CITY THEATRES

Press, Volume LXXII, Issue 21733, 16 March 1936, Page 8

CITY THEATRES

■ - j CIVIC'' V- .. : ' I “CHU CHIN CHOW” AND “A CUP OF KINDNESS” Among stage successes of the last 20 years, ‘Chu Chin Chow” is still- outstandmg for its spectacular appeal, its varied character, and its humour. The Him version of the play with George Robey in a leading part, which forms the main attraction at the Civic Theatre this week retains all the appeal of tin original, with the addition of effects that can only be attained by the screen.

“Chu Chin Chow” is first of all a splendid spectacle, with all the atmosphere of the romantic East that has enthrall xl so many theatre audiences. The story of Aii and the 40 thieves is one that lends itself to imaginative treatment, and with the accompaniment of Prederich Norton’s music, and the help of such a comedian as George Robey as ibe fat outcast who stumbles OD robber’s gold, the film achieves an unusual qt&lity. The scenes in the robber’s den, with its ominous caverns and heaped up wealth, the fear of All as he hears them march by, singing, and his sudden change of manner as be achieves opulence after so long a period 3f penury, are admirably conceived- One of the great moments of the film is when the robbers are , tumbled cno by one down the well Action is provided in the fight in the courtyard, and in the attack on the Chinese visitor. The cast includes. Anna May Wong, Fritz Kortner, John Garrick, Sydney Fairbrother. and Malcolm McEcchem. Fun ' tf the kind which only Tom Walls and Ralph Lynn know how to provide is found in abundance in “A Cup of Kindness,” which fills the first half of the programme. It is filled with people who behave with a delightful inconsequential folly, like the typical suburban folk of “Punch” jokes. Tom Walls, as always, has an eye for the ladies, although this time he appears as a father who suffers from tiie lack of wits of twp grownup sons, one of whom is Ralph Lynn. TOie story is about the Tutts and the Ramsbotfems, who are neighbours and such enemies as only neighbours can be. Charles Tutt (Ralph Lynn) wants to marry Hamsbottom’s daughter, and his father does not like it, and refuses to help him. So he sets out to make a living for himself "pushing shares.” Somehow or other, chiefly because he looks too guileless tp be a knave, he succeeds handsomely, and the wedding goes ahead. Father Tutt against his will, has to suffer the company of the Bamsbottoms, and then Just when the families are grouped about the happy pair for a stiff and formal photograph, a detective comes to arrest Charles for false pretences. Of course it is all a mistake, but it suffices to upset the wedding night < Cause family recriminations, and provide the audience with countless laughs. But it is by the point of its dialogue, the inanity of Ralph Lynn, and the sage and wicked looks of Tom Walls that the film succeeds. It is « flrst-clasdi show. of the sort 1 that only the British studios can provide. Its wit aadP its language arc what the call' British ■ English to distinction from American aiMpu.- The distinction is worth aßißiM\ffife..jeker are tmderstand-‘.-V* i:

