CITY THEATRES

Press, Volume LXXII, Issue 21861, 14 August 1936, Page 8

CITY THEATRES

SHIRLEY TEMPLE AS SEA WAIF “CAPTAIN; JANUARY” AT MAYFAIR new tunes and new dances A genuinely: dramatic story underlies the song, dance, and comedy delights of “Captain January,” in which Shirley Temple plays the darling of two grizzled’old sea-salts. “Captain January” opens at the Mayfair to-day. Guy Kibbee, in the principal supporting role, plays the keeper of the lighthouse, the man who rescued Shirley from the sea years before, and now jealously fears that someone will take his darling from him.' Because .of the efforts of Sara Haden, as a vixenish truant' officer, the dreaded thing almost does happen, but in the conclusion Slim Summerville, Buddy Ebsen,. an t June Lang conspire to make Shirley rnd her foster father happy. Sum Summerville, whose performance in “The Country Doctor” was one or the -comedy standouts of that picture, is playing another of his inimitame character roles.

“The Right Somebody to -Love” is the hit song of the new picture, composed by Jack Yellen and Lew Pollack. There are, however, two other deligntlul tunes sung by Shirley, as well as a fascinating series of new tap steps, many of which are danced in company with Buddy Ebsen, star of the Ziegfeld Follies.

amrley’s new dances include a sensational novelty called the “multiplication table dance,” and a group of intricate steps with her new partner. As she makes her dancing descent on the spiral stairway, Shirley recites the multiplication tables in a chant to which she keeps time with her tapping toes on the steel steps. It was her own idea to call her new step the “Multiplication Dance.” Jane Darwell,- whose romance with Guy Kibbee brings many additional laughs, is prominent in the supporting cast Of “Captain January,” which was pioduced under the supervision of B. G. De. Sylva, and directed by David Butler.

STATE

“RHODES OF AFRICA”

The work of the Gaumont-British production unit in reconstructing the perils and thrills of tue old days' on the veldt for “Rhodes of Africa,” which Is to begin at the State to-day, caused to gather round the film camp many of the actual veterans of those hectic days, the handful of pioneers who, as young men, strode through a savage ccuritry and' made it their own. There are very few of them left now. and. their backs are not so straight as they were, or their tread so firm as it was in those wild times when Rhodesia was just a dream in the mind of a man whose determination and unswerving force were soon to turniit into reality. Their memories, though, are as bright as uiough it all happened yesterday, and they rallied round the makers of the film with tales and reminiscences of their beloved leader, the “old man,” as they called the pioneer who gave his name to Rhodesia. They brought souvenirs of his work and his friendships, and details of his habits, the way he walked, and stood and talked and laughed, the presents he gave which have been treasured through the years; and still vivid are the memories of his jokes and sudden angers. . , The narrative is rich in colourful spectacle, and is completely convincing. - Historic detail escapes from the orthodox in a refreshing manner. Clashes with Paul Kruger, parleys with Lobengula, King of the Matabele. the historic and dramatic Jameson Raid; the frenzied rush of diamond prospectors to Kimberley; the battle with the Matabele warriors; Rhodes’s dramatic pleading with the grim Kruger for Jameson’s life—these are highlights in the film that have never been equalled in their brilliance. Walter Huston plays the role of Cecil Rhodes, the man who extended and consolidated British power in South Africa and the region now known as Rhodesia. His performance is one of the finest dramatic portrayals yet seen on the screen, MAJESTIC “RIFF-RAFF” “Riff-Raff,” which begins to-day at the Majestic, is a story of elemental, vital, earthly people. Hattie (Jean Harlow) is the belle of the waterfront, a wise-cracking, hardtalking. soft-hearted, bluntly vital girl who has her own strict standard of morals and her own unique method of retaining them. Dutch Miller (Spencer Tracy) is a bombastic, egotistical fellow, who tv.ir.Trs the world is his oyster and that all women ip his world were created especially for him. These two people fpll in love. And when they fall in love the fireworks begin. Harlow, knowing intuitively that it would make Tracy completely impossible, has to conceal from him the fact that she is madly in love with Peters presents the terrifying stage illusion, “Death on the Guillotine,” every evening and Saturday afternoon. :

