Cinema Reviews

Press, Volume LXXI, Issue 21512, 29 June 1935, Page 7

Cinema Reviews

AVON *'SWEET MUSIC" A technically brilliant -film of the musical extravaganza type. "Sweet Music," which began a season at the Avon Theatre yesterday, shows that considerable advances have been made by American producers in the last year in knowledge of the extent to which elaborate stage settings can be reproduced on the screen. Films of this kind have in the past tended to bewilder rather than to entertain. '•Sweet Music," however, has a mure even balance o£ story and stage work, mak'ng it possible to enjoy both without the feeling that attention is being wrenched every now and then from one to the other. Most of the stage .-cones, with ballets and cunningly contrived settings, are reserved for ilv,: end of the piece, and they are certainly above the average. Worth (■articular mention are tiie settings and ballets accornp iriying the song "Annabel." It should not detract from the merit of the film as a whole to say that it is, from one aspect, just, a vehicle for the finished playing; of Rudy Vallee's orchestra, and the equally finished singing of liudy Vallee himself. Vallee is a crooner, but not the sort of crooner who lias given the trade such a bad name. His songs are obviously made to suit his own taste and his own voice—his voice is lull, almost free from "twang," and comes very pleasantly to ears accustomed to less attractive voices from America, (n the oart of a solo dancer and singer who is attempting to gain a footing en the New York stage, is Ann Dvorak. Her personality is not In the least overshadowed by that of Rudy Vallee. which is to say that her own personality is by no means negligible. The little that is heard of her voice is perhaps disappointing' when compared with the singing of Helen Morgan, who appears as herself; but Ann Dvorak does not need a good singing voice to make h-r one of the most attractive personalities on the screen. Her duets with Vallee are really delightful, and much o>: her solo dancing is both graceful and original. The plot, is quite straightforward, for there Is no room for intricacy in the background of even the best musical comedy. Skip Houston CRudy Vallee) and Bonnie Haydon (Ann Dvorak) meet first in Chicago. Skip is the leader of a cabaret orchestra and Bonnie is a cabaret dancer. There is no love lost, between them. Bonnie despises Houston for what she conquers to be his conceit, and he reacts exactly as any man would react. From Chicago the scene changes to New York. Here there are interesting •'shots" of work behind the scenes in broadcasting studios. Excellent humorous relief is provided by two German cigar manufacturers, the Seltzer brothers, who are arranging a programme advertising "Seltzer's Smoothsmoking Cigars for Smart Sophisticated Smokers." The two are in agreement on only one subject, the excellence of their cigars. Through a number ox reverses and happy chances Skip and Bonnie progress to a happy •nding which is happily contrived. Supporting the principal feature is a good coloured extravaganza. "Service With a Smile." and a number of Interesting "shorts."

