Cinema Reviews

Press, Volume LXXIII, Issue 22111, 5 June 1937, Page 19

Cinema Reviews

AVON “GREEN LIGHT” There is dramatic entertainment of a very fine type and something besides entertainment in “Green Light,” the attraction this week at the Avon Theatre. It is high recommendation for the picture that the story is by the author of “Magnificent Obsession.” The underlying philosophical and ethical theme of the earlier picture is again to be found, but treated in a very different manner and through a story that has perhaps even more appeal to human sensibilities. The acting is extraydinarily good; the players seem to be conscious that they have each been given the opportunity of taking exceptional roles, and their interpretations are marked by outstanding realism and sincerity. There is a confidence about the whole production that makes it impossible for any audience not to respond to its appeal, and not only enjoy it as a piece of drama but be convinced by the soundness of the ideals that xt upholds. The story is mainly concerned with a problem of medical ethics, a theme which always offers interesting material for drama. Errol Flynn plays the part of Dr. Paige, a young surgeon who is blamed for the failure of an operation through the fault of another doctor. The subtlety of the plot lie;, in the manner in which the courageous faith of the woman who died under the operation remains to remedy the wrong that has been done and turn the tragedy into a lasting triumph. Dr. Paige falls in love with the woman’s daughter, Phyllis Dexter (Anita Louise), but when she discovers who he is, her affection is turned to hate, since she believes that he is responsible for her mother’s death. Dr. Endicott, who made the mistake, refuses to take the blame, and Dr. Paige, who has been forced to resign his position, leaves to join a friend in fever research work in a farming district. There is, however, another figure in the drama, an old preacher whose wise and kindly advice is the means of turning the destructive forces of the tragic circumstances into different channels. This part is played by Sir Cedric Hardwicke, who again shows what a remarkably versatile and capable actor he is. He makes an outstanding character of the old man. giving the role an impressive dignity and sincerity.

Margaret-Lindsay has a part of considerable importance as the nurse who holds the secret of the mistake in the operation. She gives a very attractive quality to this character.

The support is a very good one, and contains a “Pop-Eye the Sailor” cartoon.

MAYFAIR “PEPPER” AND CORONATION FILM Jane Withers’s latest picture, "Pepper,” now in its second week, has scored a distinct hit at the Mayfair Theatre. A film which appeals to young and old alike, “Pepper” is a delightful production, faultlessly produced, and cleverly interpreted by this talented child actress, who shares the honour:' with Slim Summerville and Irvin S Cobb. And, in “Pepper,” along with little Miss Withers, these two master comedians fairly revel in a host of mirth-provoking situations. “Pepper” is backed by a diverting plot. The story, mainly humorous, has a few deft touches of sent’ment which act as a subtle foil for the delicious comedy provided. The settings in “Pepper” alternate between a New York tenement hilarious Coney Island, and the wealthy res'dential area on Fifth avenue. Jane Withers is happily cast as “Pepper," who enjoys the doubtful distinction of possessing in the person of Slim Summerville an uncle occupying a very lowly position on the social scale, being a barrowman in the street-cleaning department. In the eves of his admiring niece the shiftless uncle is a hero, in that (on his own confession) he was once a “twogun” man in the west, a reputation which, fortunately for himself, he is not called upon to prove. A chain of fortuitous incidents entangles uncle and niece with a dyspeptic western millionaire, and his prospective son-in-law, a bogus baron. With such an ill-assorted quartet, constantly clash-, ing with each other, the fun is naturally fast and furious, and Jane Withers certainly excels herself. Lost in the maze of Coney Island, without a cent in his pocket—his wallet having been stolen—the millionaire is taken for an imposter, and only the ingenuity of his chance companion, “Pepper,” whom at one time he detested, in common with all other children, rescues him from a series of embarrassing situations. The picture ends in a riot of laughter, when the street cleaner and his niece dramatically unmask the villain of the piece, the “baron,” when he is on the point of embarking upon a matrimonial adventure. An excellent comedy, “Pepper” can safely be recommended to aIL

Among the supporting subjects is a film of the Coronation, which has just arrived by air-mail. This is a remarkably interesting picture of the stately procession, the cheering crowds, and the historic ceremony in Westminster Abbey. After viewing this film, one feels that last night’s audience saw more of the Coronation than millions of Londoners. Mention should also be made of an amusing short comedy, in which Ford Sterling is seen at his best, OTHER THEATRES “Libelled Lady,” with Myrna Loy, Jean Harlow, and William Powell in the leading roles, is the attraction at the Regent Theatre. Joan Crawford, Robert Taylor, and Franchot Tone are the stars in “The Gorgeous Hussy,” which is now showing at the Tivoli Theatre^ “Aren’t Men Beasts,” with Robertson Hare. June Clyde, and Judy Kelly, is the main feature at the Majestic Theatre. “Crown and Glory” is the supporting film. “Jack of All Trades,” starring Jack Hulbert. and “The Final Hour,” with Ralph Bellamy and Marguerite Churchill in leading roles, are showing this week at the Liberty Theatre. “Music in the Air.” with John Boles and Gloria Swanson, and “18 Minutes,” starring John Loder and Gregory Ratoff. form the double feature programme at the Grand Theatre. “Go West Young Man,” with Mae West, Randolph Scott, Warren William, and Alice Brady, is the main feature at the Plaza Theatre. The supporting film is “The Return of Sophie Lang.”

