Cinema Reviews

Press, Volume LXXIII, Issue 22195, 11 September 1937, Page 8

Cinema Reviews

CRYSTAL PALACE DOUBLE-FEATURE PROGRAMME Hilarious romance and thought-pro-voking drama are blended in the double-feature programme at the Crystal Palace. "The Lady Escapes" is full of humour of the lightest brand, and has also some charming settings but one can neyer escape from the bubbling mirth that fills it. "That I May Live" is a story that rises to strongly dramatic heights, but through it all there runs an intense realism that is saved from starkness by very deft use of humour. America has produced several pictures recently dealing with this particular social prob- J km, but none of them has presented I the- reality of the struggle of the individual to regain his lost status so Vividly without losing the thread of the story in intensely dramatic and sometimes overdrawn scenes. To run away from love is good adVice if you can be sure that you will be followed, and Gloria Stuart acts on the advice with hilarious results in "The Lady Escapes." Michael Whalen has the role of the unsuspecting pursuer who is lead a dance half-way across the world for the gratification of his wife. After a year of strenuous efforts to disagree over any and every trifle the couple agree to secure a divorce providing Whalen can secure a good future husband for his wife. The happiest time of their lives follows while they search New York for a suitable candidate, but disagreement springs up again when Whalen decides it is foolish to continue the search. Gloria Stuart then takes the search into her own hands, and international scandal follows, from which she turns to the pursuing husband to rescue her. It is an amusing theme and well acted. George Sanders, Cora Wither - spoon, and Gerald Oliver-Smith are all involved in the madcap proceedings, which have an unusual and unexpected climax' on the French Riviera. "That I May Live" is first and foremost a thought-provoking drama, particularly to people in New Zealand, where the problem that confronts American prison officials is not unknown. Robert Kent has the part of a young man who serves his just punishment for crime, but once free from gaol is coerced at the point of a gun to join his old partners. He fails them, and they "fasten" a murder on him. Desperate, penniless, and hungry, he attempts to hold-up a restaurant in fleeing from the scene where has been recognised, but the waitress (Rochelle Hudson) shows a deeper insight into his difficulties than he had expected. Eventually they marry and attempt to settle down, but at every turn he is confronted with police searching for him. A travelling peddler (J. Edward Bromberg) comes to their assistI ance and. strangely, turns Kent over ito the state authorities. It is the only J alternative to having Kent lose his reason, but a desperate gamble depending for its success on finding ths murderers and proving their guilt. The story has a strong and interesting climax, but leaves still the thought that this former convict has been luckier in his struggle back to a free life than many another would be. MAYFAIR "CHARLIE CHAN AT THE OLYMPICS" As imperturbable and cunning as ever, CharYie CYian. (.played once again by Warner Oland) indulges in fresh I sleuthing in "Charlie Chan at thei Olympics," the film which is showing for another week at the Mayfair Theatre. m The appeal of this i series should easily . hold the interest of those who admire the urbane Chin- j ese detective, with his strangely contrasting methods of logical deduction. The solving of his latest case takes Charlie Chan across the Atlantic to Berlin, and the ramifications of the story allow some of the scenes of the last Olmpic Gamos to be brought in to give added interest. Yet the story would not have suffered if it had not been possible for these scenes to be incorporated. One of the scenes is of particular interest to people in New Zealand, for it shows J. E. Lovelock winning the 1500 metres final and being decorated with the laurel wreath of victory. Chan is on the track of spies who have stolen a secret device for controlling aeroplanes in flight by radio. Chan soon finds them worthy enemies, for they outwit him in the first moves. But Chan works on methodically, refusing to be led away on false trails, and soon he has regained the device. Before it can be returned to America, however, there are more desperate attempts to steal it. but the wily Chan has lived up to his maxim of "keeping the joker up his sleeve." This serves him in good stead when his son, one of the competitors at the games, is kidnapped and the ransom asked is the surrender of the coveted device. There is capable direction at all stages of the development of the story, but in building the climax the director has done excellent work, and there is a surprising twist in the last few scenes, when Chan discovers the originator of the plot to steal the device. The most prominent of those supporting Oland are Katherine de Mille, Pauline Moore, Allan Lane, Keye Luke, Henry Gordon, John Eldredge, Layne Tom, and Jonathan Hale, and all are competent actors. CHRISTCHURCH CINEMAS. LIMITED Robert Taylor, a newcomer to starring roles, has thg lead with Jean Harlow in "The Man in Possession," which is at the Regent Theatre. The film is a brilliant comedy produced by Metro-Goldwyn-Mayer. It has a sophisticated story with clever dialogue. "Seven Sinners," starring Edmund Lowe and Constance Cummings, heads the programme at the Liberty Theatre this week. It is an exciting story of crime detection. The second feature is "We Live Again," starring Anna Sten, the Russian actress. "Espionage," a romance with a background of international spying, is showing at the Majestic Theatre this week. The stars are Madge Evans, Paul Lukas, and Ketti Gallian. The second film on the programme is "Armoured Car," with Cesar Romero and Judith Barrett. | Franchot Tone, Loretta Young, and Lewis Stone are starred in "The Unguarded Hour," which is showing at the Tivoli Theatre this week. There • is- good ectingby-the principal players, all of whom are firm favourites with Me public!. "" "Murder.in .the .Clouds,", an exciting film combining romance and adventure, heads the programme at the Grand Theatre this week. The stars are Lyle Talbot and Anne Dvorak. Charles Butterworth and Una Merkel, are starred in the second film, "Baby Face Harrington." REX THEATRE One of Zane Grey's most thrilling . stories, "Rangle JRiver," will be the film at the Re:: Theatre, Ricearton, showing to-night, and on Monday and Tuesday night;;. The cast includes Victor Jory an« Margaret Dare. One of the interesting features is that the