TIVOLI "THE PAINTED VE[i." Hardly any move satisfactory story .for Greta Garbo could have been devised than Somerset Maugham's "The Painted Veil," in which .she is appearing at the Tivoli Theatre, in its screen version. "The Painted Veil," otters t.he great actress all the opportunity that could be asked for displaying the talent that has placed her in the front of all emotional actresses of the dayThere is about Greta Garbo an unfathomable quality that those interested in motion pictures have been trying to define since the tirst day of her prominence. It is a quality, or an ability, that, isakes her appear perfectly at home in any role which might have been selected for her, an ability that mukes one believe that each fresh picture must be the ultimate in suitab.lity. And each lresh film brings a fre:h surprise, because it br.ngs a new Greta Garbo. In "The Pa.nted \ eil," she portrays with telling artistry the recct.ons of a woman wa > having Lvscl something of a secluded life, removed from testing realities, is suddenly faced with a stern situation. The awakening of the character oil the woman, previously ■sleeping tlnvtr'h a life of ease, is the story of the film. The woman is essentially a strong character, but the strength is not brought out till there is adversity. In this part, Greta Garbo fe'ives something more than her usual faultless performance. There is in the story tb- 8 most telling drama, and to <?ach ounce of it the actress gives full weight. She acts with restraint, but with power, telling the story simply, without flamboyance, but with all the sincerity that only a very great performer can produce. It is her best film to date. The task of acting opposate Greta Garbo is one that probably very lew screen performers would willingly undertake, because her mastery is such that she is apt to overshadow everybody else in the cast.. Happily, in "The Painted Veil sh e has as a partner Herbert Marshall, who plays the heroic doctor. It is not an easy part to play, requiring as it (toes the creation of an atmosphere ot its own. Herbert Marshall is superb, and Is perhaps the only actor who could convincingly hava carried oft his job. One has seldom seen him to better advantage. One of the pf ates * a" r-etions of the film is that sc'nes, many of them thoroughly ambitious, a:;c* done with a taste and attention to the finer points that are unusual. The locale is China, ana there are the most artistic glimpse., of Chinese life in all its phases. Lv-ri tor :: iilrn relying on spectacle foi •» apnea), the scene showing the Chin-J----fest.val would have been good, but for "Tie Painted Veil" it was superb. Not a better film has come to Christchurch for a very long time. The short features arc excellent, particularly the coloured cartoon Called "The old Pilgrim.

GRAND "THE THIN MAN" "Tii- Thin Man," a picture wlucK Is bn,k, : mart and absorbing from Hie first, scene to the last, is a return season at thefilms It is one of those , U ' fl y. which makes the miruitc., and in spite of its full leat - on, dreads the coming or able end, knowing that one must bKj good-bye to the two chiming. „^ aC . people who are the cen revelaa' V Mcr MtSvo tiori —for nmonf, cunt,* a things "The T*»"> Man . y flrst-nlars murder mystery tfcat wf have lejt &rzs" %" r %*° b .T£Z Powell Rives one of his r^.iCS lonnanrcj;, while Myrna takcs a a difficult port admirably an, |. l( , full shar., in making the picture tnc success that it is. The supports elude Chapter 4 o£ the thriUinfi seria •"Pirals, Treasure."

STATE THEATRE

"BRIGHT EYES"

J There is no resisting the appeal and i charm of Shirley Temple. In "Bright Kycs," which is now in its third week iat the State Theatre, she has every opportunity to show how well she can ' act and what a thoroughly delightful little girl' she is. Her father, an aviator, is dead when the picture opens, end her mother, who has become a servant, in a wealthy family, is killed in a motor accident early in the story. The family, the Smythes, have no liking for Shirley, and would be glad to get rid of her and allow her to bo adopted by one of the aviators at the airport, where she is a great favourite. But Uncle Ned, a crotchety oli relative of the Smythes, from whom they have considerable expectations, takes a great liking to Shirley, and wishes to take charge of her. Complications, of course, follow, and the tale takes an interesting and even exciting turn from this point. The acting of this exceedingly pleasant story is of the highest order. From the first moment that she appears, clad in an aero jacket and trousers, Shirley Temple sustains the high reputation that she has won. Her delightful smile and her amazing power of mimicry make it impossible for her to fail to appeal to the audience for a moment. Even the most hardened disapprove!" of child actors must succumb, and admit that this if! no mere exhibition of precocity, but an example of really fine acting. Shirley, moreover, lias an excellent supporter in the little girl who takes the part of Joy Smythe, a very bad little girl, who, however, contrives to be exceedingly amusing. Between the two of them they provide some of the most amusing things that have appeared on the screen for a long time: the scene in which they are dressed as group up ladies and take their c'olls out for a walk is admirable in every way. Joy Smythe gives some extraordinarily pleasant and amusing examples of really bad behaviour; She is a thoroughly naughty girl, and in marked contrast to Shirley. She breaks her toys, is discontented with her Christmas presents, and makes every effort to annoy her Uncle Ned, even to the extent of circling round his bath chair on a tricycle, screaming in imitation of a police car. Her parents, Mr and Mrs Smythe, are no less disagreeable characters: they are selfish, unkind to Shirley, and have no other interest than to make sure of obtaining Uncle Ned's money. But the aviator, Shirley's friend, is a more pleasant sort of person, and his real affection for the little girl is admirably portrayed. The part is taken by Jarnes Dunn, a very popular actor. There is a love affair between him and a relative of Mrs Smythe, a young society girl: this part of the picture is naturally and sincerely developed, without being given undue proportion, and rioes not draw attention away from the main story. It is most refreshing to sec a film so unaffectedly treated as this. The sentiment is genuine and the humour is of the first order. There is no pretence at sophistication, and the story moves easily to its happy ending. It is impossible not to be both moved an .'I amused at the varied incidents and to admit that here is something which is very easy to appreciate. There is a very good cartoon in the j support, and some interesting news-