CLASSIC STORY RETOLD “LITTLE LORD FAUNTLEROY” AT AVON TRIUMPH FOR FREDDIE - BARTHOLOMEW The David O. Selznick production, “Little Lord Fauntleroy,” released, by United Artists, will be .shown at the Avon Theatre, beginning to-day. This film recently finished five weeks of continuous screening at the new Embassy Theatre in Auckland, which is in itself a striking tribute to its worth. Though still a mere child, Freddie Bartholomew has a reputation among the foremost stars of talking pictures. Twice within a brief space he has captivated the public—first as David Copperfield and now as Little Lord Fauntleroy. Here this youthful actor has the part of a manly little troy who was the idol of his widowed mother’s heart.

Over the years this famous character, created by Frances Hodgson Burnett, has been introduced to steadily widening audiences, and now he is brought to life again by David O. Selznick, the producer whose film of “David Copperfield” was the screen’s biggest triumph last year. In the new version of “Fauntleroy” there are some modern touches, but they improve the effect. The curls and lace collars have been discarded, along with much of the earlier sentimentality, but the spirit of the original story, loved by countless thousands, remains untouched, and the little hero is seen as one “of guileless wisdom, handsome, whom his hearers were always tempted to lead on by asking him questions to see what he would say.” It is in every way an exceptional picture, and not the least notable feature is the supporting cast, headed by Dolores Costello as “Dearest”; C. Aubrey Smith, gruff, grumpy, yet lovable, as the child’s grandfather, the Earl pf Dorincourt; Guy Kibbee, Mickey Rooney, Henry Stephenson, and Una O’Connor. Most of Freddie’s education has been private. His aunt acted as his instructress except for a brief period in a private school. In Hollywood he attended the school at the M-G-M studio, and now he has a tutor, Miss Murphy. He is not a precocious child except for his amazingly retentive memory. He can recite many passages from Shakespeare by memory, and this type of reading has given him an extraordinary vocabulary for a boy of his age. REGENT

“THREE LIVE GHOSTS”

Sparkling comedy, full of moments of thrilling excitement and romance make the screen play of “Three Live Ghosts.” which will begin to-day at the Regent Theatre unusual entertainment. Featuring Richard Arlen at the head of a fine cast, the story comes to the screen with a sweep and a breadth that were impossible on the stage, where it was very successful. Dealing with the adventures of three soldiers who returned from the war to find themselves officially “dead," the plot concerns their humorous wanderings through London without names or identities. One of them, Richard Arlen, is a wealthy American boy, who thinks the police are looking for him. The second, played by Charles McNaughton, is a Cockney. The third, played by Claude AUister, is an English nobleman who has been • shellshocked and has a mania for stealing things. For varying reasons they decide to remain hidden behind this official cloak of Their adventures as they mdve through London as living dead Aen, without names or identity, provide moments of hilarious comedy, lavishly sprinkled with romance and excitement.

Beryl Mercer as a Cockney mother is superb in the role she first created on the stage. Dudley Digges, Nydia Westman, Jonathan Hale, and others of the cast contribute excellent performances.

CRYSTAL PALACE

“BULLDOG DRUMMOND STRIKES

BACK”

A London fog is the real villain in "Bulldog . Drummond Strikes Back,” which will begin at the Crystal Palace to-day. For Captain Hugh Drummond (Ronald Colman) has just sworn off adventure for life and decided to go down to Sussex and raise hollyhocks, when he gets lost in a London fog, wanders into the mansion of the sinister Prince Achmed—played by Gland—and finds a murdered man in the library. The further discovery of Loretta Young as a beauty in distress causes the vision of Sussex to fade from his mind. Aided and abetted by the simpleminded friend Algy, played by Charles Butterworth, and frustrated at every turn by the gruff Inspector Nielson of Scotland Yard, played by C. Aubrey Smith —not to mention Prince Achmed and his insidious henchmen —Drummond moves through this to the tune of a series of entanglements that make the thrilling adventures of the earlier “Bulldog Drummond” film, to which this is a sequel, seem tame. Fifteen stars —Gary Cooper, George Raft, Wynne Gibson, Charles Laughton, Jack Oakie, Frances Dee, Charles Ruggles, Alison Skipworth, W. C. Fields, Mary Boland, Roscoe Karns, May Robson, Gene Raymond, Lucien Littlefield, and Richard Bennett—will be seen in “If 1 Had a Million," the second feature.