AVON "MOONLIGHT SONATA" Two world celebrities, Ignace Jan Paderewski and Marie Tempest, are brought to the screen in "Moonlight Sonata," the film which is extending its season at the Avon Theatre. Paderewski is fai.ious as a pianist; 'but there was'just a doubt in the mind of some music-lovers as to whether the filmed production could do justice to his genius. It is safe to say that, right from the outset, their fears were set at rest, and they were treated to an evening of exquisite entertainment. Never has Paderewski been heard to I greater advantage. Never before has | Beethoven's "Moonlight Sonata" made ! such an appeal. The same, too, can be said of Paderewski's own composition, "Minuet," and the two selections from Liszt and Chopin which complete his repertoire. But Paderewski's playing was not the only treat in store, for the audience. Marie Tempest's acting was a feature of "Moonlight Sonata." Then there was the story itself. Based on an episode—all too fleeting—in the life of the great pianist, it unfolded itself as a charming romance. The foremost figures in the story are a young couple who become temporarily estranged through the intervention of a scheming adventurer, whom chance brings to the hospitable doors of the country house of Baroness Linden-1 borg (Marie Tempest). Barbara Greene, an emotional actress of compelling quality, is the heroine, and Charles Farrell (as accomplished as ever) her lover, Eric Portman being | the interloper. A mishap to an aeroplane on a transcontinental run brings Paderewski and his entourage to the baroness's home, where some highly dramatic scenes produce some finished acting on the part of all the principals, including Paderewski. The story passes through some very intriguing situations, and ends on a very happy note, when Paderewski, by design, brings the lovers together again by his playing of the "Moonlight Sonata." Photographically, "Moonlight Sonata" is perfect, and in all the other essentials, too, of successful production there is nothing lacking. But its presentation of Paderewski's playing will make the picture live longest in the memory of the audience. Excellent and diversified supports are included in the programme. PLAZA "WHEN THIEF MEETS THIEF" All kinds of crime films have been made, but "When Thief meets Thief," which opened at the Plaza last evening, uses a story about crime in an unusual way. It presents Douglas Fairbanks, junior, Valerie Hobson. and Alan Hale in a story that opens in America, with the familiar American gangster setting, but moves later to i-ondon, where a number of typical English characters Rrvc a homely touch to the usual slick polish of crmiv. films. It is (amazing how like his fathd Dougias Fairbanks, junior, can be. Ho is handy with his fists, makes a habn of jumping lrom heights when pursued, and has tae same expression about the moutn and eyes, and in tact, behaves just as Douglas Fairbanks did in the early films tnat made him famous. Valerie Hobson is a typically glamorous heroine, at first a calculating "gold dißKer" type, and later very much the young girl in love, ready to make a I new start. Alan Hale is a hearty i swindler. i

Tne story begins in America in prohibition days, with young Ricky Morgan (Douglas Fairbanks, junior) busy as rum-runner's assistant, A fight and the death of his opponent, enable Jim Dial, the chief rum-runner, to blackmail Ricky and keep him in his power. When Ricky at last tries to get away, after a series of daring thefts on Dial's behalf, Dial tries to double-cross him, but Ricky escapes from the police by a spectacular leap from a window. Then the scene moves to England, with Ricky as a daring cat-burglar. Dial, unknown to Ricky, has also moved to England, and is busy in various shady financial deals, but has assumed the appearance of respectability and the name of Colonel Fane. Dial is engaged to marry Glory Howard (Valerie Hobson). whose occupation seems to be setting engaged and extracting every penny she can from her fiances, of whom she has had several. Ricky meets Gloria, and they fall in love. She abandons her idea of marrying Fane for his money, and is willing to live in poverty with Ricky. She discovers that Fane is really Dial, but is forced to leave Ricky. Thereafter events move toward a murder trial, with Gloria in the dock, and Ricky trying desperately to prove her innocence.

