Cinema Reviews

Press, Volume LXXIII, Issue 22243, 6 November 1937, Page 8

Cinema Reviews

CIVIC

“PAGLIACCI” Richard Tauber, the great German tenor, makes probably his finest success in “Pagliacci,” which has been described as the first real attempt to adapt grand opera to the screen, and it is notable that the producers have not tried to alter the story to make it more in keeping with conventional screen ideas. The brilliant film version of Leoncavallo’s famous opera met with acclaim at the Civic Theatre.

Tauber’s acting is a revelation, and it is safe to say that it marks an advance on any of his previous performances in films. The role is far from easy, yet Tauber finds interpretation of the part easy, and shows his familiarity with the finest features of the characterisation. As a motion picture, “Pagliacci” is refreshingly unusual, and Tauber’s gifted voice is for once matched by a worthy story which supports it. Tauber, of course, takes the principal part of Cam'o, leader of a band of strolling players, who is deeply in love with his wife (played by Steffi Duna); but it is Steffi Duna’s outstanding portrayal, her youth, and her elusive beauty, which round off the excellence of the story. In “Pagliacci” she acts with ability which throws into the shade even her performance in the technicolour film, “Dancing Pirate.” Much of the strength of the story is gained from the play on the situation which arises when Canio’s wife becomes unfaithful, lending a capricious reality to an itinerant band’s presentation of an opera with a similar plot. Steffi falls in love with a young soldier, Silvio (Esmond Knight), travelling under Canio’s caravan. On a difficult mountain pass, when Canio is helping to clear snow from their path, Steffi joins Silvio. Her caravan, unattended, plunges into a ravine, and Canio, distraught at the thought of Steffi being within it, starts down the treacherous slope to rescue her. His suspicions are aroused when he finds her safe, and they become confirmed as continuing incidents are borne home to him. The climax comes with thrilling force when the band presents its play—a story of the punishment of an unfaithful wife.

It is to the simplicity and directness of the plot that the film owes its appeal and freshness; but the filming of portions of the story in the new British process, chemicolour, add an interest which enhances the pleasing effect of the programme. Tauber’s outstanding and commanding performance has a quality which, while being imposing, is not excessively obtrusive, and the most fastidious audience must appreciate and approve of the actor’s finesse.

PLAZA

“SLIM” AND “KING OF GAMBLERS”

An extraordinary mixture of thrills awaits those who see “Slim,” the chief picture on the double-feature programme now showing at the Plaza Theatre. The film is by turn strange and dramatic, humorous, exciting, and thrilling: and it is so much different from what .one might have expected that one is constantly finding new delights. The dangers of a linesman’s life—precarious footholds on huge steel towers, live high-voltage electric wires, and repair work in sweeping blizzards —give the film a tensenesss all its own. It is an amazing story of iron men and fast action: and the tale of their lives is vividly told. A film of this type is ideally suited for the acting of Pat O’Brien, who, with Henry Fonda in the name-part, carries the' story through some amazing scenes. Perhaps, more than anything else, it is O’Brien’s daring that first attracts Fonda to the work. After several setbacks Fonda, with O’Brien’s help, is given a job in the gang of linesmen—one seems almost to climb with him on his first ascent to the top of one of the huge steel towers. The picture has been filmed from some very effective angles and this serves to heighten' the tension and suspense of the work. His first fears overcome ’•’onda becomes an expert in his new calling, and with O’Brien, becomes famous for his skill. His liking for the ’oh and his romance with Margaret Lindsay inevitably clash; but the right ending to the romance is sufficient compensation. Some good character portrayals are given by the supporting oast, with some amusing comedy by Stuart Erwin.

“King of Gamblers,” the second feature on the programme, is a film of tense situations with an exciting climax. From start to finish the picture has atmosphere, and is convincing, and gripping Here again much of the Effectiveness of the story is heightened by the photography and the direction. Akim Tamiroff is characteristically suave and sinister as the leader of a band of gangsters, whose machinations provide the theme of the film. There is poetic justice in Tamiroff’s death, at his own hands through his invention of a new method of committing murder. Of the other characters, Lloyd Nolan, as a reporter, is outstanding and convincing, and Claire Trevor shows individuality and sincerity in her role of a night-club entertainer.

