CITY THEATRES

Press, Volume LXXII, Issue 21721, 2 March 1936, Page 18

CITY THEATRES

CIVIC “WHERE’S MY MAN” The Civic Theatre was full, for •'Where’s My Man” on Saturday night, ms Cicely Courtneidge and Tom Walls' are each leaders i» their own type of humour and when they are teamed together they produce comedy of the highest order. The film deals with the period at the beginning of the eighteenth century when the Duke of Marlborough and his armies were ploughing through the mud of flanders gradually driving back the French. The Duke, played by Tom Walls, and very well played, does not appear till Cicely jCourteneidge, as the proprietor of an English inn, has managed to get into many scrapes, culminating in a week in the stocks for assaulting a recruiting sergeant. On her release the sergeant has a further revenge by interrupting her wedding breakfast and taking her husband off to the wars as a recruit. Kit Ross (Miss Courtneidge) is not to be outdone and dressing up as a soldier enlists in the army. This, of course, gives Miss Courtneidge- all the scope she needs and promotion and demotion follow each other with lightning rapidity, although every now and then she runs the risk of being shot as a deserter. After finding her husband the position is no better. Not the least amusing of her scrapes is when she rescues the Duke from the enemy after he has been unwittingly betrayed by her husband. In this end the pair have the sweetest of revenges as they find that the recruiting sergeant is the real betrayer of the secrets, and a mad chase half way across France ensues by horseback, draught horse, donkey, on foot and in the carriage in which the sergeant is riding. They rescue the bogus treaty and Kit Ross proudly marches through the ranks of French courtiers to present a demand for unconditional surrender to the French King. It is a new role for both the leaders. Miss Courtneidge bounces out of all her troubles with a quip and a wink up to the time she receives special honour from Queen Anne for services rendered. Tom Walls, without much chance for his usual humour, plays his role with amusing dignity. It is a film that can be seen more than once and new fqn and new enjoyment gained from it every time. It is bound to enjoy an excellent season. The supporting programme of English shorts makes up an enjoyable evening. LIBERTY “RUGGLES OF RED GAP” “Ruggles of Red Gap,” the current attraction at the Liberty Theatre, has the advantage of Charles Laughton In the main part, and he reveals himself as one of the most entertaining comedy actors on the screen. this it has an unusual quantity of fun in a diverting and original story. In “Ruggles of Red Gap” most of Laughton’s success comes from the portrayal of a man who gradually puts aside the mask of a rather fatuous dignity to become human. He begins as “gentleman’s gentleman”—the third of his line—to an English peer. He is sleekly pompous, knowing his place as a servant, and trained never to dare to presume. Then his master loses him at poker to a rough diamond of an American millionaire, and he has to adapt himself to life in a small town in the American West. The second film on the programme, “Law Beyond the Range,” features Tim McCoy as the editor-publisher of a provincial fighting newspaper the “Mill Valley Ledger.” PLAZA “THE PHANTOM LIGHT” A lighthouse, reputedly haunted, in which a mysterious murder has been committed, is the scene of the action in “The Phantom Light,” the picture which is now having a season at the Plaza Theatre. With the characters, including a lunatic,' as a member of the lighthouse staff, a gang of criminals whose aim is to decoy ships to their destruction by tampering with the signals, and a naval officer, and a woman detective, who are bent on thwarting the gang’s efforts, there are all the elements that make up the best type of “thriller.” There is excitement, suspense, and mystery in abundance, and the unusual setting makes the picture the more effective. The advantages the setting offers have been exploited to the full. There is an eerie atmosphere until almost the finish of the picture —fog wraiths sweeping about the lighthouse, the lonely cry of gulls, tiny lights on the distant cliffs, the moan of the wind —arid even a mediocre story could not fail to be thrilling in such circumstances. The story, however, is above the average; it is well planned, and is developed so deftly that the audience has no idea of what is coming, and conjecture is frequently incorrect.

