Cinema Reviews

Press, Volume LXXII, Issue 21808, 13 June 1936, Page 6

Cinema Reviews

regent “RENDEZVOUS” A. graphic impression of modern methods of espionage by the use of radio invisible ink. telephones, and women is given in “Rendezvous, which began a season at the Regent Theatre yesterday. The him is principally a vehicle for polished rv-iiu,. smart talk, comedy, and plausible thrills, but one imagines that the life of many a real spy must have been filled with the same dangers and hairbreadth escapes as are contained in this film. There is a highlydeveloped atmosphere of intrigue, plotting, and revenge, which is made all the more effective by the smoothness and speed of the acting. At critical moments the picture I moves easilv and quickly. The flicker of an eyelid, the sudden dropping of something, the deciphering of a mysterious message, snd a score of other l>uch tricks and ruses to keep up interest are skilfully used in the production of the film. William Powell’s shrewdness and nonchalance are well suited to the ■pint of the story, and he receives excellent support from Rosalind Russell. who acts capably in a part that was originally written for Myrna Loy. Ettective performances are also given by Cesar Romero, who has the part of an astute foreign spy, Binnie Barnes, and Lionel Atwill. The theme deals with international espionage during the Great War. Bill Gordon < William Powell) is the one man in America who can invent for the Government a code which the enemy will be unable to decipher. Rut unfortunately he prefers to hide his identity in the uniform of an officer so that he may serve his country by fighting the Germans rather than by conjuring with the alphabet in a Washington office. Just as he is about to set off for the troopship which is to carry him to France he receives a note ordering him to report to the Assistant Secretary of State for War in Washington. The girl, Joel (Miss Russell), to whom he had said a passionate and amusing farewell, and to whom he had divulged his real identity, happened to be the daughter of the Assistant Secretary. She tells the department who he is because she is as anxious to keep him from the firing line as he is to get there. The principal action of the story concerns Powell’s efforts to round up a gang of foreign spies which has been intercepting information about the movement of American troopships on the way to Europe. There is a highlyexciting climax, in which Powell and the heroine are captured by the spies.

MAJESTIC THEATRE “HERE COMES THE BAND” As bright and breezy as its title suggests. “Here Comes the Band,” played its way into the hearts of the audience at the Majestic Theatre last night. It was a picture well calculated to please all tastes; it would be a very exacting theatregoer who could fail to be pleased with the wealth of music, and mirth which it introduced. • Here Comes the Band” opened with the disembarkation of American troops on their return to their native shores, and it was throughout closely associated with the fortunes of two harumscarum army bandsmen, who, failing to rehabilitate themselves very successfully, concentrate their energies on sponsoring the career of a young western singer. The latter is very, much exercised to establish his claims to the authorship of a popular song hit, -Headin’ Home,” which has been pirated by an unscrupulous publisher. Added zest is provided by his romantic courtship with the daughter of the colonel of the old regiment to wnich the band was attached. The t tory was, too, a moving commentary on the long-sustained comradeship of American former servicemen, who, no matter what their wqlk in civil life might be. dramatically rallied to the support of a deserving cause at the call uf two members of the old regimental Land. Naiurai’v there is band music in -Here C r.c Band,” and very excellent music it proved to be. The main attraction on the musical side of the production was, however, the intriguing vocal numbers, including "Headin’ Home,” "Ron Along Prairie Moon,” ‘ You’re Mv Thrili.” and “Tender is the Night" These were engagingly tune by the virile baritone, Harry Stockwell. who. in one particularly pleasing niunbu - . was coupled with Virginia Bruce. Virginia Bruce, by the way. gave an outstanding portrayal of an exacting part. Ted Lewis and his celebrated orchestra were in the picture with a series of entrancing numbers which contributed materially to the harmony and hilarity of “Here Ccrr.es the Band.” Romance was truly ret to melody and mirth in this whim- : ical production, and its fun was all of trie wholesome kind, being ably sustained by that inimitable pair, Ted Healy and Nat Pendleton, who wage a perpetual comical feud. Other members of the talented east of this new ccmedy romance include Donald Cook, Ferdinand Gottschalk. Robert Glecker, May Beatty. Herman Bing, Tyler Brooke, and Richard Tucker, Mention, too. must be made of the bevy of American beauties who figure in the picture, and the massed singing of American folk songs by cowboys and fic^rocs Excellent supports were screened, including a diverting Charlie Chase cunedy. “Public Ghost No. 1.”