CRYSTAL PALACE

“NIGHT OF MYSTERY”

Those who appreciate first-class murder mysteries will enjoy the new picture at the Crystal Palace. Directed by Adolph Zukor, “Night of Mystery” is adapted by Paramount from one of S. S. van Dine’s thrillers. A peculiar will, ordering every member of his large family to continue living in his house *for a set peribd of years after his death, was made by Tobias Greene. One of the family is murdered and Philo Vance is called in to solve the mystery. Further murders complicate the situation, but eventually the mystery is solved. The New Zealand actor, Colin Tapley, as one of the sons of the family, gives an excellent performance. The part of Philo Vance, played by Grant Richards, is extremely well done. Ruth Coleman and Roscoe Karns make up the supporting cast. In add'tion. the programme includes as a preliminary feature, a very amusing film featuring Una Merkel and Guy Kibbce, in which a group of fraudulent financiers endeavours to get rich quickly. The bogus gold-mine in Mexico turns out not so bogus after all. and the only ones who fail to make money are the financiers themselves. This film is one of the cleverest seen in recent weeks.

REX THEATRE

Tk “Big Broadcast of 1937,” a picture filled with new songs, dances, and sparkling comedy with Jack Benney, Burns and Allen, Martha Ray, and Benny Goodman and his band, is being shown at the Rex Theatre, Riccarton, to-night, Monday, and Tuesday.

MAYFAIR

“WAIKIKI WEDDING” The fabulous beauty of Hawaii and the haunting Hawaiian melodies provide a splendid background for many delightful scngs by Bing Crosby and Shirley Ross in "Waikiki Wedding,” which began a season at the Mayfair Theatre yesterday. Bing Crosby’s voice in such a setting cannot fail to appeal. Catchy tunes, sung by a crooner amid the tropical beauties of the island, with a cast of talented comedians, make this film a really worth-while musical comedy. Crosby’s ability as a comedian, apart from his singing talents, makes any of his pictures well worth seeing. Contrasted with the vigorous comedy of those well-known comedians, Bob Burns and Martha Raye, the greater subtlety and lightness of his wit have an added appeal. His quiet handling of the many humorous situations in which he appears is generally excellent. Miss Ross, with Crosby in the leading role, although a newcomer to the screen, also has a pleasing singing voice Her style is new and refreshing, and she acts with a crisp directness in every scene in which she appears. Crosby’s efforts to make Hawaii glamorous for Miss Ross—“the pineapple girl," winner of a pineapple recipe contest—provide the theme of the story.. With such a romantic background, and such lilting tunes as “Blue Hawaii,” “Sweet Is The Word For You,” and “In A Little Hula Heaven,” the success of the romance between these two is inevitable even though an early fiance provides difficulties. The story gives many opportunities for sequences of native songs and dances, and these are a feature of the film. A “Popeyc the Sailor” cartoon, “Organ Grinder’s Swing” is responsible for some vigorous comedy on the supporting programme. A splendid scries of newsreels giving a wide selection of the world’s events, an interesting Grantland Rice Sportlight of huntingdogs of all types, and a magnificent “short” of the Bay of Fundy, Nova Scotia, complete an entertaining programme.

STATE

“SHALL WE DANCE”

The latest Astaire-Rogers release, “Shall We Dance,” which is now in its third week at the State Theatre, more than maintains the brilliant standard of all the productions in which these talented dancers and comedians have appeared. It has been said that “Shall We Dance” is the last picture in which Fred Astaire and Ginger Rogers will appear 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 comparatively 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 is 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 vitality, and it reaches its hilarious climax in a scene in which Blore takes the honours. It is safe to say that anyone who cannot laugh at this scene has lost his sense of humour. The picture is rich in dance scenes, an unusual departure being the inclusion of classical ballet—a most effective contrast to the tap-dancing. The story is adequate, and the utmost has been made of it. It is in truth a comedy of errors. Audiences have come to expect elaborate staging in this type of entertainment, and this picture should in this respect, too, meet all demands. It is a presentation that can be recommended without hesitation.