REGENT “A MIDSUMMER NIGHT’S DREAM” In "A Midsummer Night’s Dream,” which is now showing for a second week at the Regent Theatre, new problems have. been met by Warner Brothers’ technical staff and the producer. Max Reinhardt, and triumphantly have all been surmounted. The successful translation of this film to the screen marks yet another step forward in the art of sie cinema. Literary purists may quarrel with certain aspects of this great experiment, but the picture-going public will definitely welcome it as a new and entirely delightful form of entertainment. It is a very long picture—it takes up the whole of the programme with the exception of a news reel and a brief intermision—yet it seems as short as the usual feature film.- With but very few exceptions every sequence of this magnificently-con-ceived and remarkably-engineered film grips the attention. The film brought Max Reinhardt into the cinema studios for the first time, and no one could more appropriately have undertaken the big task. MAJESTIC “PURSUIT” There is a splendid recklessness about “Pursuit,” which is having a season at the Majestic Theatre. Lines of action radiate from the essentials of the plot, and none is left unexploited or given cursory treatment. It is the honesty, the pervasive good humour of the film which heightens its value as pure entertainment. Events move so swiftly, while evading so often a promised climax, that it becomes an exhausting business to keep vainly anticipating the next happening. For those who conceived the story have been ’ refreshingly unmindful of logic. Yet they have played fair, bringing all to a smooth end. It is only that they lead their characters through more queer streets than is usual. Chester Morris and Sally Eilers are together in an attempt to smuggle a wealthy child from America into Mexico. They themselves are not especially good friends, since each doubts the good intentions of the other; but at least they work always for a common cause and combine against more serious enemies. It is this abundance of enemies, indeed, which is the essence of the story. Not until the last is anything certain; and at last comes the most startling piece of intrigue. The supporting programme has unusual qualities. Most delightful of all the short films is a coloured cartoon. “BAFFLING BRYANTS” Beginning next Friday at the Majestic, the “Baffling Bryants” will present the million dollar mystery, which is described as “the most mystifying illusion ever presented.” In fact, it is so mystifying that the management offer a reward of £lO to any one person who can do it. A lady will be placed in a solid box, and members of the audience will be invited to padlock, rope, and secure in every way the occupied box. In fact it will be nailed and wrapped up in a heavy canvas cover and strapped up with 14 leather straps and buckles. Without touching the box, Baffling Bryant will cause the lady to reappear, in no way interfering with the box. Travellers from the East have brought news of magicians performing feats so wonderful that the only explanation was the hypnotising of the onlookers, who were made to imagine they saw things that had not really happened. Such an explanation seems the only possible one of “The Million Dollar” mystery. In conjunction with the “Baffling Bryants,” the Majestic will present the latest Metro-Gold-wyn Mayer entertainment, “Woman Wanted.” an exciting action romance featuring Maureen O’Sullivan, Lewis Stone, Joel McGrea, and Adrienne Ames. Plans, as usual, are at the D.I.C. TIVOLI “PERSONAL MAID’S SECRET” Comedies on the screen may be divided roughly into two classes—those which depend for their laughs on the labour and contortions of the actors, and. those which are genuinely humorous in the story they tell. Of the two classes, the second is almost always the preferable, because the films generally run smoothly and give the impression of being a solid, painstaking, and composite work. Although the title might not perhaps indicate it, “Personal Maid’s Secret,” which is now having a season at the Tivoli Theatre, is one of the best kind of comedies in the second class. It is also quiet humour. Margaret Lindsay and Warren Hull have the leading parts, and the others in the cast are more than usually talented. The supporting programme includes two short comedies—one starring the Yacht Club Boys, and the other starring Patsy Kelly and Thelma Todd.

