Cinema Reviews

Press, Volume LXXIII, Issue 22237, 30 October 1937, Page 8

Cinema Reviews

CHRISTCHURCH CINEMAS. LIMITED

AVON “THE PRINCE AND THE PAUPER” A happy combination of humour, drama, and satire in a historical story makes •’The Prince and the Pauper,” showing this week at the Avon Theatre, one of the most outstanding pieces of entertainment that has come to the citv for some time. That the story is by Mark Twain is a recommendation in itself. It deals with an incident at the close of the reign of Henry the Eighth, and the plot is built around the accession of his heir, Prince Edward Tudor. It hangs, too, on a coincidence, in that at the same moment as the birth of the heir, a son is born to a commoner in a squalid hovel in London. This commoner, John Canty (Barton Mac Lane), is a thief and a murderer. Ten years elapse. Meanwhile the children, all unknown to the characters that count most, have grown to resemble each other in almost every detail, and their childish lives are mixed up in a bewildering manner. A chain of fortuitous circumstances causes the child of the slums to appear in the grounds of the king s palace, where he is mistaken for the prince. This leads to a series of remarkable incidents which have their serious turn, in that they threaten the throne of England; but happily, perhaps for all concerned, in the long run the entangled situation is satisfactorily sorted out. This is not accomplished before many intriguing situations arise, and these are acceptably spiced with romance and adventure. “The Prince and the Pauper” is an arresting production which develops many unusual angles, and provides one of the best entertainments screened this year. Quite apart from its exciting plot, it has a big appeal in that it is a period picture dealing with one of the most eventful chapters in English history. In all the costuming and settings there is a meticulous attention to detail, all the characters oi this romanceful period being faithfully depicted. „ “The Prince and the Pauper’ was first produced as a famous novel, and later as a great stage play; and it loses nothing in its change-over to the films. Much of its success in this connexion is due to the happy selection of Billy and Bobby Mauch to fill the title roles. They are perfectly matched twins. Billy, it will be recalled, played Anthony Adverse as a child in the picture of that name, his effort attracting world-wide attention. Errol Flynn, famous for his outstanding performances in “Captain Blood” and other successful films, adds to his lustre by his performance in this production. He receives strong support from other players of undoubted merit in Claude Rains, Henry Stephenson, Barton MacLane, Alan Hale, Eric Portman, Montagu Love, Phyllis Barry, Halliwell Hobbes, and others. In a word, ‘The Prince and the Pauper” should live long in the memory of Christchurch theatregoers.

PLAZA THE SINGING COWBOY AND A FAMILY DRAMA The programme at the Plaza Theatre this week is a happy combination of a hard-riding and fast-shooting drama of the West, and a tense family drama. The former, “Moonlight on the Prairie, brings back to his numerous admirers Dick Foran, the singing cowboy. Of all the pictures which Foran has made, this is almost certainly his best, as the director has given him full Play for fps magnificent baritone voice, and the film moves with all of the swift action which is essential for its success. Though it follows the not unusual line of a man hunted out of a district through being accused of a killing for which he was not responsible, and the final redeeming of his good name against overpowering odds, there is suificient excellence in the photography, the packed action, and the ease of the principal actors to raise the picture well above its fellows. Foran has of course associated with him his already famous horse Smoke, and the time and energy which have been spent in training this animal can be gauged from its excellent performance in the picture. Sheila Manners, who has the leading female role, arrives in one of the rough towns of the West to find that there is no conveyance to get her and her small son (Dickie Jones), to the ranch which will become theirs only if they reach it before midnight that night. If they fail, the ranch will revert to the manager, who has killed the owner. Their way to the ranch is beset with peril, and though there are only minutes to spare when the boy arrives, _ their occupation is by no means certain as they have to put up with all kinds of “dirty work” before they can settle down to peaceful occupation. Were the film just packed with shooting and rightful revenge on the bad men of the story, it would not have an appeal beyond many of the others of similar type; but there is more to it than that, and those who appreciate a thrilling film on which care in every detail has been taken will not be disappointed in this production. In the other film excellent characterisations are given by Victor Moore and Beulah Bondi as grandparents who are turned out of house, and home by a bank, and, being too old to find work, go to live with different members of their family. Beulah Bondi breaks up the bridge lessons which her daughter-in-law gives as a means of earning a few more dollars; the granddaughter gets into trouble through her friends refusing to come to her house; the grandfather has different trouble with the son with whom he goes to stay, but throughout the whole film there are touches of humour to lighten the sad story of the elderly couple. There is a good series of supporting films, including some magnificently photographed coast scenes.