MAJESTIC “CHINA 'SEAS” •> Welt-produced melodrama is always, good entertainment, but “China Seas,’' which'' is having a season at the Majestic Theatre, achieves a standard in this type of film that is not often equalled Tn its brilliance. It has been vividly produced, the stpry is intensely exciting, and the action never lags. Perhaps the most striking feature of the picture is the merit of the casting. Clark Gable, Wallace Beery, and : Jean Harlow take the leading parts, and, as every theatre-goer knows, each is talented to a degree; but one receives the impression in this film that these , actors have not had to fit their parts. Rather, the parts fit them, and that, of course, makes their work the more convincing. . . Although the picture has been vividly produced it does not suffer from lack of restraint,, The director and the actors might well be excused if they tended to exaggerate, but there is no suggestion of flamboyance. The right atmosphere is set in the opening scenes, in which a ship in the, harbour of Hong Kong is boarded by the three principals—Gable as the brusque and hostile skipper; Jean Harlow as the unconventional and outspoken adventuress; and Beery as the affable trader in pigs who later throws off this mask to show himself as the leader of a hand of Malay pirates. On board is a valuable consignment of gold. But the picture is more than a tale of the pirates’ attempt to plunder the ship for the gold. . Into the story comes a charming English 'widow with whom Gable was in'love some years before. She is cool and poised, .in marked contrast the emotional and hysterical character Miss Harlow portrays, and both are seeking the affection of the young captain. With the ship menaced by storm and pirates, the three work out their problem. The incidental development of the story is extremely well done. The scenes showing the steamer at the mercy of a typhoon with a steamroller that has broken from its moorings sliding from one side of the deck to the other must be among the most thrilling that have ever been filmed. Equally gripping are the scenes in which the pirates board the ship and t«ikc cbsygc . The merit of the acting of the principals is enough to make the picture worth seeing, but the supporting players contribute to the success of the film to a greater degree than is usual. If there is any distinction between the talent of C Aubrey Smith and Lewis Stone, it is hard to find it in this picture. Rosalind Russell is sound as the English widow, and Robert Benchley, as the drunkard, brings a well-sustained touch of humoyr. The supporting programme is an excellent introduction to the main picture. Of remarkable beauty is a film of Banff, in the Canadian Rockies, photographed in colour. Equally entertaining is a Charlie Chase comedy, "Life Hesitates at Forty.” which deserves commendation for the originality of the story. REGENT \<THE PERFECT GENTLEMAN” Cicely Courtneidge, well known for her capable acting in English films, makes her debut in American films in “The s Perfect Gentleman,” which is ’ having a season at the Regent Theatre: In this, her latest production, she has the'typically wild and madcap role exactly suited to her temperament, but even though it is her first appearance in a Hollywood film tire Inevitable ‘‘grooming" process has ,’i * * vi, 1 4 >

already been at work, and she exchanges a little of her exuberance for an elaborate coiffure..' Miss Courtneidge’s vivacity is as great as ever, and’she finds a splen-J did foil in Frank; Morgan. Morgan,; it will be remembered, was the henpecked governor in “Naughty Mari-| etta.” a part in which he was very successful. There are in the film many amusing situations, the best of which are those at a bishop’s garden party, a charity auction sale, and in a London music hall. A fitting'climax to one series of amusing adventures is a scene in which Miss Courtneidge dances a rumba with Herbert Mundin, who is cast as a debt collector. “MUTINY ON THE BOUNTY” COMING TO REGENT ■ ! One of the most thrilling adventures of the eighteenth century, the mutiny of seamen on H.M.S. Bounty while on a voyage to the South Seas, has become one of the greatest adventure films of the present century. If the motion picture camera had been in use 150 years ago, no more authentic or thrilling record of .the amazing exploits of the Bounty and the historical mutiny 'could have been recorded, than will be seen in the “Mutiny on the Bounty,” which will open a season at the Regent Theatre on March 27. Many perils and hardships were experienced in the filming of this picture. Adventure-loving men again lived the perils of angry seas, the silent suffering of tyranny, the heartbreak of loneliness to recreate thi= immortal struggle of a handful of mutineers. PLAZA “INVITATION TO THE , WALTZ” With - its delightful Georgian costume, catchy airs, vivacious dialogue, and humorpus characters, “Invitation to the Waltz,” which is now showing at the Plaza Theatre, is a really entertaining film. One of its chief recommendations to . many theatre-goers will be that, unlike most films of the musical type shown lately, it depends for its appeal on dancing and not on singing. The dancer, into the. bargain, is Lilian Harvey, who has a way of her own, is a real person and not merely a pretty mask, and can dance with distinction. The story, of course, is farce, of the musical pomedy type. The setting is in the first few years of the last century, when Napoleon was the bogey of England. Jenny Peachey (Lilian Harvey) is the pupil in a dancing school, being trained to fake a 1 part in a ballet on the occasion of the marriage of the Duke of Wurtemburg to an English Princess, She meets one of the Duke’s officers and mistakes him for his master, but soon loses sight of him, After a few years she'has become famous as a dancer, and has Marek Weber (Richard Bird) as her pianist. She is induced to play a part in diplomacy in an endeavour to induce the Duke of Wurtemburg to ally himself with England instead of with Napoleon. She plans to do this by making him so waste the wealth of his State on her that he will be compelled to sign the English treaty for the sake of the money it will bring him. So she meets her officer again, and on the way to Stuttgart hears a new country dance—the waltz—which she and Weber between them make famous at their first and only performance in the city. She stalls off the Duke, is made fun of by' Napoleon, and gains her lover in the end.

