CITY THEATRES

Press, Volume LXXIII, Issue 22182, 27 August 1937, Page 4

CITY THEATRES

CRYSTAL PALACE

"RAINBOW ON THE RIVER"

It is easy to understand why "Rainbow on the River" was so popular that in response to many requests it has been transferred from the Civic Theatre to the Crystal Palace for a season. The main appeal is in the singing of Bobbie Breen, a nine-year-old prodigy, who is thoroughly at ease in a wide range of songs; but the story is of sound quality, and there is no suggestion that it is only a medium for displaying the remarkable singing of this boy. There is considerable pleasure, too, to be gained from hearing old favourites sung so artistically, and it is the combination of these qualities that has pleased so many people. The story is set in the period immediately after the American Civil War. It seems strange that film producers have not exploited the historical attractions of this period as much as they have used certain periods of English history. There certainly appears to be great scope for the use of such material, judging by the appeal that the setting of this story has. Bobbie Breen is introduced as the child of Southerners killed during the war. He is being cared for by a faithful negro servant, but the secret of the boy's birth is discovered by the village priest, who notifies the family, the head of which has a fierce hatred of Southerners, The boy is taken away to an unfriendly home, but after some shabby treatment—much of it from relatives who fear he will spoil their chances of inheriting the family fortune —he comes into his own. The story has its sentimental moments, but there is a sound basis of good characterisations and comedy. Above all, there is the uncommonly fine singing. The bell-like voice of Bobbie Breen has its appeal strengthened by excellence of interpretation, and there, are fine choruses in some of the songs. The best acting is done by May Robson, Charles Butterworth, Alan Mowbray, and Louise Beavers. Butterworth and May Robson in particular providesome delightful comedy, which offsets the sentimental touches.

CIVIC

ANNABELLA IN "WINGS OF THE MORNING"

"Wings of the Morning," which will have its first release in the southern hemisphere to-day at the Civic Theatre, places a simple love story against a perfect backscreen of pastel shades and delightful panoramas. The natural technicolour is nearer to perfect than that of any other film seen in Christchurch, and even in America, where the press hails it as surpassing all others. England boasts that this was absolutely her own production, and with the exception of the French actress. Annabeila, this is quite true. Of Annabella it can be said that her beauty rivals that of the scenery with which the film is so full. Of Annabeila it has been said that she rivals the picture in beauty. And the simplicity of her acting in a simple story is delightful. Perhaps her most remarkable feat is that she is the first actress to carry through successfully the masquerade in modern male clothes. Although feminity is one of her greatest attributes, she looks like a boy, deepens her voice without effort, and extracts the full humour from the situation without ever bordering on that artificial coyness which makes other boy-impersonating actresses so embarrassing to watch. The title is taken from the name of a horse, owned by a band of gipsies, and ridden to victory in the Derby,.by Steve Donoghue. Annabeila, first as an Irish gipsy, goes to Spain. She returns as the great grand-daughter of the original character, with a slight Latin accent. This picture marks, too, Henry Fonda's greatest success. The most beautiful scenes occur at Epsom Downs among the gipsies before and after the running of the Derby, and about the lakes of Ireland while Jqhn McCormack sings "Killarney." The story itself is a highly amusing comedy, and set as it is amid the beauties of Ireland in colours next to perfect, it makes a picture which must go down as a mark in the progress of moving pictures.

STATE

"SWING HIGH, SWING LOW"

•"Swing High, Swing Low," a romance with music which is at the State Theatre, features the romantic team, Carole Lombard and Fred Mac Murray, who earned fame in "Hands Across the Table" and "A Princess Comes Across."

"Swing High, Swing Low" is the story of night club life in Panama and New York. Carole Lombard plays the role of an entertainer in a Panama cabaret who makes a famous musician out of Fred Mac Murray, who has been very much on the loose in the canal port. This role gives Carole Lombard an opportunity to sing and dance, the first time she exhibits her talents in these fields, and Fred Mac Murray plays the trumpet, also for the first time in pictures.

The cast also includes Dorothy Lamour, the beauty who captivated America in her first screen appearance, "The Jungle Princess." She plays the role of "the other woman," with whom Fred Mac Murray falls in love. Dorothy Lamour, who was famous as a radio singer before her entry into pictures, also sings and dances in "Swing High, Swing Low." Charles Butterworth, Jean Dixon, Harvey Stephens, and other well-known feature players complete the cast. "Swing High, Swing Low," was directed by Mitchel Leisen, who directed "The Big Broadcast of 1937," and other outstanding musical films. Its music was written by Ralph Rainger and Leo Robin, and Sam Coslow and Al Siegel.

