CITY THEATRES

Press, Volume LXXII, Issue 21792, 26 May 1936, Page 7

CITY THEATRES

REGENT “CAPTAIN BLOOD” There can be no hesitation in accepting “Captain Blood,” which is having a second week at the Regent Theatre, as an outstanding picture. Indeed, it seems hardly necessary to say that, because the novel of the same name by Rafael Sabatini is so thrilling a story of slavery and buccaneering that those who have read it can easily imagine what extremely fine entertainment the film version would make. It is safe to say that their anticipations will be fully realised. Unflagging action is the keynote of the picture. Beginning in the England cf James 11., with angry rebellion breaking out against his rule, the story carries one through the court of Judge Jeffreys with all its ruthlessness to the slave plantations of Jamaica and from there to the wide seas of the Spanish Main and its cut-throat adventurers.

FAMOUS NOVEL FILMED

“MAGNIFICENT OBSESSION” TO EE SHOWN AT REGENT

Wherever it has been shown. “Magnificent Obsession,” Irene Dunne's latest film for Universal, has created a sensation. Northern towns in New Zealand have been no exception. The film ran four weeks in Auckland and three weeks in Wellington, besides breaking many records in provincial towns. This film, taken from the remarkable book of the same title, by Lloyd C. Douglas, is in a class of its own. It wall be shown at the Regent Theatre for a season beginning on Friday.

The charming Irene Dunne plays the greatest role of her career, and her performance even excels those of “Cimarron” and "Back Street.” Robert Taylor is revealed as a dramatic actor of exceptional ability and fully justifies Hollywood’s announcement that this handsome young man is one of the most important screen discoveries of the year. Scenes between these two are presented with stirring dramatic qualities. Others in the cast who do especially good work are Charles Butterworth, Betty Furness, Sara Hadcn, Gilbert Emery, Ralph Morgan, Cora Sue Collins, Henry Armetta, and Arthur Treacher.

The story is regarded as a powerfully emotional film drama, the crowning effort of a master screen director. A stirring motion picture, it promises to become one of the screen’s most important contributions for 1936. Primarily, the story deals with the romance of Miss Dunne, portraying a beautiful young bride, and Taylor, as a wastrel son of a wealthy family. The climax of the story comes six years later, in a series of events filled with heart-rending tenderness, culminating a poignant love drama, such as rarely reaches the screen. “Magnificent Obsession” is the newest picture which John Stahl has created. He made “Back Street,” “Only Yesterday,” and “Imitation of Life.” This latest offering is the crowning achievement of his brilliant career.

Lloyd C. Douglas’ novel has been to press 40 times in the United States and has also had a large sale in Canada and the British Empire, as well as in The story has been reproduced cn phonograph records for the blind, so widespread is its appeal. Contrary to the usual way in which "best seller” novels rise to the top, “Magnificent Obsession” did not reach that vantage point until 18 months after publication. For three years thereafter the story has remained in the upper brackets of public demand. When the publisher first issued the book, he believed that 4000 copies would be enough.

TIVOLI “CRIME AND PUNISHMENT” The expectations aroused by a film based on Dostoievsky’s “Crime and Punishment” will not be disappointed. The picture, which is now showing at the Tivoli Theatre, is outstandingly good, and deserves the highest praise, both for the acting and the masterly production. The manner in which the psychological interest is steadily maintained and developed gives a character to the film that makes it leave a deep impression of sincerity on the audience.

Peter Lorre, as Raskolnikov, acts so well that the picture would be a remarkable achievement even if it had no other merits. He is a striking and fascinating figure throughout, giving a triumphant portrayal of the emotions that make the centra] interest of the story. Graduating with Honours from the university, he shows the development of the frame of mind that leads him to commit the crime of murder, and the strange alternating effects on his subsequent attitude. The events of the story follow one another with completely convincing realism and intensity, making every change in his outlook not a mere abstract psychological study but a vital part of the plot, MAJESTIC “THE LONE WOLF RETURNS” In all probability the average Christchurch theatregoer has begun to grow a little tired of the orthodox American “crook” film. There is too often a large amount of “racket” and “shooting” to cover up the weaknesses in the plot. But in “The Lone Wolf Returns.” j which is having a season at the | Majestic Theatre, entertainment seek- ■ ers can be assured of a surprise; for j behind a rather inadequate title is hidden a really excellent film, relying not ■ only on the excitement of the doings of a dangerous set of jewel thieves, but also on an extremely clever vein of comedy.