The supports include an Australian newsreel, ah Italian ballet sketch, and a series of topical shorts;

TIVOLI “BROADWAY HOSTESS” AND THOUGHT READING The glamorous story of a Broadway and Park Lane singer’s career and an amazing exhibition of thought reading from the stage, form the splendid entertainment which is offered at the Tivoli Theatre. The picture, “Broadway Hostess,” features Winifred Shaw, and the demonstration of uncanny thought reading is given by one announced only as “The Mysterious Lady.” The absence of a name detracts in no way, however, from the excellent of her exhibition. With an assistant in the audience, and herself blindfolded, she named many articles which were offered. Not only did she give the bare name of the article, but, m many cases, she described, it. The stones in' women’s dress rings were named, and she detailed the numbers on several pieces of paper money. The contents of parcels were revealed and the size of a man’s shoes was announced, That in itself would have been an excellent entertainment,, but added to it was the beautiful singing story of Broadway. The supporting programme includes gazettes, an “Our Gang” comedy, and a coloured .travelogue of America’s great canyons. MAYFAIR “THE LITTLEST REBEL” Shirley Temple, in her fifth picture, “The Littlest Rebel,*’ which is having a season at the Mayfair Theatre, once more charms her audiences with her bright and natural manner, her lively tap dancing, and her singing. Sceptical people have prophesied that this .very young actress would soon become spoiled by the publicity that inevitably accompanies star acting; they had thought that all childish charm would disappear and that Shirley Temple would become an unattractive, forward, little prodigy; yet this has not happened. For the fifth time this child has made a successful picture and for the fifth time she has made a picture in which she, appears

as an unsophisticated, refreshingly simple little girl playing her part with naive spontaneity. There is not the slightest suggestion that this young actress has been given her lines to learn by heart; she has the happy gift' of speaking her part as if she had just that moment thought of the words she meant to say. It is the same with hqr actions and with her singing. She settles herself quite naturally and an- - nounces that she will sing to her audience;, .the result Is unstudied and therefore most pleasing. The story of “The Littlest Rebel” comes from the American Civil War. Shirley Temple plays the part of Virgie, daughter of Captain Cary (John Boles), of the-Confederate army; her mother (Karen Morley) and father have taught. Virgie never to tell a He. But as the trouble, between North and South becomes more acute and Captain Cary has to take graver risks for his army, things become, very unhappy for the people who live at the Cary home. In the supporting programme there are several interesting news reels and two educational pictures, one of Hawaii and a particularly good film showing the mysterious island of San Nicholas, There is excellent photography in this educational support. STATE “SEVEN KEYS TO BALDPATE” Seven Keys to Baldpate,” which is having a season at the State Theatre, is a film of the sturdy thriller type. Although it includes the robust comedy and the touch of romance which were digi.ingiiighing marks of the novel and the play by the same name, its suspense is maintained throughout, making the film an exciting and thoroughly entertaining one. The film is made from the novel by Earl Derr Diggers and the play by George M. Cohan, and has Gene Raymond in the central role. Raymond plays the part of a celebrated author- of mystery stories who has accepted a wager that he cannot write a novel- in 24 hours. He selects deserted Baldpate Inn as an ideally quiet place in which to work, and locks; himself in with what:he be-i lieves to be the only key to the inn; In existence. The time which he is

given to write his novel is from midnight to midnight and he is just about to begin work when a key clicks in the door of Baldpate and someone enters. Then at intervals, five more keys click in the door, and the silence of the deserted inn is shalered by the noise of violent adventure. The six newcomers are all in search of a large sum of money which has been hidden in a safe in the inn. Among them are two mysterious young women, with one of whom Raymond falls in love. He works with her in a battle of brains against the other five. Gene Raymond is well suited to the part he has to play and he seems toi enjoy it thoroughly. Although his air seems to be careless, he gives a studied performance and one which means a great deal to the ’success of the film. Margaret Callahan, who plays opposite him, also gives a good performance in a role that is not the easiest.