The supporting programme includes several items so good that it is worth seeing for its own sake. Walt Disney's inimitable Mickey Mouse colour cartoons are in the first rank of entertainment, and "Magician Mickey" is one of his best. The things Mickey does with the traditional magician's paraphernalia are astonishing in their inventiveness, and he turns the tables on Donald Duck, who tries to "queer" his show, in truly laughable fashion. "This Motoring." the story of the Automobile Association in England, is an interesting presentation of the development of motoring and of this famous organisation of motorists. "Colourful

STATE "HIS AFFAIR" "His Affair," the film continuing a season at the State Theatre, is in many respects outstanding. For its dramatic moments and its extraordinary story it stands out from the ordinary American crime drama and approaches front rank in this type of dramatic entertainment. Competently acted by a cast of well-known stars, it is a film that is likely to draw, and certain to satisfy, large audiences. Robert Taylor, now one of the foremost of Hollywood's male stars, shares the lead with Victor McLaglen, one of the greatest dramatic actors on the screen at the moment. With them is Barbara Stanwyck, popular and competent leading lady of manv big American successes. The story of the film is sufficient in itself to make a first-class piece of drama. A young officer in the American Navy is summoned by President McKinley and secretly commissioned to shatter a nation-wide crime racket. Banks are being systematically robbed, and the - robbers have gained from somewhere a full knowledge of the combination numbers on safes, a fact which suggests that some high officer is at the head of the organisation. The president makes it a private commission for the young officer to track down the criminals, and so well does he do it that he is admitted to pactnership, as one of them, and has them in his power. His work necessitates his going to gaol and being sentenced to death as a party to the crimes. His release is assured secretly by President McKinley, but he is left face to face with inevitable death when McKinley is assassinated and his secret apparently dies with him.

The dramatic tensity of the story is obvious enough, and in competent hands it is most convincingly done. Victor McLaglen, as one of the gang who goes to the gallows, gives another masterly performance. Though his part is rather a poor one at the earlier stages of the film it develops into one of great possibilities and he makes the most of them, combining comedy and drama, proving himself at home with both. It is a priceless moment when he shows a card trick to the priest who comes to console him before his execution, Barbara Stanwyck gives her usual efficient performance, introducing with Robert Taylor a pleasant touch of romance. The part of President McKiniey is played by Frank Conroy. Sidney Blackmer stands out as Theodore Roosevelt. The film is interesting for its reproduction of events and scenes j of history about the end of last century. J There is a well-chosen list of supporting films. ] CIVIC I "WINGS OF THE MORNING" After many successes in the last few years the producers of England have produced a film which will live not for a year but for a century in the history of moving pictures. The greatest film that has ever come from England, and in many respects greater than anything produced in America, "Wings of the Morning," which is in another week 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 perfection than that of any other film seen in Christchurch, and even in America, where the press hails it as surpassing all others. Having found such pastel shades possible on the moving screen, the producers might have been excused if they had turned the picture into a travelogue of Ireland. But they have retained perfect balance between the i story and the scenery, and when Steve Donoghue has won another Derby it only remains for the entire picture to be shown again. In the past many colours have failed on the film because of their harshness, and this is particularly true of blues, yellows, and greens. This is no longer true, for all these colours are generously exploited and all are near to nature. The chestnut of the horses carries a sheen which has not been seen before, and the natural colourings of the faces are so near to perfect that in some of the close-ups ti\e texture of the skin is quite distinct "Wings of the Morning" proves that it is now possible to photograph successfully any colour and to reproduce it with fidelity. 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 teat is that she is the first actress to carry through, successfully the masquerade in modern male clothes. Although femininity 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 I makes other boy-impersonating act- j resses 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. Annabella, first as an Irish gipsy, goes to Spain. She returns as the great-granddaughter of the original character with a slight Latin accent. This picture marks, too, Henry Fonda's greatest success as the

horse trainer who falls for Annabella'b captivating whims. 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 John McConnack sings "Killarney."