GRAND “THE MAN FROM TORONTO” AND “LOVE ON WHEELS” The new attractions at the Grand Theatre are a joyous comedy with Jessie Matthews in one of her best parts and “Love on Wheels,” one of the most popular of all Jack Hulbert’s pictures. In ‘The Man from Toronto” Jessie Matthews receives able support from lan Hunter. Ben Field, and Fred Kerr. The plot concerns an eccentric Canadian millionaire, Simon Kartopp, who leaves half a million between his nephew Fergus and Mrs Leila Farrar, an attractive widow, on condition that they marry. Fergus and Leila have never met, but each imagines the other a freak. The executor of the will is Bunston, a solicitor, Leila’s uncle. Bunston gently reminds her that such a marriage would prove her salvation, for she is at present living beyond her income. Unless, therefore, she agrees to the terms of the will, it will be necessary to move from her expensive flat and take the proverbial cottage in the country. This start gives the actors plenty of scope for fun in their parts. The film shows glimpses of the unspoiled English countryside. Amberley, in Sussex, was the location chosen for some of the “shots,” and, as can be imagined, the invasion of movie camera and recording apparatus created much diversion in the locality. Sinclair Hill has collected several of the quaintest types lor this most amusing picture. For example, the villawe inn, with its crowd of beerdrinking yokels, more closely approximates (he real thing than anything so far done on the films. “Love on Wheels” is the tale of a romance that begins on a bus and ends in a store. It is an excellent allround comic operetta in which the characters are interpreted with artistry and charm. In addition to Jack Halbert; Leonora Corbett and Gordon MP 10 supply the fun.

CRYSTAL PALACE “THE BIG BROADCAST OF 1956” An enjoyable and Clever screen revue which effectively and cleverly avoids the familiar conventions of its type is “The Big Broadcast of 1038,” which opened its Christchurch season at the Crystal Palace Theatre last night. The Incidental "turns,” which in so many revue type shows are the most important part of the film, are in this picture introduced in a novel way, the comedy note is agreeably emphasised, and the incidents in the plot are both varied and interesting. It is light and clever entertainment, which should have a universal appeal, and have a special claim on radio enthusiasts. The plot has a most exciting end, which it would be unfair to reveal. Although the plot is flimsy, the story is a much better one than the majority of musical films of its sort, and it has a pleasing continuity in spite of the numerous vaudeville turns, all of which are very good. The story deals with the vicissitudes of two radio entertainers who run a broadcasting station of their own. The station is exceptionally popular with the great American public because of the heart-stirring broadcast talks of Lochinvar the Great Lover (Jack Oakie) and because of the singing voice Of Henry Wadsworth, who partners Oakie in the enterprise. A countess from Cuba falls in love with the radio voice of Lochinvar and shanghais both him and his partner aboard her yacht. On board the two kidnapped entertainers are lucky enough to use the product of an inventor of a wonderful television set, called the “Radio Eye.” This device serves to introduce to the film several of its most diverting numbers. Amongst the subjects it brings to the yacht in an ether cruise round the world is a humorous piece of dialogue between Charles Ruggles and Mary Boland; a snatch of song from the ever-popular Bing Crosby, and a burlesque item featuring Ethel Merman and a troupe of performing elephant*. Jack Oakie’s performance stands out in the film, and his portrait of an overconfident American ever landing in trouble is typically good. Lydia Roberts as the Countess of Cuba plays hexpart with a great deal of visible enjoyment, and there is more than enough music— including some good songs—to satisfy those who feel that a screen revue should have plenty of melody. There is an excellent and varied supporting programme.

