CITY THEATRES

Press, Volume LXXI, Issue 21525, 15 July 1935, Page 3

CITY THEATRES

MAYFAIR "THE GREAT HOTEL MURDER" "The Great Hotel Murder," this week's main attraction at the Mayfair Theatre, brings together again two old favourites, Edmund Lowe and Victor McLaglen. From the title of the film, a drama of crime, intense and nerve-racking, might have been expected. Actually the picture is divided between the solving of a murder and the comedy which the main characters produce in their inimitable manner. McLaglen, as in "Murder at the Vanities," is the personification of dullness —as house detective in the large hotel where the murder is committed he can discover no clues except those that lead in the wrong direction. The antithesis is found in Lowe, the skilled writer of detective stories, who is a. psychologist and a shrewd observer. Placed in juxtaposition, the two form an excellent comedy team, the one's quips and sarcasms continually getting home on the other, who, however, from time to time manages, after intense mental effort, to return the compliment in a less subtle manner. There is something very satisfying about a comedy-mystery drama. To the qualities of the thriller, always attractive because its success depends mainly on the atmosphere and the plot rather than on superlative acting, are added those of a comedy. This is not to suggest that the acting in "The Great Hotel Murder" is not good—it is good, not only on the part of the major characters, but also on the part of the minor ones without exception. There is, for example, the house detective's assistant who, until the villainy of his ways is disclosed, manages to extract much humour out of the simple phrase "I get you," his inevitable and only answer to his chiefs instructions.

One does not see the actual murder, nor is the murdered man revealed before his death. The atmosphere becomes tense when the two detectives, the one a blunderer and the other skilled, take daring steps to find the person responsible. The skill of the producer is here revealed, for he has extracted the maximum from the situation and from the different natures of the actors in the drama.

A dead body is found in the room of the Mardena Hotel, supposed to be occupied by Dr. Temple, who is attending a medical convention. He states that he knew the dead man, had been with him the previous night, and had arranged to change rooms with him. It is revealed that the dead man ha 3 been poisoned. The room in the hotel opposite is found to be occupied by the widow of the murdered man. She vanishes, after she has been questioned, and with her John Wray, the house detective's assistant. Blackwood and McCabe XLowe and McLaglen) have been searching, each In his own way, for clues. The latter has his suspicions, culminating in a chase after the two who have disappeared. But Wray knocks McCabe on the head. Blackwood captures Wray, and the climax comes when, in a secluded country house, with the mysterious women, the three are confronted by another man who had been present in the hotel. Also there is the doctor, recovering from a blow on the head. The murderer is discovered among this party. The supporting programme includes a Terry Toon cartoon entitled "The Bullfight,"' a comedy, "Object Matrimony"; "All Around the Town," a scenic film; a Fox Australian News, and a Fox Overseas News. j

CIVIC "ANNIE, LEAVE THE ROOM" Merry moments abound in the really mirth-provoking production "Annie, Leave the Room," now showing at the Civic All-British Theatre. The humorous complications arising from the operations of a film company in an impecunious lord's mansion form the basis of an entertaining story. A fine comedy team appears in this new offering, which is indeed a worthy successor to the side-split-ting "Are You a Mason?" The high praise given "Annie, Leave the Room by overseas critics was certainly deserved, for the production can be termed amusement in the best sense of the word. . The highlight of the tale is the triumph scored by Annie, the maidservant, whose hilarious performances head the laughter bill. Two famous English stars, Morton Selton and Eva Moore, give a happy lead to the other members of the capable cast, which includes the popular Richard Cooper. Jane Carr, Davina Craig, and Ben Weldon. Norman Cannon's wellknown West End play, "Spendlore Hall," furnishes the foundation of this delightful offering. It is one long laugh from start to finish. . The supporting programme is an attractive introduction to the feature picture. Box plans are at the theatre.

THE PLAZA "THE BIGHT TO HAPPINESS" To New Zealanders, who have all too few opportunities of hearing good music, the appearance in a film of a world-famous musician is a more than sufficient recommendation. Picturelovers and music-lovers alike in the Dominion have already revelled in the singing of Richard Tauber, great Viennese tenor, in "The End of the Rainbow" and "Blossom Time, and now he may be heard again in "The Right to Happiness," which is having a season at the Plaza Theatre. Once again the chief interest of the picture lies in Tauber's singing, although the story, full of romance, laughter, and pathos, is strong and well constructed. The big moment, musically and dramatically, s the finale of the opera in which Tauber, m Richard Hoffman, a celebrated tenor, superbly sings the PWjj music of Cavaradossi and triumphs over a bitter disappointment that had threatened to end his musical career. Like "The End of the Rainbow" the dialogue of "The Right to Happiness is in German, but the latter picture has much more humour than its predecessor, and it has been found necessary to interpolate sub-titles, for the full appreciation of many of the situations In only a few places does the Picture lose by the inability of -the audience to follow the spoken.word The sub-titles are a valuable butftr no means an essential aid in following the plot of the story. "Uncle" Bernhard, Hoffman's pompous manager and guardian angel, played by Szoke Szakall is a delightful and wholly lovable character and Petra XJnkel, who plays the part of Gloria, is a child "star" who would surely have been heard of before had she been an American instead of a There'is an excellent supporting programme.

GRAND

"OPERATOR 13"

The romantic days of American feudalism and the wealth and brilliance of splendid Southern State mansions, with their attendant darkie melodies, are featured in 'Operator 13," starring Marion Davies and Gary Cooper, which is having a return season at the Grand Theatre. The supporting programme will incJucie chapter 6 of the serial, "Pirate Trea-