PLAZA

“THE AMATEUR GENTLEMAN”

The wit and brilliance of England in the Regency period is admirably portrayed in “The Amateur Gentleman,” which has been transferred from the Avon Theatre to the Plaza Theatre.

Douglas Fairbanks, jun., who will be remembered for his sterling performance in “Catherine the Great,” shows in this picture that his talents for historical or “period” roles are out of the ordinary. Fairbanks is admirably supported by Elissa Landi, who plays the part of Lady Cleone Meredith, the fiancee of Chichester. Gordon Harker, who is more often seen in comedy roles, has a splendid part as the faithful friend of the Bartley family, and his acting is superb.

GRAND

“PVE GOT YOUR NUMBER”

“I’ve Got Your Number” will begin a season at the Grand to-day. Joan Blondell has the role of a telephone operator who is accused of being the accomplice of crooks and is put in gaol, only to be extricated by Pat O’Brien, who plays opposite her as an agent for the telephone company, a self-confident, swaggering person equally successful in winning the hearts of fair ladies and smashing gangsters’ heads. The second feature is “The Bureau of Missing Persons,” starring Bette Davis.

TIVOLI

“MR DEEDS GOES TO TOWN”

, Those who take the keenest interest in motion pictures will go to see “Mr Deeds Goes to Town,” which has been transferred from the Regent to the Tivoli for a third week, because it is directed by Frank Capra, and because it has in the lead Gary Cooper. Others —and they will no doubt be in the majority—will see the picture because of Gary Cooper; and both classes will be amply rewarded. It is one of the best pictures of its class that has been seen in Christchurch this year. Mr Capra has directed three outstanding films that come readily to memory—“lt Happened One Night,” “Broadway Bill,” and “Lady for a Day”—and those who follow the industry closely will be prepared to take those as an indication of the merit of his latest effort, which is now showing at the Regent Theatre. Without question, he has maintained the standard of his previous pictures, and Gary Cooper has one of the most attractive and most suitable roles of his career.

LIBERTY

DOUBLE-FEATURE PROGRAMME

“First a Girl,” which begins to-day at the Liberty, Is musical comedy at its best and brightest. It is a sprightly story of a girl’s masquerade as a female impersonator, and the subsequent complications. A scintillating performance by Jessie Matthews embraces piquant romance, saucy innuendo and merry masquerade, in addition to a rich feast of song, dance and spectacle, in which she, the central figure is finely supported by Sonnie Hale in light-hearted quip and zest ending in riotous impersonation of impersonator in an unabashed laughter climax. The entertainment bill also includes a finely-staged mannequin parade and a superbly fantastic scena in which Jessie Matthews sings from a suspended gilded cage prior to presenting a whirlwind dance. The narration is spiced throughout by sparkling dialogue atd diverting comedy incident. Fluent direction by Victor Saville, delightful ’ portrayal, ornate settings faithful recording and imaginative camera work by Glen McWilliams make for first-rate entertainment.

“Trans-Atlantic Merry-Go-Round.” with Nancy Carroll and Gene Raymond, will also be shown.

CIVIC

“TUDOR ROSE”

“Tudor Rose,” with Nova Pilbeam and Sir Cedric Hardwicke, will conclude at the Civic to-day.

“THE RETURN OF PETER

GRIMM”

Gripping suspense is provided in the weird picture, “The Return of Peter Grimm.” starring Lionel Barrymore, which begins at the Civic to-morrow. Having involved his foster-daughter and her lover in a t?hin of tragic circumstances through his determination to bend their destinies to* his will, Peter comes back from th? spirit land to rectify his mistakes. He finds himself unable to communicate with his loved ones, and is forced to seek some means of undoing the wrongs he has committed.

The efforts of Peter to make his px*esence known provides dramatic suspense that is rarely equalled on the screen. It is not until Catherine, Peter's beloved foster-daughter, is on the brink of disaster that Peter succeeds in his attempt to avert tragedy. Barrymore brings to the role of Peter Grimm all the artistry which has made and kept him a screen star for 25 years.