MAJESTIC i "WIN(,\S IN THE DARK" Films dealing with aviation arc not often seen; even if they were they woulc! still hold a strong attraction for a ,vide section of the theatre-going public. And wnen a picture incorporates some of the hazardous features of aviation —long-distance flights where a mistake will probably mean death, and landing on fog-locked aerodromes, are :ome in "Wings in the Dark," whicn began a season at the ?/lajestic Theatre yesterday—the patron may feel reasonably certain of getting more excitement than usual. But in addition to its merit as thrilling entertainment. •'Wings in the Dark" is of particular interest in that it gives some idea of the struggle in recent years to break through the greatest barrier of the ; progress of aviation—for; —and show? the possibilities of controlling aeroplanes by radio beams. The popularity of aviation in modern fiction and on the screen might well have led the producer into including too many stunt scenes at the expense of a logical plot, but in this; picture he has I not given way to temptation. The appeal of the picture does not [depend solely on the thrill that comes from aerobatics; it has two starring players who hold a high place in the estimation of the public, while the j supporting cast is sound, and there is ! a good mixture of humour and deeper emotions. The two stars are Myrna Loy and Cary Grant, the supporting | cast including Roscoe Karns and Hobart Cavanaugh, the latter taking the part of a laconic Scottish mechanic and supplying much of the humour. Grant, cast as Ken Gordon, a pilot 1 and inventor, takes his part splendidly. He is shown planning to fly blind 'n a sealed-up aeroplane from New York to Paris, his faith in his ability to do this hazardous feat being based on complete trustworthiness of his blind living inventions. When about to attempt to start the flight without permission he is blinded by a flash of flame. At this stage. Sheila Mason (Miss Loy) takes an important part in the story. She persuades Grant to carry on with his w .k, and he tries to support himself by writing articles about blind-flying. These are not accented for publication, but Sheila Mason keeps this from him. To get the money to buy back Gordon's aerop'ane she undertakes a flight from Moscow to New York—her livelihood comes from stunt-flying—but when she arrives over the aerodrome after crossing the Atlantic she is unable to land because of fog. To heighten the suspense she is left with a small quantity of petrol. But Gordon, after stealing the aeroplane equipped with his blindliving inventions, comes to the rescue and leads her back to the ground in safety The climax is as thrilling a3 could 'be wished. The picture is really good entertainment.

CIVIC "TEN MINUTE ALIBI" "Ten Minute Alibi," the thriller by Anthony Armstrong, is a well-known and popular play for which the author ticularly 3# was Rented at U« Civic. Theatre last eve , m f?L fllmmusi prove of paroutset that the those who have allicular n i av for it both admits ready seen P l g^£. n the methods of a comp. iison bei screen of the legitimate it a ional touches and shows - n give. prowhich the frecn cen done ducer of k The action is given rfulTaml nedible 1 settm.', the bare