GRAND

“CARAVAN”

One of the most brilliant screen productions seen here in many months is now having a season % at the Grand Theatre. “Caravan,” outstanding as Erik ChareU’s first film effort in Hollywood, should insure ’a long and distinguished career for this gifted producer-director in America. His initial production for Fox combines splendour of setting and a lavishness unusual in sound films with subtle comedy and sparkling dialogue. The sweeping exteriors of “Caravan” are matched in effectiveness only by the delightful interludes of comedy, Perhaps topping all other features of this production are the amazing new technique and the unique use of music that stirs one with its rhythmic swing. The music, especially composed for the film by Wem*- Richard Heymann, serves to accompany and point the action. Outstanding are such song numbers as the "V ine Song,” “Ha-cha-cha,” and “Happy, I Am Happy.” LIBERTY DOUBLE FEATURE PROGRAMME “Sing As We Go” is the title of Grade Fields’ new musical production, the current attraction at the Liberty Theatre. J. B. Priestley, the author of “Good Companions,” wrote the story specially for Miss Fields, and this alone should ensure an excellent entertainment. The story tells of her adventures in Blackpool, where some first-class comedy sequences are filmed.

The other main feature on the programme is “Straightaway,” a speedway drama containing plenty of thrills and excitement. Tim McCoy heads a cast which includes several well-known American racing drivers.* The rest or the cast includes Francis McDonald, William Bakewell. Samuel S. Hinds, Lafe McKee, and Ward Bond. The director was Otto Brower, and the story was written by Lambert Hillyer.'

CRYSTAL PALAGE “MOSCOW NIGHTS” Films of the war have not, perhaps, the same appeal as they used to, as war plots have been so often used in the last few years. But “Moscow Nights,” which is having a season at the Crystal Palace Theatre, cannot be described as an ordinary filnvof thh war. It is, in fact, a triumph for the film studios, directors, producer, and photographers of Great Britain. It has long been said that Hollywood leads the world in the film industry, but if British studios can continue to turn out productions of the same calibre as “Moscow Nights” there will be no need for Britain to copy the lead of America. From first to last there are no unnecessary or drawn-out scenes, which in so many cases ruin a promising plot. More than with anyone else the fate of a film lies with the producer, Alexander Korda improves the already high reputation which he has won with former presentations, and it is only fair to say that his is a great share in the finish of “Moscow Nights." Byt however adaptable or weak a plot, may be, undoubtedly it is the acting in a film which determines its fate. And the English have proved in “Moscow Nights” that they have actors and actresses comparable with any which can be produced from other lands.

AVON

“WITHOUT REGRET”

The “eternal triangle” of two women arid one man has been a frequent source of drama for film producers, so frequent in fact that unless it is well played it is nowadays hardly possible. When, however, the story is written by Roland Pertwee and the main part is taken by Elissa Landi, the play has to be good. It is not quite correct to say that “Without Regret,” the film which is now showing at the Avon Theatre, is another presentation of the eternal triangle, rather is it a rectangle with two good players of each sex concerned in the drama.

. The story counts more in this pic- ‘ ture than in many that have been shown in Christchurch. Also, the play has the added advantage of bringing Elissa Landi to the screen in a .new.part. In the past she has shown that she knows how to play comedy and play it well. With all the dramatic stars at their call, the Paramount Company entrusted this story to Miss Landi, and she shows' that their trust was- not misplaced. “PETER IBBETSON” It is a good many years since George du Maurier wrote his famous hovel "Peter . lbbetson,’' but while they may have forgotten some of the detail it is doubtful if any readers of the story can have forgotten it sexquisite sentiment or its rare beauty of design. Paramount’s new screen version, starring Gary Cooper and Ann Harding, which will start on Friday at the Avon Theatre, has recreated that beauty in subtly moving fashion in a gracious pattern of undying love yrhich, according to advance reports,, will meet with the wholehearted praise of all discriminating picturegoers. The director. Henry Hathaway, has clearly visualised '" e , , unusual characteristics of - his and has produced; a study beautiful sentiment that mounts steadily to a .climax of terrific power.