Another factor in favour of "The Lone Wolf Returns” is that it contains a number of cleverly contrived situations. Too often films of this type show no priginaiity in this way, but in this film the theatregoer can expect to be kept interested to the utmost degree in the difficult situations that arrive—and at the same time be kept thoroughly amused.

There is a most interesting and varied supporting programme.

LIBERTY “THUNDER MOUNTAIN” “Thunder Mountain," the picture version of Zane Grey’s popular novel, which is having a return season at the Liberty Theatre, has to do with a gold strike, a “jumped” claim, guns, a hero, villains, a woman villain, who promised to be the heroine, and a real heroine. George O’Brien is particularly convincing as the hero. The action of the film is fast, but is not rushed, and the story does not pretend to sensationalism. “That's Gratitude," a hilarious farce of family affairs, adapted to* the screen by Frank Craven, its author-actor-director, from his famous stage play, is the other feature on the* programme. Included in the cast are Frank Craven, Mary Carlisle, John Buckler, Arthur Byron, Helen Ware, Sheila Mannon, and Charles Sabin.

AVON “STREET SINGER’S SERENADE” Rinsing in the streets near the back door S a London theatre, hoping aaafn't hope for recognition and ultimate famef Bob Grant (Arthur Tracy) little thought, that he would be given his chance through the insistence of a mere chorus girl. The story of his chance and the use he makes of it, is told in “Street Singer’s Serenade, which is now showing at the .Avon Theatre It is a picture m praise of music and singing, and with the two leading parts entrusted to Arthur Tracy and Anna Neagle, who takes the part of the chorus girl, there could scarcely be any doubt about its sucC6 The film is mainly notable for the singing of Arthur Tracy, the welldirected ballets and the. exce lent nhotography of one scene in particular the ballet on the stage of the theatre- when the street singer first appears and sings .“The Whistling Waltz.” This scene is taken through the light branches of some flowering cherry trees, and the white dresses of the ballet make a delightful picture in the background. “THESE THREE” Unusual drama is contained in “Tlie'p ThV'e.” the Samuel Goldwyn production released by United Artists which will start on Friday at the Avon Theatre. Taken from a play by Lillian Heilman, this film. has m its leading roles three particularly canable artists, Merle Oberon, Miriam Hopkins, and Joel McCrea. and they are supported by other players who, though not so well known, are scarcely less capable. Full of surprising twists and dramatic climaxes, the dory chronicles the damage wrought in three happy and innocent young lives by the lying tongue of an evil-minded and malicious child—a pupil at the school fnr girls conducted by the two friends, Martha and Karen (Miriam Hopkins and Merle Oberon). How eventually the three victims fight through to happiness again, and clear their names, makes a fitting climax to a film that is gripping in every moment. Merle Oberon is even better than in “The Dark Angel.” and in the two other main roles Miriam Hopkins and Joel McCrea are also perfectly cast; but it is Bonita Granville, as the “little menace,” who steals every scene in which she appears. This 12-year-old gives a performance of such concentrated venom that she has been fittingly described as “a little Charles Laughton.”

PLAZA

“THE GHOST GOES WEST”

i “The Ghost Goes West” is without l doubt one of the finest comedies Christchurch has seen in many months The ghost who does the entertaining has won such unprecedented fame and popularity that he has found it necessarv to remain another week in the city, this time at the Plaza Theatre, to meet all his admirers. He is not fearful in the conventional style of ghosts, because he lets his public into his secret from the beginning, and the fun, not the fear, is theirs. • The ghost is the Glourie ghost from Scotland, presented by Robert Donat, famous for his performance in “The Count of Monte Cristo.” Donat appears here in a dual role as Donald Glourie and the ghost of his ancestor, Murdoch Glourie. The ghost is one who disgraced his clan through his failure to avenge an insult. The production is excellent. It comes from the sludio of London Film Productions, and is directed by Rene Clair. ’ » CRYSTAL PALACE “SURRENDER” Formerly musical romances were merely an excuse for staging impres-, sive ballet scenes and had very meagre plots, but recently this type of film has been improved very much by the addition of a good plot, and “Surren 'der,” the current attraction at the Crystal Palace Theatre has this advantage. Three new actors appear in the film, two of whom. Tamara and j Frank Parker, are stars. The third | is Helen Lynd, whose comedy acting is of a very high standard. Frank Parker was. previous to his appearance in flims, a radio performer, and was very popular as a tenor singer. As an actor he should be equally successful, for he has an easy manner, which is. nevertheless, very convinc- j mg. The leading lady. Tamara, has a | dual role to act, which must have been i very difficult for a newcomer to the j screen, but she acquits herself very j well. r