REGENT "THE CAMELS ARE COMING" The title of this film, together with the name of Jack Hulbert, suggests good farce, and anyone who' sees it must agree that it is good farce, much better than Jack Hulbert is generally associated with and much brighter than some of his recent films. But It is rather unfair to compare "The Camels are Coming" with other Hulbert pictures, for it is very much superior to any of them; from beginning to end there is not one dull moment, there is a plot which is really too good and exciting for pure comedy, and the musical accompaniment and interludes are arranged with brilliant effect. The scene of the play is set in Egypt, among the pyramids and the sand-dunes, and such care has been taken with the photography that the background is constantly claiming attention, even in the middle of excruciatingly funny situations. One of the most successful features of the film is the manner in which it is introduced. The audience is gulled for a minute or so by a clever news-reel sequence, which is so convincing that the comic breakdown, although inevitable, comes a3 a surprise. From then on the fun is fast and furious.

Jack Hulbert, playing the part of a very keen but inefficient flying officer, blunders into the headquarters of drug smugglers and begins a series of remarkable adventures with blackguards, wild Arabs, and a beautiful woman. In the end, having disguised himself as a sheik, at the head of a camel caravan manned by life-like straw dummies, he is surprised by the real sheik and caravan. There is a siege in a desert fort and some exciting fighting before the rescue by air. With its novel and interesting backgrounds, the story provides Jack Hulbert with many opportunities for comedy situations, and he avails himself characteristically of every one of them. His dialogue with the camel, for example, is a splendid piece of work. Hulbert, an accomplished dancer and singer, needs catchy music to create his greatest effecta, and this also is provided in such songs as "Who's been polishing the sun?", which he follows with original tap-dance steps on the sandy floor of the smugglers' hut. The cast of players includes Anna Lee. Hartley Power, Harold Huth, Peggy Simpson, Allan .leaves, and Peter Gawthorne, The film was directed by Tim Whelan, from a story written by himself and Russell Medcraft.

THEATRE ROYAL "THE COUNT OK MONTE CUISTO" As a picture alone, "The Count of Monte Cristo" lias every right to be called a classic. It is a picture which faithfully presents tiie spirit of oik; of the greatest stories ever written, and one which will live vividly in the memory of everyone who sec:; it. "The Count of Monte Cristo" need.-! no Introduction to Christchureh audience::. After beinjj shown with great here some months ago, it ha.-; now begun a return season at the Theatre Royal, and there will be many who Will welcome it again. It is doubtful whether producers or actors should be given most credit for the production, since the acting is all that could be desired, and the setting are such that fulfill every expectation. Robert Donat, as the central tigtife. is outstanding, and the Edmond Dante.; lie creates, at lirst the simple wtHor and then the coin, unemotional avenger. is a character study that very few actor:- could make. Klir::a I.audi as Merccde. - , has another di/licult part, but she piavs it convincingly and miderstandiiKdy. She lives her part, and the iViercodes of thr first porti<,'ii of the picture is a very different character from the Mercedes of later on, a touch of fine finish that rouses one's pity and admiration. Then there is O. P. Hectic, a really ;;reat character actor, who makes a lovable and strangely compelling figure of the old Abbe Faria, the student of six universities, and the possessor of a remarkable store of the total knowledge of man. The scenes ore all produced on a lavish scale, but the most convincing are those of the notorious Chateau d'lf, and the narrow underground celi where Dantes spent 20 lonely years. The union of the two prisoners. Dantes and the old abbe, is one of the most beautiful and moving in the whole film. Then follow the years of friendship, the digging through the rock to the sea. inch by inch and foot by foot, the preparation of Dantes for ■he outside world at th° hands of lh° learned abbe, and, tlnally, the death of the old man and Dantes' thrilling escape. The rescue by the smugglers, the finding of the treasure, and the downfall of Dantes' enemies, Dnnglas, Mondego, and do Villefort. contrived by almost diabolical cunning, are shown perfectly, and one is carried with the hero and the heroine to the final happy ending. "The Count, of Monte Cristo" is more than a mere picture. It is one of those rare masterpieces of the motion picture producer's art, backed by an Immortal story and superb acting. The supports are, of necessity, short. They comprise an interesting nature study, and "Lullaby Land," a remarkable Walt Disney teehnicolour.

