Cinema Reviews

Press, Volume LXXIII, Issue 21986, 9 January 1937, Page 7

Cinema Reviews

' -.STATE’ “UNDER YOUR SPELL” Lawrence Tibbett Is not only- the great singer in his new talkie, “Under Your Speil,” which is being screened at the State Theatre. He sings often and probably at his best, but in addition to giving us this enjoyment, he also acts extremely well, this is an unusual thing from an .opera star turned film star, for while the majority of them can certainly make a fine picture out of their voices, few can act well enough. In this picture Tibbeu’s all-round performance enables that excellent director, Otto Ludwig Preminger, to mould his singing into an entertaining serio-comic story, with continuity almost faultless and a fast pace not once broken into by the , singer’s frequent excursions into song. ' , Tibbett—surely the greatest, film singer yet—should please, in Under Your Spell,” the great variety of tastes to be found among his tremendous fmlowing of music lovers. In this picture he probably thrills as many with his lovely singing qf the theme song as he does when singing in excerpts from “Faust,” a few of which are cleverly woven into the’ production. There is also one truly moving scene when, returning to his Mexican home, the natives of the place give him a traditional welcome. He sings to them; they sing - back to him. to haunting music and wild dances. Finally, he even sings-in a court, as a pi*elude to one last vocal outburst in a registry office. Probably they will one day film Lawrence Tibbett in . a complete production of something like “Faust, but until then a talkie of the calibre of this new Tibbett entertainment should suffice. . ' „ On paper a brief summary of the story, although Unnecessary, will perhaps show inadequately its lively appeal. Tibbett rebels against the mad rush involved, in the life of a successful opera star. He is a much harassed man, and decides on a temporary but complete disappearance. Only a woman, described adequately as a “society siren,” secures his. return at a critical time in his affairs , and those of his manager. It may seem that little humour could be had from. such a matter-of-fact story. But it is an unusually funny tale in parts, with Gregory Ratoff and that, splendid humourist, Arthur Treacher, to help it. Wendy Barrie, playing the girl who worked so hard to entice the star back into his old world—naturally it .is a romance in the end—does her part in making it quite a notable film. There is a supporting programme with definitely ah instructional basis. One particularly interesting short dealing with tennis is contributed to by many Important players. CRYSTAL PALACE “KING OF THE ROYAL MOUNTED” Fine acting, intelligent direction, and scenic grandeur combined with a Zane Grey story, make “King of the Royal Mounted,” which commenced at the Crystal Palace, last evening, an excellent film. There is a naturalness about the whole thing that is-refreshing. Nothing is overdone. Robert Kent is convincing as sergeant of the Mounted Police, and Rosalind' Keith is a very pretty heroine who does not pose as a glamour-girl. Alan Dinehart has been building up a very big body of admirers lately, and is the most interesting figure in the piece. His little preoccupations with flowers: and sunsets make a diving character out of a screen villain.