There are on the supporting proj gramme some excellent features, one |of which, “Truth is Stranger Than Fiction,” is an ingenious m-oduction. Of special interest to cyclists is an inter-Dominion contest between H. gTurtill and A. Ralston (New Zealand) and Frank Thomas and Pat Veitch (Australia). STATE “THE MAN WHO BROKE THE BANK AT MONTE CARLO” “The Man Who Broke the Bank at Monte Carlo,” which is having a second week at the State Theatre, is one of those inconsequent, unimportant, but very pleasing films, which give the star a holiday on the screen as well as off. Ronald Colman, who takes the lead, has a part so light that anybody else might have played it just as' well, but that is the picture’s only noticeable shortcoming. It gives Colman too little to do.

The film opens amusingly with a scene in which Colman breaks the baccarat bank at Monte Carlo and, successfully resisting the temptation to try his luck again, returns to Paris. There the audience learns that he is a former Russian refugee, forced by circumstances to earn a precarious existence as a taxi-driver, but now able to live in luxury again together with a dozen or so of his compatriots who have been working as cooks and waiters. Meanwhile, Monte Carlo has to do something about this man, who has broken the bank and then left, telling the world that only a fool risks his luck twice. They must get him back to the tables and defeat him.

“REMEMBER LAST NIGHT?” A group of socially prominent young people, the faster set on Long Island, wake up after staging a gay party to find that a murder has been committed. Amateur detectives try to solve the mystery and later a hypnotist is called in. But then new murders are committed. These facts make a good background for “Remember Last Night?”, the coming attraction for the State Theatre.

MAYFAIR “KING OF THE DAMNED” Though British prisons are no longer dungeons, and the punishment of criminals is, at least in its endeavours, reformative, themes which recall the harsh punishments possible in other parts of the world and at other times are not entirely superfluous; they serve as a warning to deserters of an ideal, and in “King of the Damned,” which is now showing at the Mayfair Theatre, such a theme forms the basis for impressive, if rather stark and grim, drama faithfully acted by Conrad Veidt and Noah Beery. . x _ "King of the Damned” points the old moral that an enterprise, however worthy its aims, is self-condemned if it proceeds by evil means. It concerns a revolt of convicts on the penal settlement of the island of Santa Maria, of its leadership by a pardoned criminal, and of its ultimate failure, since the island cannot be held against all the forces of authority in the outside world. Yet the ending foreshadows a betterment of the lot of the condemned and the recognition that they are men with individualities and not a herd of ruffians. Because mob leaders are playing such an overwhelming part in world affairs today, the film is especially interesting as showing how. if men are wretched enough, tney will grant unhesitating allegiance to a powerful personality who promises them escape from their miseries. WHEELER AND WOOLSEY BACK AGAIN ■wWeler and Woolsey, who had such a success in "Silly Billies” at the Mayfair Theatre less than a month ago, will be seen there again on Friday when their new film, “Rainmakers,” will be shown for the first time. These two comedians are at their best in their new production. GRAND

“STAGE MOTHER” AND “FAST

LIFE”

Alice Brady plays the leading role in “Stage Mother,” a theatrical drama adapted from an original story by Bradford Ropes, which is having u season at the Grand Theatre.

An exceptionally strong cast has been assembled to appear with Miss Brady. Maureen O’Sullivan plays the young daughter struggling for theatrical fame under her mother’s guidance. Franchot Tone is seen as her young lover, and is said to give another brilliant performance. Phillips Holmes, as Lord Aylesworlh, who wants to marry Miss O’Sullivan, to save her from the designs of her mother, and Ted Healy give convincing performance; “Fast Life,” an uproarious comedy, starring Madge Evans, William Haines, Cliff Edwards and Conrad Nagel is the supporting feature.