story of the play being amplified and elaborated, but without, one must hj: sten to add, any violence to the original. The original is most faithfully ana completely followed. Both for those who wish to make comparisons of the same work in two different mediums and for the many who enjov a thriller because it is a thriller, "Ten Minute Alibi" offers excellent entertainment. For the acting high praise must be given. Theo Shall is not well known in New Zealand, which is unfortunate. He is perfectly cast as the sauve villain His speech has a slight, very pleasant foreign intonation; his movements are effective and well studied. There have not been many similar characterisations cs good. The hero—who is also th murderer—is played by Phillips Holmes, whoso work is almost, equally good. Aileen Marson, the only major woman character, has a difficult part to play, demanding control of a wide range of feeling. Both she and Holmes show great ability. Mention must also be made of the charming work of Morton Selten as Sir Miles. It is hardly fair to tell a mystery story in full, for its effect depends so much on the denouement, and a skilful writer will maintain interest and excitement almost to the last word. The bare outline of the plot is that Colin Derwent (Phillips Holmes), m love with Betty Flndon (Aileen Marson) finds his romrnc interrupted when she falls a prey to the charms of the suave but villainous and unsavoury scoundrel, Phillip Sevilla (Theo Shall). Infatuated with him, she plans to leave for Puris. Colin determines to stop this. In a dream he finds himself evolving a most ingenious plan to kill Sevilla. a dream which, when he wakes, he determines to put into practice. This he does and the writer has achieved some very clever play in the variations, in the reactions, in reality, and in his dream, to his manoeuvres. He does, however kill Sevilla. What happens thereafter the climrx of the story, will be dis-: covered by those who witness the film | A varied and most interesting selec- J tion of shorts completes the programme.

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i CRYSTAL PALACE "JOURNAL OF A CRIME" Rarely lias Ruth Chattcrton Misplayed her powers as an actress to better advantage than in "Journal of a Crime." which began its season at the Crystal Palace Theatre last evening. The fllm—the story of a passionate crime and a finely-wrought woman's slow expiation—is unusually tonse, depending for its effect not so much on sudden and violently dramatic scenes as on the revelation of the gradual change that is wrought in two people's lives by a sense of guilt. Consequently it demands of the actress taking the leading part unusual ability, the sort of ability that shows itself in emotional restraint, and in the revelation of small changes of character, rather than in any flamboyant display. Ruth Chatterton gave an admirable portrayal of the part. "Journal of a Crime" is. as its name states, a crime story, but it is unusual among its kind. There is no court, scene, no pursuit by detectives, and no puzzling to decide who committed the murder. A playwright (Adolphe Menjou) has been neglecting his wife for the favours of Odette (Claire Dodd). the leading lady in his latest play. She has had other lovers, but he plans to divorce his wife for her sake. While the play is in rehearsal a criminal who has just held up and killed a bank clerk takes refuge in the theatre. Odette is killed by a revolver shot fired from back stage, and the police search reveals the criminal, who is arrested and subsequently executed for two crimes instead of one. The playwright, however, finds evidence that his wife has been behind the scenes that day, and forces her to admit that she fired the shot that killed Odette. Thereafter the story reveals the gradual breakdown of the wife, until she is injured in a street accident and loses her memory. Too full a revelation of the ending, however, would spoil the story. Such a story demands skilful handling, and the success of the film is dependent almost, entirely on the acting of Ruth Chattcrton. who reveals unusual ability in the expression of small shades of development in the character of the woman who found the memory of a crime too much for her. Although it is unusual and depends more on character than on incident. "Journal of a Crime" holds the interest throughout. The acting of Adolphe Menjou reveals that his days as a star are not vet ended. CJcorge Barbier is a convincing and humorous producer, and Noel Madison makes a villainous yet human criminal. The supporting programme is unusually varied and interesting. liesides an excellent newsrrel it includes a comedy dealing with the entertainments Of pre-war years, a brief story of the turf, with the mam part taken by an able ventriloquist, and a musical comedy story which is thoroughly amusing.

