI

"THE LIVES OP A BENGAL LANCER'*

Few pictures have stirred the enthusiasm of Chrlstchurch audiences — and, Indeed, of audiences all over the British Empire—as has "The Lives of a Bengal Lancer," which, having had an extraordinarily successful season of two weeks at the Regent Theatre, Is now in its second week at the Tlvoli. It is one of those rare pictures that get talked about, and the largo audience for the opening screening last evening indicated that there are still many picture-goers in the city who are anxious not to miss the opportunity of seeing this outstanding film.

In spirit the story savours of the old-fashioned melodrama of the silent screen, but there is nothing incredible in the wealth of action with which the film abounds, and even to the most matter-of-fact person it must convey a real message. It gives a convincing exposition of the exacting duty of those who guard the frontiers of the Empire. There i; human drama, action of the most stirring and primitive kind, and it grips the interest in a way that very few films achieve from the first scene to the last.

Quite an amazing thing about "The Lives of a Bengal Lancer" is that although it is an American production, the spirit of the British rule in India is portrayed without a falter and without a single false note. True it is that the cast is headed by Americans, with the inevitable departure in accent from the Oxford or Sandhurst trained British army officer, but at the very beginning of the film there is the small explanation, introduced with the utmost nicety, that saves the supersensitive ear from even this offence. That; small attention to a relatively small detail is the measure of the work that has been put into the rest of the film. Nothing has been spared to make "The Lives of a Bengal Lancer" the film that its makers hoped for it. Careful, attention has been paid to every detail. The action is laid in the hill country of India, and scenes in the hills are plentiful. It is to the eternal credit of the director that he has not once left the smallest suspicion that the piles of rock, the towering peaks, and even the vegetation, are not genuinely of the area which the film is supposed to portray. Gary Cooper has the leading part, and one sees a new Gary Cooper, acting with a restraint and a deftness that delineate with the utmost fidelity a complex character. His work is better than anything he has done before. Franchot Tone is cast in a part that might have been intended specially | for him, and carries it off with the i greatest distinction, flic-hard Cromwell has an unenviable part, but makes a splendid success of it, and Sir Guy , Standing is all that one might be led i to expect from him.

CRYSTAL PALACE

"MEIUIY WIVES OF RENO" Anybody wanting comedy at. its lightest, best, and fastest-mo-' should sec "Merry Wives of .Reno," which opened at the Crystal Palace last evening. The lilm is one of the best of its kind that Chrlstchurch has seen for a very Ion;? time, and makes the most excellent entertainment of the tyoe that has no other pretension than to amuse. American comedy, when it confines itself to the very light, with the main emphasis on the cross-talk of the Characters, is not to be beaten. There is a touch about it that makes it something quite apart from, other comedy. "Merry Wives of Reno," which has been received wherever it has been shown with the greatest delight, promises to meet the same treatment in Christchurch if its reception last evening is any criterion. From its opening the picture kept the audience continually amused. There are so many good things in it that it is difficult to remember which were the best. The cast for comedy is particularly strong. There is, of course, the serious side to the picture, v/hich olTsets the comedy, and this is left in the hands of Margaret Lindsay and Donald Woods. In a comedy these two have a very difficult part to carry off as the romantic pair, but both do their work with the greatest credit to themselves. Margaret Lindsay is particularly charmim.; as the youn* wife. The picture is stolen completely by the delightful Guy Kibbee, who has a most enviable record in comedy. He is at the top of his form as a rather bibulous gentleman, married for 19 years to a wife who bullies hirn unmercifully. Guy Kibbee is the mainstay of the picture, and he has never, had a role more suited to his particular style of humour, Hugh Herbert, among the best comedians of the American screen, has an excellent part as a Western ranch owner, married to a very broad-mindec' and pretty young wife who insists on living in New York while her husband looks after the farm. Roscoe Ates, with his inimitable stutter, takes the part of a trapper cast into the middle of the gayest of New York parties, and Frank McHugh as the hotel porter, who manages everybody's affairs for thern, is at his best. The picture is based on an exceptionally funny book, which, as the title suggests, has much to do with divorce. Three couples are the principals in the story, and tho matrimonial mix-up of the three is the theme. All three land in Reno under various pretexts, the women for divorces, and the men for a variety of reasons, but In the end there is no divorce at all, and the picture ends, as every good comedy should end, with everybody happy. "Merry Wives of Reno" is certainly a picture nobody should miss. Among the short features there are some excellent films. In one, "Picture Palace," there is some eccentric dancing that, is v/ell above the average, and in a travel picture, "Spanish America." there are some most unusual and interesting scenes from out-of-the-way olaces. The whole programme is one that can be unreservedly recommended.