John Lodge and Claude Allister appear in “Bulldog Drummond at Bay,-” the film at the Majestic Theatre. The story is reputed to be “Sapper’s” best, and provides plenty of action and excitement. The acting is excellent. The comedy, “Love in a Bungalow,” is showing at the Tivoli Theatre. The stars are Nan Grey and Kent Taylor, and their acting is a large factor in the success of the film. For hilarity, the story compares with “Charley’s Aunt.” “Cafe Collette” and “Let Them Live” are the films at the Liberty Theatre. Greta Nissen and Donald Calthrop appear in the first, a romance and spy story, and Nan Grey and John Howard in the second, a hospital drama. A stirring drama of the British Navy “Brown on Resolution,” is showing at the Grand Theatre. John Boles and Jean Muir appear in the second film, “Orchids to You,” a pleasant storv with an airy theme. “After the Thin Man,”‘starring William Powell and Myrna Loy, a mys-tery-comedy. is showing this week at the Regent Theatre. The film is a successor io the cai'lier success f The Thin Man.” PREMIER THEATRE “THE GREAT ZIEGFELD” “The Great Ziegfeld,” starring William Powell, Myrna Loy, and Luise Rainer, is now showing at the Premier Theatre, New Brighton. The film is an outstanding musical attraction.

CRYSTAL PALACE “WHEN’S YOLK BIRTHDAY?” Joe E. Brown is very good fun at any time, although he may not be equally good fun for every taste. He is one of the most human and appealing of the Hollywood comedians, if omy for the reason that he does not find it necessary, as so many of them do, to make up for weakness of wit by strength of lung. His latest film, “When’s Your Birthday?”, which began a season at the Crystal Palace Theatre last evening, has no place for the conventional “wise crack,” which is becoming so tiresome; and it is a relief to hear a man who has a funny vein of his own instead of a sort of comic dialect. In this play Joe first tries boxing, with very indifferent success: he is introduced to us in his dressingroom, recuperating from what appears to have been a very workmanlike knock-out. He then turns his attention to astrology, of all subjects; later he is to combine boxing with astrology with remarkable, if rather mysterious, success. It appears that Joe, from so much seeing of stars in the boxing ring, became so familiar with them that he could forecast events in the

greatest detail. His first efforts as an astrologer are disastrous: he announces to his prospective father-in-law and his fiancee that he cannot possibly be married in June because the planets are unpropitious. It also seems to have been decided by 'ic planets that Joe shall be kicked down the stairs by the father. At the foot of the stairs he meets a stray (and very lovable) dog, whom he names Zodiac, and the pair go off together to seek their fortunes. A not very honest showman employs the astrologer next, and Joe becomes “Swami,” a notable caster of horoscopes. At the same time he falls in love with the showman’s girl assistant. The three are soon in trouble: they are arrested for telling fortunes without a licence. However, the judge happens to have met Joe before, when the planets provided an excellent tip for a greyhound race; and the astrologer finds new employment as personal fortune-teller to a superstitious but very shrewd company promoter, J. J. Regan. Mr Regan’s business, it appears, is in a dangerous position, and all depends on the success of a boxer, the “Salvado Slayer,” wnom he has matched against the middle-weight champion of the world. And on this venture hangs the last and most crazy of the astrologer-boxer’s performances. It all depends, of course, on whether Ihe full moon rises in time for the big fight; but it would spoil a good situation to tell exactly what happened when the moon rose. All the characters who take part in this really amusing film are equal to their parts.

MAYFAIR “ANGEL’S HOLIDAY” Jane Withers, mere engaging than over, gives a new and altogether fascinating turn to a detective story by playing the part of the detective herself in “Angel’s Holiday.’’ the film which is showing at the Mayfair Theatre this week. It is doubtful if the methods of any screen detective have ever pleased an audience more. Jane enters upon the task of bringing kidnappers to book with a mixture of childish shrewdness and a supreme confidence in her own ability which gives a remarkably lively turn to the adventure and keeps the mood of the audience alternating between feelings of suspense and amusement. She takes a hand in the romantic interest, too. making a quaint but very entertaining third party in the triangle in which the principal figures are Robert Kent and Joan Davis. This is a very well constructed film, allowing every element of entertainment its full share. While giving Jane every opportunity to show her versatile ability, the producer has also made room for some fine acting by the other players, and has developed the story in a very satisfactory manner. Not for a moment does the interest lag. What appears to be merely an amusing situation has arisen when the picture opens. The manager of a film star has arranged her disappearance as a publicity stunt, and while the newspapers are setting up the exciting headlines Jane has found out the whereabouts of the actress and told a friend of hers, a young reporter, for whom she apparently entertains no little affection, as may be seen from her anxious inquiries as to what his age will be when she is 18. Here the romantic complication arises, for when the young man visits the actress it becomes, evident that an early love affair between them has not been forgotten, and that he is more interested in it than in securing the story of the hoax for his paper. Jane’s jealousy takes a form which leads to a very definite breach between the two. and the actress decides to make a real