TIVOLI “THE PRIVATE LIFE OP HENRY VIII.” When “The Private Life of Henry VIII.” was first shown in Christchurch it was justifiably acclaimed as one of the finest pictures that had come from a British studio. More than a year has gone by since then, a year in which the British studios have produced some extremely fine pictures, but the splendid qualities of this tale of Henry VIII. have not been impaired. There is nothing of the dry dust of history in this picture. The matters of state and political relationships of Tudor England are only hinted, and the story follows the title of the picture very closely. Whether the story is historically accurate does not matter very much. Most important is that there is presented an entertainment surprisingly full of amusement and brilliantly handled. The picture began a season yesterday at the Tivoli Theatre. Charles Laughton had not the following when this picture first arrived in Christchurch that he has now, after such rich characterisations as were given in “The Barrets of Wimpole Street,” “Ruggles of Red Gap,” and “Mutiny on the Bounty,” but that was only because he was comparatively unknown. Certainly, his acting in this film is no less impressive than it has been in any of the others, for he makes a brilliant success, of his delineation of "Bluff King Hal.” But for two brief periods, sentiment has little meaning to Henry, yet gross and sensual as iie is shown to be, he Is a pathetically comic figure in the end. It is a difficult task, but Laughton makes everything seem very simple. He dominates the story at every stage, ridding himselves of his wives with the same dispatch as he swaggers through his court. But in the end he is mastered—by his sixth wife. Catherine Parr. ‘Six wives,” he says, in the closing scene, “and the best of the lot is the worst.” That Laughton should have so much to do is perhaps unfortunate for the rest of the cast, which has some talented actors. There is. for instance. Robert Donat, m the minor role of Thomas Culpeper, who goes to the block with Catherine Howard for his treason; there is Binnie Barnes, as Culpeper’s lover; and Elsa Lanchester, as Anne of Cleves. The latter’s characterisation is. perhaps, bettered only by that of Laughton. In the scene on their wedding night they provide some delightful comedy.

PLAZA “CHEER UP” Of the making of musical comedy there is no end. Since there are only relatively few plots, however, the excellence of this type of film must rest upon ingenuity in presentation and upon its music. It is this ingenuity which gives new appearance to an old story in “Cheer Up,” which is at the Plaza Theatre. Musical comedy has charms which belong to it alone; but apart from those, this film is one which should be seen by those who like the absurdities and intricacies of mistaken identity. Struggling artists have attracted the attention of all but the right kind of person since the time of Dr. Johnson. Here. Stanley Lupino has the part of a mute inglorious Milton, He is neither mute nor inglorious to himself, but only to the whole tribe of people who inhabit London with the sole purpose of financing good plays. A whole choir of such Miltons, if they were as beatifically inane as Lupino, would apparentlly be unable to beguile the hard men of the theatre world. Landladies and laundrymen stalk threateningly through his existence as well. They are unimpressed by their creditor’s unfiowering genius. Unaware that he carries always with him a play which will set hundreds of Thameses on fire, they give him no reS t A man’s best friend is hig stomach, it is said; and certainly it drives Lupino to superhuman efforts. His chincaneries are numberless. His misfortunes, too, are many. But true to type, he sets out on yet another quest —after a girl who is sure to be his inspiration. For her sake, he starts a gigantic brawl in a fashionable London restaurant, wherp he is drinking soda water. One consequence of that is that she mistakes him for a millionaire producer of plays. Unknowingly he carries on a deception which admits him to yet more embarrassing situations, to yet more debt-accumu-lating ventures. The end is fortunate, however; and genius comes into its own. V There are scenes in the picture of infectious and monstrous absurdity. More conventional delights are not neglected. Situation, the songs, and the dancing are dovetailed into unbroken entertainment