Zane Grey’s new hero, Kent, is ; in charge of a police post in the Rockies. Into this wild section come Rosalind Keith and Alan Dinehart. Kent finds they are travelling under assumed names. His suspicions are aroused and he decides to make a further investigation. He discovers .that the girl is attempting to prove her half-interest in a. valuable gold mine operated by a man; Durid'as, who was the partner of her father until the latter was reported killed in an accident, Kent also discovers that Dinehart,. who is engaged as Rosalind’s attorney; is in reality attempting to win control of the mine himself. Dundas is killed by Dinehart in an altercation and circumstances point to Rosalind as the murderer. Dinehart takes the girl and escapes, but a swift, chain of action brings the, picture to a novel .but satisfactory ending. Gertrude Michael and Walter Abel share the leading roles in the second picture, “Second Wife.” This is a drama of a different- sort, for whereas “King of the Royal Mounted” depends for its action on the movement of the plot, “Second Wife” depends more on a" sequence of highly emotional crises which call for delicate handling. The actors come out of a difficult situation with credit. There are some interesting short features including a film of the- visit of King Edward VIII. to the depressed areas in Wales. There is also ,;a coloured‘cartoon. MAYFAIR THEATRE “CHARLIE CHAN AT THE RACE TRACK” Charlie Chan encbunters the strangest and most baffling case of his career in uncovering the activities of a ruthless murderer, in “Charlie Chan at the Race Track,” which began a second week at the Mayfair Theatre yesterday. ; Chan has to go halfway round the world to find the. unknown murderer who accompanies him all the way using a phantom .horseshoe, an infra-ray and poison foam to accomplish his deadly :work. Charlie Chan; as. usual, is portrayed by Warner Gland and it is indeed remarkable - that an Occidental." like Gland, who was borri a Scandinavian, should be able so to submerge his native personality that he appears on the screen an Oriental of the Orientals. If one criticism might be ventured, it is that his speech is mot entirely convincing. . It is a little too studied; and one would .expect that a Chinese who pronounced his England words so beautifully would also be able to round off bis phrases in English fashion. That Js,' however, by the way. “Charlie Chan at the Race Trkck” is a good picture of its kind, absorbingly interesting, and full of - action. .Suspense is 'maintained throughout and till the. final scene reveals the truth the identity of the villain of the piece remains in. doubt. Keye Luke.: the young Chinese who plays the pant of Chan’s son, provides, with his excitability an excellent’foil for Ghan’s imperturbable calm. . The film opens with ’ the" Melbourne Cup race, in which Avalanche, the favounte. loses because of. a foul. Major Kent, the owner, .cables. Honolulu, asking Chan to investigate the case. When the boat, carrying the owner and Avalanche to America berths at Honolulu. , f*^ n finds the Major dead, apparently kicked to death by Avalrnche. Chan finds proof that Kent has been murdered. and continues with the boat to America, • where.-the horse has been entered .for the famous Santa Jiianita Handicap, On arrival at America, Chan discovers that. the, horse' has been switched with, another, and slower, horse..-Thril] follows thrill as the wily detective puts two and. two together On the eve of the race Chan and his son are kidnapped, but they escape in time to switch the horse ■ back again. The gambling ring responsible for all the trouble strikes pncp imore,

. -AVON • - “THE MAN WHO CdULD WORK MIRACLES” Chosen at random, George McWhirter Fotheringay has bestowed, on him by some being among the stars an infinite power to do what he pleases If this insignificant little draper’s assistant uses the power wisely* bringing about progress and enlightenment, a similar influence will be fdven to all men. How George Fotlleringay. used this fantastic power is the arresting story of “The Man Who Could Work Miracles,” the picture which yesterday commenced a season at the Avan Theatre. ’ Based on the story of H. G. Wells, with the direction by Lother Mendes, and the main role splendidly interpreted by Roland Young, the picture offers uncommonly good entertainment. George Fotheringay begins by using his power to trivial ends. . That is because he is essentially a human being, and cannot grasp the immensity of the change that comes into his life. The transition from this state of scepticism to that in which he has an implicit belief in his power to work miracles produces consistently rich humour. It is impossible not to laugh at the bemused Fotheringay and his gaping audience when the first manifestation of his power is given in a bar parlour. He turns a hanging lamp upside down at a simple word of command. It happens that his act has unfortunate results for the lamp and for himself, and the comedy goes on as he turns a girl friend into a Cleoptara, sends a policeman literally “to blazes.” and then to San Francisco, and does similar freakish acts.. Trivialities are abandoned, for bigger .’things, however. As his reputation .spreads, Fotheringay finds that those who might he harmed by his uncanny influence seek to destroy him, others, hoping to benefit, seek to advise him. The founding of a chain of “miracle retail stores” is one suggestion made to him. By addressing commands to the merchandise, Fotheringay is to replace all the shop assistants, arid kill competition. But after much indecision, Fotheringay realises that his gifts are not to be debased for such purposes. And so he acts, influenced by the bitter thoughts of his class against those who exploit him. Summoning the leaders of the nations, he warns them that they must manage the world’s affairs to better purpose. He gives them until the sun sets’to improve the lot of their fellows, and then in an ecstasy of power, commands the earth to stop moving. And the gods soliloquise about the puny mentality of the human race. . . There is a moral to be drawn that makes more than an immediate entertainment of the picture, but those who prefer to forget a picture as soon as 'they have seen it will get abundant pleasure from it, for as comedy alone it is outstandingly clever. Headed by Roland Young, who has appeared in a succession of minor parts that have not given him the opportunity to show the full etxent of his talents, the cast is admirable in every respect. CIVIC “EAST MEETS WEST” When George Arliss played Disraeli he made a reputation which ensured success for any similar films which he made, and ,he has made several since then. Now he has departed from the path which he has followed so closely, and in doing so he has made an even better picture. This ’time he is not so outstandingly solo, and he gains from having others with him. Last night the public saw at the Civic Theatre a George Arliss picture quite .different from anything he has done before. As the title, “East Meets West” suggests, the clash of nations is , involved.