CRYSTAL PALACE “WITHOUT ORDERS” It is to the credit of American producers that they can handle a theme which is scarcely an innovation in films and yet produce a story with the dramatic and romantic appeal of “Without Orders” —the attraction showing at the Crystal Palace Theatre this week. The reality of the mountain hying in the teeth of gales and blizzards has been splendidly illustrated in this adaptation of the book by the renowned American fiction writer, Peter B Kyne. The composition of the film is original; the scenery excellent; and the reproduction of conditions and burdens in the lives of transport pilots faithful. Built upon the lives of modern transport air pilots, the plot contrasts the temperaments and reactions of two pilots, a responsible pilot, and a reckless and cowardjy stunt flyer. The story opens with the arrival of the senior pilot of the line. Wad Madison (Robert Armstrong). In the aeroplane with him is his air hostess, Kay (Sally Eilers). whom he is teaching to fly. A crowd has gathered on the field, and the president of the line, J. P. Kendrick (Charlie Grapcwin), is present. Wad soon finds that the “guest of honour” is Kendrick’s son Lcn (Vinton Haworth), a stunt flyer, who is bring ing in his racer for a new cross country record. Len goes later to a party with Kay’s sister Penny (Frances Sage), the night before he crashes a new racing ship, killing his sponsor. Davis. Len sinks to further depths by bribing the bar tender to say that he was not intoxicated and so escapes a “grounding” and a murder charge. Penny is horrified. Len goes back to the field, where he is assigned as Wad’s co-pilot. Jealousy between Wad and Lcn grows more pronounced when Len pays attention to Kay. Kay writes tc Penny, who, knowing Len in his true colours, goes to him to have him stay away from Kay. He refuses and Penny attempts to use the telephone to call Kay. Len strikes her. and she falls. Thinking she is stunned he does not worry; but he later hears that she is in hospital and may be dying. Len, to cover his tracks, insists on going back to the field with V/ad and Kay. Trouble starts to develop in the machine. There is some foul play. Lcn deceives Wad and locks him in the cabin. At the airport he tells the story that Wad turned yellow. Wad hits him and is discharged. Wad hears from Penny what sort of a man Len really is. The story moves swiftly to a climax in which Kay is left alone to pilot an aeroplane back to a safe landing when the assi r trnt has been knocked out by Len and Len has “baled out” without thought for the lives of the passengers in the aeroplane. There are moments of tense interest in her fight against the raging snowstorm over the mountains when the big ship runs out of patrol, and communications are impossible because of the aerial wires being covered with ice.

STATE “GIRL IN A MILLION” AND CORONATION FILM There can have been but one purpose in the minds of Darryl F. Zanuck and his director, Sidney Lanflold, when they set about filming “Girl in a Million,” now in its fifth week at the State Theatre. The star in this film—all the other actors and actresses cannot help themselves but take subservient parts—is Sonja Henie. on several occasions world champion iccskater. This is her first appearance on the films since she turned professional, although her grace on the ice has frequently been shown in shorts. Yet her performance off the ice is as polished as her pirouetting on the rinks, and there is nothing in her whole performance to tell the uninitiated that this is her debut on the films. The story is slight, but holds together adequately the spaces when Sonja Henie is not skating. For the producers have wisely recognised that 8000 feet of film of Sonja Henie, and Sonja Henie alone, world’s champion figure-skater though she may be, would pall, as there must inevitably be some limit to the turns, the figures and the grace of one person. The balance has been struck perfectly, as there is shown just sufficient —no more, no less—to make those that see the film wonder if there is any limit to her skill.

The others in the cast do not depart from their usual high standard just because they have to play second fiddle. The romantic lead with Miss Henie is Don Ameche, a star of recent years, but well established in a front position, who takes the part of a reporter inquiring into a mysterious hotel fire, and puts up at the small inn kept by Miss Henie’s father. The part of the father falls to Jean Hersholt and, with no personal attractions himself, he makes a greater success of his part than the others in prominent roles by the quiet and sympathetic way in which he acts. Equally satisfactory in a leading role is Ned Sparks, to whom is left the main task of providing the humour. Offsider to the reporter Ameche, and with the inevitable chewed cigar in his mouth, he sets about trailing a suspect with “wise guy” remarks which in the unusual setting for them have more than customary*tang. Among the supports is Fox Movietone’s historical masterpiece, “The Coronation,” which gives in detail toe scenes of the Coronation of King George VI. The season of this film has been extended for another week. These films arrived in New Zealand less than three weeks after the actual ceremony, and give a really comprehensive screen account of the Coronation with all its pageantry and ceremony.