MAYFAIR “IN OLD KENTUCKY” The ability of Will Rogers as a humourist and, a character, actor has scarcely ever appeared to such great advantage as in his last picture, “In Old Kentucky,” which is now showing at the Mayfair Theatre. The part of a Kentucky horse trainer, a rough, good-natured man with a dry sense of humour, is an admirable one for him. The film, moreover, has a pleasant arid interesting story, in which the characters are acted in a manner that in no way suffers comparison with that of Rogers himself. There is all the excitement that could be desired, and there is a fresh atmosphere throughout the whole picture. In the background of the story is the feud between two Kentucky families, the Shattucks and the Martingales. Nancy Martingale (Dorothy Wilson) owns a horse, Greyboy, which old Mr Shattuck is determined to obtain. But she refuses to sell him, and the ill-feeling grows. Miss Martingale’s grandfather is an eccentric old man, who complicated the situation by constantly threatening Shattuck, who has dishonestly taken some of his land. He carries a rifle at all times, and it is apparently only because of the old man’s failing eyesight that Shattuck escapes with his life. Finally a warrant is issued for old Martingale’s arrest, and it is then that he goes to hide with Steve Tapley (Will Rogers), Shattuck’s trainer, who finally gives a bond as surety of the peace on behalf of the old man. But when he is found to be harbouring Martingale Shattuck dismisses him immediately. The film has no noticeable hilches and the climax is most interesting. STATE THEATRE “THE THREE MUSKETEERS” Cardinal Richelieu’s bitter struggle to maintain his control over Louis XIII. of France dominated one of the most dramatic eras in' French history. More than that, it has an important place in literary history for it gave Alexandre Dumas a vivid background for the romantic adventures of d’Artagnan, Athos, Porthos, and Aramis in “The Three Musketeers,” the film version of which is now having a season at the State Theatre. This interpretation of the great French classic adds to the delight which romantics, young and old, take in that lusty tale of the seventeenth century. The picture brings, besides spirited dialogue, such thrilling sounds as the ring of rapiers, and the songs of the musketeers. Few have not read that great story of intrigue, and suffice it to say aboi.t the film version that it is correct to the last detail. The story of the scheming of the Count de Rochefort and Cardinal Richelieu reaches its thrilling climax in .the whirlwind ride of the three musketeers and the Gascon cadet in their race to recover the queen’s du nionds. The road is well barred against them, but not well enough, and one of the four ggfs to Calais. Ho is Saved the remainder of the journey to the Duke of Buckingham by being made prisoner by Ladv de Winter. The assembly of the three others who had fallen by the way effects bis release and the queen receives ner diamonds in time to expose the treason, of the Count de Rochefort. CRYSTAL PALACE “WHILE THE PATIENT SLEPT” In many ways writers of novels produce work superior to that of the motion picture companies, but few novelists could create such an atmosphere of mystery as have the producers of “While the Patient Slept,” which, together with “Something Always Happens,” is now showing at the Crystal Palace Theatre. The leading players are Aline MacMahon and Guy Kibbee. Miss MacMahon has the part of Nurse Sarah Keate, who has a cool head, a kind heart, and a sense of humour, each cf which she endeavours to hide under a mask of cynicism. At all times she has a bitter tongue, but this is especially evident when there are men about. A rich heiress masquerading as a poor girl seeking a position so that she can be with the man with whom she has fallen in love is an old subject, but in “Something Always Happens” this theme has been treated in a way which makes a delightfully entertaining comedy film. Nancy O’Neil has the part of the wealthy young woman, and the man to whom she is attracted is played by lan Hunter, who was chosen to go to Hollywood because of his excellent acting in this British film. AVON “THE MELODY LINGERS ON” “The Melody Lingers On,” which is now showing at the Avon Theatre, is a film in praise of music and is the best that has been shown in Christchurch for a long time. Apart from the musical side, the film is drama with a very high standard of acting, and it brings to the screen, in grand opera excerpts, a new and a beautiful voice—-

that, of George Houston. .His. rich, baritone voice reproduces very well, and his co-star, also a comparative newcomer to the screen, Josephine Hutchinson, has a long and exacting part to perform, which she handles with ease and grace. Acting the double role of the famous operatic baritone Carlo Salvini and of his son bom to Miss Prescott, George Houston even surpasses the successes he has had on the New York grand opera stage. The. favourite selection from grand opera for reproduction on the films is the .Toreador song from “Carmen,” and though it has been heard many times now in Christchurch, it has never before been presented so well as in this.film, for George Houston's art does not end with his singing; he is an accomplished actor as well. Miss Hutchinson, who plays the part of Ann Prescott, has reached fajne in a different form of art, and her performances at the piano are very well done. In her role in the film she has many different moods and characters to portray, and does them all very well. GRAND “THE FORBIDDEN TERRITORY” Based on the exciting yet sinister activities of the British Secret Service, “The Forbidden Territory” is one of the main features which is now having a season at the Grand Theatre. The story develops with swift-moving action to a climax where Ratoff is captured after a thrilling race with sleighs. “Frontier Marshal,” the second picture, is a romance of the Golden West, of the kind'that does not come to the screen with such regularity these days. George O’Brien and Irene Bentley have the leading roles. Others who give good performances are George E. Stone, Ruth Gillette, and Frank Conroy.