LJMiUTY "MiNDK/iYOUS AT MIDNKiIi T" AND "THAT'S MY !?OY v The story -.l' a yi.tu;-; broti'dif up id a sr.i:: 1! town in Ann rira who obtain 1 -. a utiivcr. ity <-diK:;iiion by bon i 11:;■ 'in 11 o 11footballer is yraphieslly portrayid in My Buy." which is tin' mam attraction at the Libcviy Theatre. Weighing less than 11 h<- bee orit<-s, by bin speed a!',;! In. !nr!:y run-; n:i the field, an international football "Snakehips" Scott. Paying tin: price of fame, howcv< r, he falls in! 11 the clutche" of a .swindler. who, hav:ii," ( .'1 arlefl a eompanv in Scott':; name. cmbezzles tin; capital, commit:-; suicide, and leavs "S-akchipr," to .etlle with the creditor ■ To obtain the money he i..- xuwei to commit a selfi.h trie!. against in:; own cesires How thy ha! rid which liar fallen on him i:; eventually overcome completes; an int'Ti si in<; and exciting pioi. As Scott, K'.chard Cromwell makes a pleasant and'boyisii hero, white 'he pari of the rich heir (a;.; he h'V<i:; convincingly played Ijy Dorothy Jordan. r.iae Marsh make;: .a sympathetic and lovable mother, while others included in Ine strong east art: Lucien Littlelield. Arthur Stone, Robert Warwick, Otis lianan, riile.s Welch, and Leon Waycofi. Tli. scene.-; at the football stadium are excellent, while the teams oI two prominent universities were used in th'.: production. Hardy ha,. Ralph Bellamy appeared to such advantage as in tile drama "Rendezvous at Midnight," which is the second attraction at the Liberty. The only clue to the murder of a former police commissioner is a little tuft of .silver .ox fur, which has been iound in the grasp of the murdered man. The fur was pari of a supposedly "exclusive" gown bought irorn a prominent dressmaker by the heroine of the story. The untiring efforts of the police e< mtrnssioner, and incidentally the accused girl's lover, to save her, make an interesting and thrilling tale. The display of many beautiful gowns and. furs worth thousands of pounds also add to the attraction of the picture, Valerie Hobson, the charming young English actress, plays the part of the innocent girl accused of murder, while Catherine Doucet, as the dressmaker, relieves the drama by her selling of "exclusive" models. Also included in the cast arc Kathlyn Williams, Helen Jerome Eddy, Parnell Pratt, and. Arthur Vinton. THE PLAZA

"LORNA DOONE" Few historical romance;; -have rel mained last favourites tor .so long as "Lorna Doone," the film version of which enters on its second week at the Plaza '1 heat re to-day. The story lends itHe] 1" admirably to presentation the screen: it is full ol action, is set in a beautiful English countryside, presents a great diversity of characters, and has a most attractive pair of lovers. The film reconstructs admirably the atmosphere of seventeenth-century rural England. Some of the court scenes suggest that a historical film dealing with the town life of the "full-bot-torncd wig" period might also prove very attractive. "Lorna' Doone" has ail the qualities of a good, hearty romance, with plenty of fighting and hard riding, combined with a tender love story. Readers of • the book will naturally be keen to see it and to compare it with the written story. Naturally, it does not attempt to follow that story in all its intricate details: the directors have wisely chosen to select the most striking incidents and to present them forcefully and vividly, the result being that the film version has a dramatic quality of its own. a simplicity and directness that make it all the more admirable. The camera man has clone his work very well, and pictorially the film is all that could be desired. From the outset, when Farmer Ridd's horse comes home aione from Exmoor, where its master has been killed by the Doones. the film holds the interest of the audience. Young John Ridd's vow of vengeance is followed by his boyhood meeting with Lorna Doone. and thereafter the story moves quickly with the development of his love when they meet again years later. The rescue of Lorna from the valley of the Doones. and the subsequent attack of the robber band on the farmhouse are dramatically conveyed, while the court scenes and dramatically interrupted wedding, followed by Ridd's fight to the death with Carver Doone bring the story to a fitting climax. j John Loder. as John Ridd, gives the I part all the character he has shown j in his previous pictures, without modernising the part. Victoria Hopper j makes a charming Lorna Doone, and Roy Emerton as Carver Doone is another outstanding character. Tne supporting programme contains some attractive news reels and travel films.