MAYFAIR

“IT HAD TO HAPPEN” For its presentation of a new feminine star and the originality of a good many of its situations, “It Had to Happen” is an interesting film. It presents the dominating, commanding George Raft in a strangely twisted story. With him is Rosalind Russell, who has been acting with conspicuous success as a deputy for Myrna Loy. Her surprising likeness to Miss Loy, not only in appearance but in the crisp manner of her acting, makes the film an interesting study. George Raft’s personality makes him the ideal racketeer, and as such he has achieved a good deal of success. Now in this film, at the Mayfair, he springs a strange surprise as a racketeer not in the cause of crime but of honesty. Landing in America as a workless immigrant, penniless and powerless, he finds himself in a road gang holding up a red flag and having the whole city of New York, the Mayor included, stop at his command—and here is the idea. The red flag of danger will hold a whole city of traffic at bay, and the red flag of danger similarly will call to his bidding any man, big or small, with an uneasy conscience. Raft becomes the unseen politician, who holds no office, but controls the city. He becomes a great blackmailer in the cause of honesty, takes millions of dollars from his victims, and passing it on to its rightful owner buys for himself a clear conscience. It is a strange story for George Raft, but its originality makes it interesting. Rosalind Russell is eminently successful as a wealthy woman who is the inspiration behind Raft’s amazing career. The film has travelled through several hundreds of feet before the audience has had more than a glimpse of her, but her performance is one that is interesting enough to overcome the little impatience this provokes. She finds herself in situations strangely similar to those of the usual Myrna Loy film, and engages in some crisp dialogue of the type that has won Myrna Loy her reputation. Her presence in the story lifts it a little above the general level of George Raft’s films. Leo Cariilo is amusing as Raft’s associate. Others in the cast are Arline Judge, Alan Dinehart, and Andrew Tombes. There is a good supporting programme.

STATE “FIRST A GIRL” A picture which moves brightly along by the sheer force of personality of the performers, is “First a Girl,’’ which is now in its second week at the State Theatre. Jessie Matthews, who will long be remembered for her excellent performances in “The Good Companions’’ and "Evergreen,” takes the leading role, and she is very ab • supported by her husband, Sonnie Hale. ,The story is slender enough, but pleasantly melodious songs and bright chorus numbers whisk the play along at .. merry pace, making the film very amusing and capital entertainment. Jessie Matthews is seen as a would-bl actress who is offered an opportunity to make good by deputising for a female impersonator who has broken down on the eve of his appearance in the first engagement he has received for many months. In thus impersonating the impersonator, Jessie Matthews finds that her troubles begin when she is off-stage, and the untangling of the cc.npiications m whaph she finds herself provides some hilarious situations. A good deal of fun is extracted from the story. Much of the comedy of the picture is set against the background of the French Riviera, and it is here that Miss Matthews is seen in one of the best scenes of the film. The picture proves the ability of the British studios to conquer a field in which they have for long been backward, namely, the production of bright musical films. “First a Girl” is a delightful piece of nonsense, containing piquant scenes, merry masquerades, and clever dialogue. The songs and dances that are featured in the production move to lilting music, and Jessie Matthews not only sings a number of catchy songs, but executes with the utmost grace a bracket of intricate dance numbers. She succeeds in extracting comedy from every scene, and rather than the ingenuity of the plot, it is the exuberant vitality that she infuses into everything she does that puts the seal of success on the film. Sonme Hale’s infinite capacity for foolery is no small part of the picture. He is a very useful foil to Miss Matthews’s daintiness. Anna Lee and Griffiths Jones fill the other supporting roles with credit. There is a very interesting programme of short subjects.