It is a long picture, and the supporting programme is short; but it is very well chosen. One of the features of it is a coloured cartoon of unusual merit. The two newsreels make a good contrast.

Mannequin Parade As an added attraction the State Theatre will present from to-day a mannequin show entitled “Hollywood on Parade.” This has been arranged in conjunction with Shillings, Ltd., and it will present the latest bathing suits, beach frocks, afternoon and dinner frocks.

CHRISTCHURCH CINEMAS, LIMITED

“The Road Back,” the screen version of the famous book by Erich Maria Remarque, is showing at the Regent Theatre this week. The stars are John King, Barbara Read. Slim Summerville. Richard Cromwell, Andy Devine, and Lionel Atwill.

“Rose Marie,” the film of the popular, musical comedy, is showing at the Tivoli Theatre this week. Jeanette Macdonald and Nelson Eddy are the leading players in a cast which also includes Alan Mowbray and James Stewart. Jean Harlow is starred with Clark Gable in “Saratoga,” which is now showing at the Majestic Theatre. Lionel Barrymore, Frank Morgan, and Una Merkel are also in the cast.

“The Border Patrolman,” starring George O’Brien and Polly Ann Young, heads the programme at the Liberty Theatre this week. The second attraction is “The Frame-Up,” with Paul Kelly and Jacqueline Wells. The Grand Theatre this week is showing a double-feature programme, including “Murder in the Fleet.” with Robert Taylor and Jean Parker, and “Friends of Mr Sweeney,” with Charlie Ruggles and Ann Dvorak.

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 for a second week at the Avon Theatre, one of the most outstanding pieces of entertainment that has come to the city for some time. Th. . 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 of this romanceful period being faithfully depicted. “The Prince and the Pauper” was lirst 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.

“UNDER THE RED ROBE”

ANNABELLA TO RETURN

Annabella, the lovely French actress who created a sensation in “Wings of the Morning,” appears opposite Conrad Veidt iff “Under the Red Robe.” The film, a swashbuckling romance, based on a story by Stanley Weyman, is coming to the Civic shortly. In this tale of the intrigue that threatens a throne, Conrad Veidt, who is acclaimed as one of the greatest actors Europe ever produced, plays the dashing, audacious adventurer, Gil de Bcrault, whose sword strikes terror to the hearts of men, and whose smile brings love to the hearts of women. Annabella wins new laurels as the radiant and charming Lady Marguerite, rapturously in love, and unaware that her ardour can destroy a throne. And there is Raymond Massey, as Richelieu, the hated, the revered, the courted, the feared, who conspired with the hearts and lives of lovers, to become the power behind an empire. Veidt, as the headstrong cavalier Gil de Berault, becomes embroiled with a young soldier, and to save himself from Richelieu’s edict of death for duellists, undertakes a hazardous mission, the arrest of the Duke of Foix, a dangerous enemy of the Cardinal. He wins admittance to the Duke’s castle, where he is greeted by the Duchess, Sophie StewaH, and her sister-in-law, Annabella. Confusing the two, he believes Annabella to be the Duchess. In spite of their suspicions, Veidt wins the confidence of the women, learns the whereabouts of the Duke, and falls in love with Annabella. Events move swiftly to a thrilling climax —the revelation that Annabella is a sister, not a wife, to Duke Gaston; the arrest ’of the Duke, and the consequent estrangement of the lovers. When thej fearless swordsman finally decides to pay the death penalty rather than sacrifice the brother of the girl he loves, he returns to face Richelieu, in a surprise ending to a memorable film of adventure and romance.