MAYFAIR JOHN SSEAL IX "LADDIE*' Life on an Indiana farm, where apart from the ploughing of fields, the cooking of meals, going to church on Sundays, and little more than courtships and marriages. and all that comes between them, makes a story of the kind that was in great demand when Gene Stratton Porter wrote "Laddie." The story became one of the 10 best sellers in 60 years, and even though it may be a little out of date for reading in 1935, it comes to the film even now ai; a most enjoyable story. It has the virtues, of sirifplicity and brilliant acting. Coming closely in the wake of "Little Women" and "Anne of Green Gables," it asks lor comparison and it is sufficient to say that "Laddie" should have an appeal even wider than theirs. In coming to the .screen it gain:., more than it'loses, chiefly because it is finely acted, and in a large measure because of the extreme care that has been taken in its production. John Leal, who is Laddie, has been cast in some most unpromising parts. In "The Little Minister," for instance, playing opposite Katherine Hepburn, he made an outstanding success of a difficult piece of work, and here in "Laddie" he has undertaken a similar part. He is more convincing this 'mie —he has more opportunity to be—and he is cast, in a lighter story. The story of "Laddie" is well enough known; it is built upon the life of several members. and one in particular, of a on a farm in Indiana. while Laddie's elder sister, one of many, is going through the process, he is falling in love with the daughter of an English squire who has settled on the neighbouring farm. Tne obstacles in th" way of marriage seem, of course, insurmountable, but chiefly through the interference of a younger sister, who carries letters and says nrayers. Laddie's difficulties are overcome. ~ Gloria Stuart, who nlays opposite .Tohn Heal, has an easier role, as the tvautiful "fnirv princess" living next door. 11 is the simplicity of her acting. of the acting of Beal. and esne'ciallv of two small children in the c(o''v that i>- the chief nttvnetion of the film'. Such a story is a difficult one t.o brine to th" screen, but the nrorhicer hac realised the value of simnliritv rinrt has made n most eniovable him Th" suoporting programme is an entertaining one. including several newsreels and a coloured cartoon.

NEW PROGRAMMES "THE WEDDING NIGHT" COMING TO AVON Anna Sten, the beautiful Continental actress, and the star of such famous films as "We Live Again," "Nana," and "The House of Rothschild," is starred with the popular Gary Cooper in "The Wedding Might," which will be shown soon at the Avon Theatre. Directed by Kmg Vidor from an original story by Edwin Knopf and adapted to the screen by Edith Fitzgerald, the film depicts in dramatic and vivid manner the experiences of a modern American girl in her revolt against the- dictates and restraints of tradition and strict parental rule. The girl, living in the rolling farm country of northern Connecticut, seeks to live in conformity with the liberal social order of America, but her father, clinging tenaciously to the habits of the old world, demands that she wed a man of his choice, whom she does not love. Siegfried Rumann appears as the father of Miss Sten, Ralph Bellamy as the young man he selects to become his son-in-law, and Helen Vinson as the wife of Gary Cooper. "The Wedding Night" is released through I United Artists I