GRAND

"THE GAY DIVORCEE"

Besides being a remarkably funny, gay, and brisk comedy, "The Gay Divorcee," which is having a return season at the Grand Theatre, presents striking and lavish settings and many talented beauties. This spectacular musical production features Fred Asia ire and Ginger Rogc l s, and was adapted for the screen from Astaire's international stage hit of the same title, which scored 2RB performances in New York and ran for six months in London. The plot itself »s a hilarious romance, boasting a ceaseless flow of complications as Astaire madlv pursues the lovely Ginger Rogers across many dancing floora and through the mazes of a lavishly-ap-pointed futuristic hotel. A second and even more laughable romance is provided by Alice Brady and Edward Everett Horton, in which tht inimitable Alice Brady pursues Horton with marital designs. The supports will include chapter 3 of the sertal, Pirate Treasure." , Box plans are now open at the D.H-.

REGENT

"THE PAINTED VEIL"

No actress on the screen to-day can challenge comparison with Greta Garbo in the wide range of her artistry. "The Painted Veil," seen last evening at the Kegent Theatre, provides her with a story fitted to her peculiar gifts, in that Somerset Maugham, the author, has therein depicted a character curiously blending courage and lack of sophistication. The character is destined within a short space of time to run the gamut of many human emotions, from a complete careless surrender to happiness, down to a consequent bitter selfloathing. The supreme artistry with which Greta Gargo, by subtle changes of expression, reveals these feelings, marks her out. For that reason alone '•The Painted Veil" is one of the finest pictures that have been seen here In recent months. But there is more than the wonderful acting of the central figure. The rccne for the most part lies in China. A brave and succesful attempt ha 3 been made to reproduce the colourful but Inevitable pageant of the East. Facets of its life are faithfully shown, from the ordinary turmoil of its daily life to the strangle happenings on its festivals. One scene of the latter stands out particularly, a powerful and authentically presented reproduction of one of China's ancient myths. Pageant, music, and dance combine m a striking spectacle. The others in the cast make equal contributions to the picture's success. Herbert Marshall, on this oeasion the doctor who runs all personal risk in the attempt to stem a cholera epidemic, has rarely revealed greater powers of acting. George Brent plays the part of the lover with an engaging insouciance. Briefer appearances are mr'de bv Warner Oland and by Jem. Hersholt, each a master in presenting his own particular type of character. The cast is a powerful one and there are no weaknesses. A snecial word of praise is due to the photography, which throughout is of a high standard. Mention must also be made of the exquisite costuming of Greta Garbo, which seems to achieve the maximum effect by very simple means. . From Austria Katherine (Greta Garbo) is taken by her husband .(Herbert Marshall) to Hong Kong. He, as Dr. Fane, is shortly appealed to for his assistance up country agsmst a cholera epidemic. In the meantime Katherine, who has never really loved her husband, has fallen in love with an attache at the embassy. Jack Townsend (George Brent). When the discovery comes she finds he is concerned with 'his career, against which he places the call on him "to stand by her." Bitterly disappointed, she is compelled by her husband to accompany him to the cholera area. Ther--the'revelation of his greatness to her. and although given the opportunity to return, she remains as a nurse assisting in the humanitarian work.

A fine series of Fhorts forms the preliminary to "The Painted Veil." notable among thorn being a well executed and highly amusing coloured cartoon.