disappearance. ... Events soon take a more exciting turn when kidnappers arrive at the farm house where she is staying, and hold her for ransom. But even here there is a great deal of comedy, provided both by Jane, the old farmer, and the rest of the party. Difficulties beset Jane at every turn in her efforts to foil the kidnappers, but her methods lead to a climax which surpasses everything that has already occurred. There is a very good supporting programme, with a cartoon, newsreels, and a short comedy.

STATE “SHALL WE DANCE’* The latest Astaire-Rogers release, “Shall We Dance,” which is now showing at the State Theatre, more than maintains the brilliant standard of all the productions in which these talented dancers and corned ans have appeared. It has been said that “Shall We Dance” is the last picture in which Fred Astaire and Ginger Rogers will a;.pear as a team but their admirers will hope more than ever after seeing the picture that there is no truth in this, for it seems impossible to tire of them. They have no equal on the screen to-day in their special type of entertainment Astaire has always had a charm of his own and Ginger Rogers has improved so consistently that she is now indispensable. Their most fervent admirers should find in this film nothing that does not merit enthusiastic approval. . .. Added interest is given to the film by the association of George Gershwin, whose untimely death occurred recently. Gershwin was one of Astaire’s closest friends when both were comparativelv unknown, and they helped each other to attain their present eminence. A notable success came to Gershwin, Astaire, and his sister Adele on the American stage before the days of talking pictures; and the association of the composer and the dancer in “Shall We Dance” was the realisation of a common ambition. It is a most happy combination, and some of the song hits are outstanding, particularly “Let’s Call The Whole Thing Off,” a lyric which is most amusingly worded. For its comedy alone this picture the best of the series. Both the leading players have their humorous moments, but the cream of the comedy is provided by that inimitable pair, Edward Everett Horton and Eric Blore. The comedy never loses its

CIVIC “BIG FELLxV” The powerful and richly-melcdious voice of Paul Robeson has never been heard to greater advantage than in his latest film, “Big Fella,” which is showing for another week at the Civic Theatre. Those who were captivated by his fine singing in “Show Boat” and “Sanders of the River” will be more than pleased by his outstanding performance in this film. Robeson is a capable actor as well as a great singer and “Big Fella” provides him with an opportunity to show his work in both directions. His striking personality dominates the film, making every scene in which he appears pne to be remembered. At the same time tnere is plenty of scope for the work of other players and the film has a cast which is worthy of the leading player. Indeed, it is one of the most happily-balanced productions which has been turned out by an English or American studio for a long time, and this fact the audience was not slow to appreciate. An unusually good and varied selection of songs is provided for Robeson, and he does them full justice. It is perhaps hard to differentiate between the merits of the various numbers — each has its individual appeal—but the palm must be given to that old negro refrain which has survived the test cf many years, “Ma Curly-headed Baby.” Robeson brings to this fine old song an interpretative quality which gives it a new and fuller’ meaning, even to those who have heard it many tunes before.

The scenes cf “Big Fella” are laid in the underworld of Marseilles, a crude but colourful background for an exciting story. Robeson has the picturesque role of a waterfront character, who has achieved great popularity in the cabarets, where he is the humble admirer of an attractive artiste (Elizabeth Welsh), a negress who remains faithful to him throughout his strange adventures. It is his big heart and friendly personality that lead him to befriend a petulant, runaway English boy, who is kidnapped by a gang of desperados. Together the two enter upon a series of exciting escapades, in which the protection of the big negro often saves the boy from dangerous situations. The action moves rapidly from one thrilling episode to another and the audience is held in suspense until the denouement, which is as exciting as it is unexpected. “Big Fella” is excellently produced, and the supporting cast, which includes Roy Emerton and Eldon Grant, gives notable performances. Robeson’s songs are skilfully worked into the fabric of the story, and, while undoubtedly the outstanding feature of the picture, are in no way allowed to interfere with the development of the plot.

The supporting programme is a fitting introduction to a fine film.