Some of the most common Arliss mannerisms have gone and although he is still a very poor talker and a very good listener he is less dominating in his manner. Somewhere in the Mediterranean a sultan rules over a small area, sufficiently large to have a bay, the. envy of two naval powers. Both powers seek the friendship of the sultan, but George Arliss toys with both of them, for he does not want a treaty guaranteeing his independence so much as £1,000.000 for social services within his country. But all his pretty scheming is temporarily upset by his Oxfordeducated son who finds himself in love with a married woman from the land across the narrow strip of water, British territory. The running of liquor to the small kingdom, the inhabitants of which are forbidden, any fermented drink, provides the spark, and diplomats hasten to and fro, each afraid of the advantage the other may be gaining. The liquor runner is caught, the husband of the one woman involved, and the customs officer in the British territory. Hanging l is the sultan’s punishment, with the-Greek ambassador arid the sultan’s son collaborating in a petty revolution which fails. British prestige and pride is regained only by the signing of the sultan’s treaty terms, and the Greek ambassador can do only the same.-, Thus George Arliss has two great neighbouring powers guaranteeing his independence each with a condition that the other be granted no concessions.

; Geofge Arliss was himself only to a point.. He did not make the picture fit himself, but lent himself to the role which he was playing. In this respect he is even more successful than in “The Green Goddess.” for he has established a new reputation, one quite different from that which followed “Disraeli,” and one much better. It is definitely the best picture he has made since his first appearance. , The supporting programme is an unusually interesting one of gazettes, with a very amusing comedy located in’a tiny kingdom in the heart of South America. OTHER THEATRES “Sam Francisco,” starring Clark Gable and- Jeannette Mac Donald is showing for a third week at the Regent Theatre. “Women Are Trouble,” starring Stuart Erwin and Florence Rice, and “Two Fisted Gentlemen,” starring Jimmy Dunn are showing at the Maiestic Theatre. ; “Mutiny On The Bounty,” with Charles Laughton in the leading role, and Clark Gable and Franchot Tone is, at the Tivoli Theatre. ■ “Mr Deeds . Goes To Town,”, with' Gary Cooper and Jean Arthur, and “Elinor Norton” make - the double feature at the Liberty Theatre. Will Rogers in “Steamboat Round The Bend,’’ Randolph Scott in “Rocky Mountain Mystery,” and Buck Jones in “The Roaring West” are at the Grand Theatre. 1

Shirley Temple in "Bright Eyes”, is showing at the Metro Theatre, Sydenham. - ■ “The General Died At Dawh,” starring, Gary Cooper and Madeleine Carroll is showing at the Plaza Theatre. A Hopalong Cassidy western, “Three On The Trail” and “Toll Of The Road” are at the Theatre Royal.

just before the race ends, but Chan is on hand and uncovers the killer. In addition to .Oland and . Luke, the cast features ’ Helen Wood, Thomas Beck, Alan Dinehart, and ,Eavin Muir. The supporting programme is .an unusually fine one.