MAJESTIC THEATRE

"LOTTERY LOVEU" Peggy Fears and "Pat" Paterson are the dazzling and the charming star;; ivi -Lottery Lover," a merry comedy with some catchy musical hits, which bei'au n s;-a?o:i al the Majcst'c Theatre yesterday. The dresses worn by Pc-ugy Fears arc enough to make any onian gasp with envy, while the luxurious settings arc- well rhosen l'c»r !h.e iray shorf Paris liul!d;iy or the cadet-; if rem the training ship Alaska. As flic ship is coming int'« Fronth wale;-:. Reginald Denny, as the captain, addre-ses his boys. He advise:; them to stay away from wine and women. Just as he says this a jewelled garter drops from an aeroplane flying overhead. This garter is one of the stage effects of Gaby Aimee (Peggy Fears), who is the idol of Parisian revue audiences. It turns out ihat she and Captain Payne are old friends. But the cadets arcall but Frank Harrington (LcwAyrcs) —mad about her. They pool their money and appoint a lover by lottery. Frank is the lucky man but docs not like his job of trying to win the very beautiful Gaby. A chorus girl, Patty ("Pat" Peterson) is engaged to train Frank in the methods of winning Gaby. Of course these two fall in love; Frank is tongue-tied when he says his pieces, learned eft" by mind, but not by heart, to the dazzling actress. He is happy with Patty and miserable with Gaby. The fun of the film is in the tangles and complications of this queer plot. The whole production is an alternation of gorgeous scenes and highly amusing ones. Sterling Holloway, Walter King. Alan Dinehart, and Rafaela Ottiano arc other members of the cast. A coloured cartoon, "An Elephant Never Forgets," is an amusing .representation ot a day's event in a jungle school. The antics of the animals arc: both clever and funny. Thclma Todd is seen in one of her laughable short pictures—a true comedy of errors, The finished art of the screen entertainments is supplemented by several acts by Fred Argylo and his "Sunshine Scamps" in "Circus Daze." A troup of young acrobats will please audiences with their clever and bright performances.

CIVIC

"KENTUCKY MINSTRELS"

Nigger minstrelsy, it;; popularity of the good.old days, its decline, its fall, j and its revival on the modern English stage, form the background of Twickenham';; latest picture, "Kentucky Minstrels," which began its Christchurch season at the Civic Theatre yesterday. With the popular radio stars, Scott and Whaley, as the leading players, the show provides one with a feast of entertainment—entertainment, also, which is refreshingly novel, and which will appeal to the older generation as well as the modern. The story is a true-to-lifo one—a rather unusual feature of present-day films— a little sad in parts, but with a delightful strain of humour running through it. "Kentucky Minstrels," in its earlier sequences, shows us nigger minstrelsy cf the London pre-war days, a*>d here it introduces the stars, who, incidentally, show that their race make excellent actors, as well as musicians and singers. Scott and Whaley are the principl players in a well-known and popular show, who have an equal contempt for the new-fangled music hall of the day and the motor-cab. The inevitable happens, and the minstrel show is forced to give way to the music hall. Our heroes meet defeat after defeat, and some of the scenes that follows are pathetically humorous. But it is here that the fine acting qualities of the negro players come out. Their playing of the philosophical, cheerful tramps, as they wander through strange and often hostile countrysides, yet always remembering their old jokes and tricks, is superb. Finally, they come into their own again, but In a very different show from, that to which they had become accustomed. They are given the star parts tn a minstrel show, based on the same lines as the older ones, yet brought up-to-date with songs, dances, and acts, "served up again wrapped in cellophane," as the producer puts it. The modern minstrel show is an entertainment in its own. The stage

scenes are on a lavish scale, and features many of England's most celebrated stage, screen, and radio performers. Foremost, among these is Debrov Somers and his band, and Nina Mae McKinney, one of the most striking and colourful personalities on the English stage to-day. A feature of the picture is the number of ?ood old minstrel ditties, which include "Louisiana Lou," "Oh, Dcm Golden Slippers," and "I Do Like to ho Beside the Seaside." "Kentucky Minstrels" presents excellent entertainment. It is clean and straightforward from start to finish, and is full of popular old melodies, songs, and dances. ....

A word must be said of the supporting programme, which is good and varied. But the most enjoyable part is the melodies played by Miss Ms Mason on the organ, and these should be sufficient in themselves to attract any audience. It is a pity that this is Miss Mason's last week in the city.

STATE

"BRIGHTEYES"