"ROBERTA" MUSICAL FOR STATE THEATRE NEXT WEEK A new mark for film musical comedy producers to shoot at is set by "Roberta." the latest Irene Dunne, Fred Astaire, Ginger Rogers picture, which was given a preview yesterday morning. The film will open at the State next Friday, and unless Christchurch audiences are quite unable to j appreciate quality, it should have the same sort of run that it was given in the North Island, where it ran for weeks to full houses. Thinking over "Roberta." it is a bit difficult to know where exactly to start to say something about it. because the film is throughout so excellently done. It is one of those American comedy productions which moves fast, is filled with the best ol mus.c and dialogue, and which has at the head of the cast names which guarantee its quality Perhaps the most striking thing about "Roberta" is that it breaks away from the tradition of the musical, set and maintained almost since talkies began, and gives a story that in itself is entertaining. The book of "Roberta" is very far from being a peg on which to hang good music, good dancing, and good comedy. In its solidity and aptness, the story is a most valuable addition to the attraction of the film. Irene Dunne Is starred, and in this new film she sings probably better than she has ever done before in. a series of numbers which allow every scope not only for her voice, but also for her great ability as an actress. She is particularly attractive in "Lovely to Look At," a song which has rather more merit than the general run of musical comedy songs. Fred Astaire and Ginger Rogers, beside providing the dancing, between them handle the bulk of the comedy of the film, and handle it exceedingly well. Their dancing is perfect, one number, a burlesque love scene, being the cleverest thing they have done. The name of V- <? film. "Roberta." is taken from the dressmaking establishment of that tHlc run by an American woman in Paris, the scene of the picture. The dressing of the less important characters, who take the parts of models and so r orth in the shop, is streets ahead of anything thai has been done in films before. There are dozens of fashionable creations shown that will make nn instant appeal to every woman in the audience. The staging of the whole show is magnificent without being overwhelmingly lavish. The music is brilliant, and there are at least half a dozen new songs. "Roberta" is a film that can be unreservedly recommended.

"CLIVE OF INDIA" PREVIEW AT THEATRE ROYAL "Clive of India" is a picture of many virtues, offering splendid entertainment. Those who saw a preview at the Theatre Royal yesterday must have been impressed in the main by three things, the acting of Ronald Colman, some magnificent scenes of warfare in India, and the most competent work of director and producer in overcoming the difficulties caused by rapid changes of scene. Ail will be familiar with the story of Robert Clive, his rise from obscurity as a clerk in the East India Company to the fame of the, conqueror of India, a story which, presented in the short space of a film and consequently told by means of the outstanding events only, is intensely d»-"",^tic.

"Clive of Indie.," uowever, is the story not so much of the conquest of a large portion of a vast country as the story of a man predestined, it might be said, to perform actions that have given him a lasting fame. At no time does one feel that an empire is at stake: but one does feel the contact in the soul of a man whose instincts urge him to difficult and dangerous courses that reason at times would tell him not to adopt. It is here that the greatness of Colman's

acting becomes apparent. Clive is envisaged as a man of determination, action and courage, qualities which Colman can show in masterly fashion. There are on occasions pleasing touches of humour, when the great man, inevitably confronted with the fate of India, shows his most human side. The difficult part of Clive's wife, who, although they had met before, comes to him from England expecting to find a poor clerk but finds instead the victor of Arcot, is creditably played by L<oretta Young. The producer has placed great emphasis on the relations between these two. In fact, the crises in the film are frequently concerned with these i relationships. For Clives find two great conflicting claims being continually made upon him, the one the irresistible urge to establish and safeguard India, the other his deep love for his wile. The acting, on the part of the principals ana tne minor character iUin.e, is notably good. tviany scents suuiu out. There is me ua.Hfcicrous> passage of the river, wncn the moiuouii uas jusi oroKcu. anu Cxivc suites aa on a surprise attacK on lorces vastly outnumbering nis own; the battie oi fiassey, speclacuiariy done; the House of Commons, when CJive aeiends himsen against the corrupt and incompetent omcials he had caused to be driven from India. These, and others, are the highlights of a notable film.