AVON “QUEEN OF HEARTS” “Queen of Hearts,” which has begun its second week at the Avon, is one of Grade Fields’s best, and possibly her greatest achievement, Measured as her films are by the dividend of fun and music they return, it is a sound investment. Her amazing personality, overcoming as it does her .lack of the approved style of feminine beauty, carries her forward on a great wave of merriment and - song to another great triumph. Those few sceptics who have not yet seen and heard her and still imagine their good taste and d.m sense” will be offended if they do, must come this time, and be won over. . ... Grade retains her own name in this film She is Grade Perkins the coffee-stall girl from Brixton, who by chance, by false pretence, and by force of that “personality in a million,” breaks her away into the blaze of the footlights. As La Perkinosa, the woman whose voice thousands flock to hear, she appears in a new role. She is introduced in her usual atmosphere of honest poverty and honest good humour, in the midst of pie and coffee stalls and second-hand clothes stores, but this time she moves out of all this and on to the great stage. She puts on the dresses of a lady, and at the same time a good many of the graces and airs of a lady. She sings not only at a pie stall, but in a real theatre, dressed in fine clothes and looking, if not beautiful, a good deal more prepossessing than ever before. Her voice is allowed the fullest scope. It simply bursts forth at any unappointed moment in that high pitch of merriment which is peculiar to Gracie Fields and unrivalled by anyone on stage or screen. Some of the light music, particularly the song “Queen of Hearts,” is well worth going to hear in itself. After the film has begun a little unconvincingly and with a little slapstick comedy, this music, improving as the film progresses, covers up any minor faults.

LIBERTY “REGISTERED NURSE” A double attraction opened at the Liberty Theatre yesterday, one of the pictures being “Break of Hearts,” which was shown so successfully in Christchurch last year, and the other is “Registered Nurse,” starring Bebe Daniels, Lyle Talbot, and John Halliday. The latter picture tells of broken happiness mended in a hospital. After an unhappy married life Sylvia Benton (Bebe Daniels) returns to her former profession of nursing. Two of the doctors at the hospital which she enters fall in love with her. One asksj her to marry him, but she is in love

with the other. The former is a brain specialist, and thinks that an operation may save the life of Bebe Daniels’ former husband, who has been badly injured in a motor smash. Katharine Hepburn, with all her glory, is the star of the second feature, “Break of Hearts.” This is a story of a struggling young composer and an eminent symphony orchestra conductor, and their efforts to cling to a love which is put to a severe test.

NEW PROGRAMME CIVIC “THIS IS THE LIFE” AND “NAVY WIFE” A story with a decidedly unusual twist, “This is the Life,” which will begin a season at the Civic Theatre to. day with “Navy Wife,” gives Jane Withers an adequate vehicle for her manifold talents. The film is the story of a sensational child vaudeville performer, whose life is made unbearable by two grasping, selfish guardians, parts splendidly portrayed by Gordon Westcott and Gloria Roy. In “This is the Life,” Jane Withers comes into her own, not only as a dramatic actress of mature and seasoned talent, but also as singer and dancer. This picture shows Jane singing, dancing, and clowning as the performing child star who desires only to be a normal child. But, she is made the virtual slave of her unscrupulous guardians. The songs in the film are “Got a New Kind of Rhythm,” “Sandy and Me,” and “Fresh From the City,” all written by the popular composers, Sam Stept and Sidney Clare. In addition to singing these songs, Jane also gives a demonstration of tap dancing that will surprise those who know her only as the “bad girl” of “Bright Eyes,” which starred Shirley Temple, or the "lovable imp” of “Ginger.” A dramatic story studded with patches of bright comedy, and revealing for the first time life in the medical and nursing corps of the United States Navy, “Navy Wife,” is the other feature on the programme. Ralph Bellamy, one of the screen’s most popular young actors, has the romantic lead opposite Miss Trevor. Others prominently cast are Warren Hymer, Ben Lyon, Jane Darwell, George Irving, and Kathleen Burke. Miss Trevor enacts the role of a young nurse who, against her better judgment, falls in love with Ralph Bellamy, a physician in the naval hospital. She accepts his proposal of marriage knowing that he is still in love with the memory of his dead wife. She believes that love will come to him after marriage.