MAYFAIR

"WEE WILLIE WINKIE"

The Indian frontier tale. "Wee Willie Winkie," is the film at the Mayfair Theatre. The contrast of the virile, ugly, ruggedly likeable Victor McLaglen with the daintiness of Shirley Temple; the action, comedy, romance, and the skilfully conceived infiltration of the atmosphere Rudyard Kipling so masterfully created in his stories—these are among the many strong impressions which must be formed by an audience seeing the film. Superlatives are unnecessary—the production of the film, the acting, and the substance of the adapted story are their own recommendations. The story which the film makes of the original is founded on the routine and rigidity of the British Army code rising to the glory and pathos of the soldier's sacrifices. The depths of tragedy are measured in the death in action of McLaglen. as the sergeant who endears himself to his regiment and to Wee Willie Winkie (Shirley Temple), to whom he acts as his own imitation of a patron saint. The drama yields to the inspiring heroism of the colonel (Aubrey Smith), who goes to the rescue of his granddaughter, "Private" Winkie, when she falls into the hands of the tribal leader, played by Cesar Romero, and the emotions turn again to a greater elation in tiie climax.

AVON

"ROMANCE IN PARIS'*

Fernand Gravet, the famous Continental screen star, is the newcomer who has the unusual distinction of being launched in a starring role in his first film, "Romance in Paris," which is at the Avon Theatre. The story is a spirited comedy romance written by Mervyn Le Roy for Warner Bros. "Romance in Paris" is glamorous, whimsical comedy at its best. M. Gravet plays the role of a wealthy, profligate ex-monarch who becomes a Paris playboy. His titled aunt and uncle try to put his Royal feet on the straight and narrow path, but "King Alfred" loves the bright lights. Then he meets Joan Blondell, in the role of an American chorus girl. She is independent, high-spirited, rather impudent, and cares not a whit for Royalty. The greater her disdain of her regal suitor, the more impetuous does his courtship become. Humorous complications follow fast and furiously, aided by Edward Everett Horton, Mary Nash, Alan Mowbray Jane Wyman, Luis Alberni, and the other notables in the cast. There is never an idle moment because the humorous dialogue and march of situations keep up the swift pace. There is dancing, of course, and in a lavishly mounted scene in Paris's famous Folies Bergere, the intricacies of the "can can" dance are revealed. The music is outstanding. Two items are "For You" and "On the Rue de la Paix," both of which are catchy tunes. A fine baritone voice is only one of Fernand Gravet's many telents. Kenny Baker, a radio favourite, does some of his famous crooning. Excellent acting is provided by the inimitable Edward Everett Horton as the worried uncle of profligate 'King Alfred VII," Mary Nash as his aunt, Alan Mowbray as a pseudo suitor for the chorus girl's affections, Jane Wyman as her pal, and Luis Alberni as a waiter with an accent heavier than the trays he carries.

PLAZA

"ELEPHANT BOY"

To see such a film as "Elephant Boy '' which has been transferred to the Plaza Theatre, is a rare experience. It is a great deal more than a film about elephants in India, or the story of a youth who wishes to become a hunter of elephants like his forefathers. It creates an atmosphere, a living and breathing life of its own, and a feeling of living a novel and exciting life. In that it resembles Kipling's tales, on one of which it is based. It is remarkable for the way it compels those who see it to identify themselves with the feelings and experiences of young "Toomai of the Elephants," for the acting of the boy Sabu who played this part, and for the brilliance of its presentation of elephants in a host of situations.

The film is, however, no mere static Nature study. It tells a straightforward story, simple, like all Kipling's tales, but compelling in its interest. It has a legendary quality. Sabu and his father take Kala Nag on a great elephant hunt, organised by Sanderson Sahib. The father is killed by a tiger, and Kala Nag, mourning as elephants do for their masters, becomes unmanageable in the hands of a relief mahout. He injures the man, and there is talk of him being destroyed, because of the outbreak. To save his elephant, Sabu goes off with him at night into the jungle, and in his wandering comes upon the great herd of wild elephants that Sanderson has hunted for weeks in vain.

CHRISTCHURCH CINEMAS, LIMITED

The inimitable Gracie Fields heads a strong cast in the screen comedy, "The Show Goes On," at the Regent Theatre. Cyril Ritchards plays opposite her.

rwo films, "Keep Your Seats, Please!", with George Formby and Florence Drsmond, and "Trouble in Morocco," with Jack Holt, are at the Majestic Theatre, The first is a comedy and the second a foreign legion story. Greta Garbo and Kobert Taylor form the strong romantic team of "Camille," a story of intense human interest, characterised by fine acting. The film is at the Tivoli Theatre. The child star, Jane Withers, takes the leading role in "Ginger," one of two films at the Liberty Theatre. An outdoor story of the Canadian mounted police, "O'Malley of the Mounted," with George O'Brien, is the second. Thrills and action are combined in the two films, "Car 99," with Fred Mac Murray, and "The Triumph of Sherlock Holmes," with Arthur Wontner, which are at the Grand Theatre.