There are two kinds of sentimentality. Without attempting to analyse either, or to explain their existence, it can be said that one is what even the most dilligent reader of popular novels would call "slushy"; the other would move the heart of the hardest cynic. "Brighteyes," the film featuring the small girl actress, Shirley Temple, which began a second week at the State Theatre last evening, is unashamedly sentimental, but its sentimentality is of the better sort. Not everyone has a fancy for Dickens, but to most people it wilj be reasonable praise to say that "Brighteyes" has a little of the quality which gives Dickens his astonishing appeal to many "highbrows" and a great many "lowbrows." And of course that means that Shirley Temple is an exceptional young person. There have been many child performers who could arouse in sensitive people no other feeling than a desire that they and their precocity should be spanked and sent to bed. Noone could possibly wish to spank Shirley Temple. The tale is simple enough—there has been no unnecessary cudgelling of brains to think of a complicated plot. There is an orphan child, jealously guarded by a number of indulgent selfconstituted foster-fathers. These "fathers" happen to be the staff ot a large American airport, which is a pleasant thought of the producers since not only small orphan girls are interested in aeroplanes. Shirley—she is called Shirley in the play—spends most of her time at the airport, watching the aeroplanes take off and land, her one ambition being to fly. Her godfather is a pilot employed at the port. Her father had been a pilot. Some little way oil, her mother is employed as a maid by an exceedingly wealthy and exceedingly unpleasant family named Smith—they call it Smythe. The Smiths are genuine Dickensian bad characters. They never leave off being bad characters and are not permitted to ■-how a single redeeming feature throughout the play; a crotchety undo, however, who refuses bluntly the honour of the name Smythe, is kindly at heart. There Is incident enough in the film. The audience is never left too long in the company of the unpleasant Smiths, but takes refuge with Shirley among the cheerful people at the airport. Oddly enough, the climax of the story is a bitter quarrel between Shirley's godfather and flood hearted Uncle Ned because each wishes to claim the child. At this point the godfather, remarkably well played by James Dunn, sets off on a risky flight to New York in n storm which has delayed air traffic from coast, to coast of the continent. His motive is to earn a sum which will enabie him to take charge of his dead friend's child. Shirley, who has come to the pert unknown to the Smiths or to her friends the pilots, y-anages to stow away on the aeroplane. The scenes as the machine l'rih'.s its way through the storm nre fine examples of photography. The (liillit comes to a surprising and exciting end which it would not, be fanto disclose. There is a .'.jood supporting programme. A most amusin.y cartoon lias only one fault—it is too short.

THEATRE ROYAL

"ROMANCE IN .MANHATTAN j HEADS DOI'HLE MIX ! The Theatre Royal this week iias n j double bill which should find favour j with the majority of picture-goers, j Francis Lederer and Ginncr Rogers! have the leading roles in "Romance; of Manhattan" and in "A Very Hon- j ourable Guy," Joe E, Brown and Alice | WJiite are co-starred. '; The story of "Romance in Manhat- j tan" is finely conceived. It tells of the ] struggles and the romance of a Czech i immigrant in New York. To him ! America is the land of opportunity, where the humblest citizen has the chance of becoming a millionaire. The tragedy of his failure to pass the immigration tests is very real, but the immigrant, JKarel Novak (Francis Lederer), refuses to be baulked of his ambition and makes a thrilling escape from the vessel on which he is to be ; deported. To be stranded in Now York wlhout motley and without any prospect of a job, is a situation disconcerting enough to a native American, but to a foreigner inadequately acquainted with the language the position must be nearly hopeless. Novak is befriended by a good-hemed chorus girl, Sylvia Dennis (Ginger Rogers), and her brother (Jimmie Butler/, and he eventually obtains employment, first os a newspaper seller ami then as a taxi-driver. Through many vicissitudes the three remain true' friends and helpmates, but their happiness is threatened when the small , brother is under order for commitment to ah institution and Novak falls into the hands of a rascally lawyer who endeavours to obtain the reward that is offered for the apprehension of illegal immigrants. Their good friend, Patrolman Murphy (J. Farrcl Macdonald), takes a hand in the proceedings, and in a climax of highly amusing situations the double-crossing lawyer _is discomfited, Novok is enabled to obtain his naturalisation papers and wed Sylvia Dennis, and finally the pair are able to nrovide for the latter's schooldodging brother the respectable home upon which a beneficent child welfare department had insisted. Francis Lcdercr's characterisation of the immigrant is one of the finest things in the picture. It is a contrasting role of gaiety and gloom, and Ginger Rogers's interpretation of the gold-en-hearted, hard-boiled, wise-cracking chorus girl also will add to her reputation. _,, _ _ ... The admirers of Joe E. Brown will find lvm as amusing as ever in "A Very Honourable Guv," in which he olavs the part of "Feet" Samuels, a gambler whose bets always s;o wrong —until he sells himself to a research doctor in order to pay his debts and maintain his reputation as a "very honourable guy." How he finally resolves his difficulties provide the picture with some excellent moments and the audience with some hearty laughs. Alice White gives a vivacious characterisation as Hortense Hathaway, Samucls's sweetheart. There are some interesting sidelights on New York racketeering in the film, a sinister individual known as "The Brain" (Alan Dincheart) contributing notably to tho action of the play.