Cinema Reviews

Press, Volume LXXIII, Issue 22249, 13 November 1937, Page 9

Cinema Reviews

STATE

"ROSE OF TRALEE" | The rise to star rank of a new child | actor or actress is always welcomed i by a large section of the theatre-going' j public, and the debut of Binkie Stuart, j whom English critics have hailed as a I second Shirley Temple, drew large attendances yesterday to the Stale Theatre, where "Ro::e of Tralee," which, with the charming Miss Stuart in the lead., began a season. As its name implies, "Hose of Tralee" is an Irish arama, and in both story and song it presents entertainment of the best Irish type. It brings to Christchurch audiences several new stars, whom it is safe to say will heighten the already good reputation of British productions. Danny Malone, the celebrated Irish tenor, who is shorty to tour Australia and New Zealand, makes a brief appearance in the film, singing the song which gives the title to the picture, and Fred Conyngham, as a radio entertainer with immense success both in Britain and the United States, sings a collection of good Irish songs extremely well. Binkie Stuart also adds both singing and dancing abilities to her strong list of qualifications as a pleasing child star, and Talbot O'Farrell, a genial Irishman if ever there was one, also sings a comic song. The story of the "Rose of Tralee" is an absorbing one, and its entertainment value is enhanced by excellent acting, a strong cast following a good example set by Binkie Stuart, whose first film should make her many friends. The story ends happily, and appropriately, to the strains of the "Rose of Tralee," but the happy ending is not achieved without many dramatic turns. An excellent supporting programme includes the newest newsreels, a clever cartoon, and a comedy of newspaper photographers on a New York newspaper who can dance as well as take photographs. A well-arranged mannequin parade, featuring the latest dress styles for every possihle occasion, from the beach to a wedding, was an attraction last night, and will be repeated again to-night.

PLAZA THEATRE

FOUBLE-FEATURE PROGRAMME

Popular fare was provided by the change of programme at the Plaza Theatre yesterday in well-balanced entertainment, comprising two feature pictures, one a foil for the other. In "Kid Galahad" the audience is treated to a drama of the American prize-fight ring, it being an exposure of the "fight racket." Based on a really excellent story—one of the best-selling novels of the year, written by Francis Wallaceit is faultlessly produced. Many of the scenes are staged in the prize ring and are the last word in realism. Brimful of action, "Kid Galahad" deals with exciting chapters in the life of a hard-hitting, clean-living American boy, who takes the pugilistic world by storm, on the score of his possession of a dynamic "straight right." His rise to fame is meteoric, and it is then that his troubles begin, because of his exploitation by a ring which controls professional boxing in the United States. Wayne Morris, a handsome, blond player, new to the screen plays the title role, scoring an instantaneous success. He has some old-fashioned ideas, and these he imports into his career as a prize-fighter, to the consternation of his manager (a part compellingly played by Eddie Robinson), whose moving spirit is his girl friertd, "Fluff," played by Bette Davis. Kid Galahad causes further complications by falling in love with Eddie's sister, a role capably filled by ! a new leading lady in Jane Bryan, who gives a most sympathetic interpretation of her part. Humphrey ' Bogart, as the sponsor of a rival con- | tender' for the world's heavy-weight ! championship, has frequent clashes with Kid Galahad and nig manager, and the story closes with a sensational 11-round fight, followed by a duel to death between the two fight promoters. "Kid Cfalahad" is full of exciting incidents, and holds the audience in suspense throughout the screening of 9000 feet of film. Two fascinating romances are developed and the numerous settings, too, are full of interest. A poirtf about th« production is the strong cast of character actors which takes part in the interpretation of a really excellent story. The other feature is a rollicking comedy, ."Hotel Haywire," featuring Leo Carlllo and Mary Carlisle. It is based on a diverting matrimonial tangle which takes a lot of -unravelling. The numerous humorous episodes are cleverly presented, a familiar theme being capably and cleverly interpreted. The fun is of a wholesome variety, and the plot is very intriguing. Of course, there are several romantic situations, and these are deftly handled with a generous mixture of mirth-provoking situations. In a word, "Hotel Haywire" is far more attractive than its title would suggest.

REX THEATRE

"WINTERS ET»

"Wiotersct," one of the most highly praised films produced in recent times, will be presented at the Rex Theatre, Riccarton, to-night and to-morrow night.

AVON THEATRE

"WOMAN CHASES MAN"

The dreadful consequences of drink-

! ing brandy after champagne are illustrated in "Woman Chases Man," a lively comedy which began a season at the Avon Theatre last evening. It is one of those fantastic stories in which millions of dollars are tossed carelessly about by the cast; and that, of course, does not matter so long as someone has the millions. In this film the money belongs to Kenneth Nolan, a very cautious young man who husbands a legacy of 1,000,000 dollars as if it were the price of his last meal, The story deals chiefly with the attempts of his father, a lovable man, but an unwise spender, and an attractive girl, to separate Kenneth from part of the .1.000,000 dollars. Their motives are not exactly criminal; in fact, they manage to persuade themselves, and eventually the young man, that it is only for his good that he should provide 100,000 dollars towards a scheme for building a "model village."

Miriam Hopkins has the part of the girl, and Joel McCrea is the young man. Miriam Hopkins talks very quickly, and quite wittily at times, to an accompaniment of stupid answers by Joel McCrea; the pair provide a great deal of the fun which makes a quite impossible play a good entertainment. But much would be lost without the presence of Charles Wmnmger, as the young man's father. When the story begins he is on the point of bankruptcy; in fact, he wouid be bankrupt but for the hope of persuading his son to supply the necessary 100,000 dollars. He has, it seems, a mansion in spacious grounds and a suite of offices (nobody seems to bother about ofijee rent in America), but nothing else. No business is done at the office, and at the mansion are neither servants, nor food, nor electric power nor gas. Only 300,000 dollars is needed to set the happy bankrupt on his feet.

Kenneth arrives home from Europe. [ bringing with him an adventuress with whom he fancies himself in love. He finds Miriam in charge of his father's house, a pair of very odd servants, and no father. Miriam is an architect: and she has set her heart on design- }"£ houses for the model village, Nolnn Heights," which is the father's latest venture. The story resolves itself into a competition between the adventuress and the girl architect The former wants to give Kenneth suffi. pient brandy to bring him to the point of proposing; and the latter arm? herself with champagne, a contract and a fountain pen. Champagne and brandy between them make the young man pliable;; and the film ends with an extraordinary struggle in a tree. Nolan Heights" and virtue are triumphant. It is all very pleasant nonsense.

MAYFAIR

"THE WOMAN J LOVE"

Fine dramatic acting by Paul Muni =md Miriam Hopkins lends pathos and appeal to a story of a triangular romance set in the days of the Great War and with a background of the French A.ir Force. The film of the story, "The woman I Love," is showing at the Mayfair Theatre.

Muni's sensitive appreciation of the *iner qualities of dramatic art gives the 'Urn a reality and meaning of its own He takes the part of a pilot in 1917 who is regarded by his fellows in the 'ur squadron as an outcast because he las had the misfortune to lose severaJ observers. A young observer, Louis Hay ward, who has just joined the squadron, forms a strong bond witn Vtuni, and together they fight their way r o fame and friendly recognition by their fellows. Colin Clive, as the leader of the squadron, carefree, popular, and efficient, provides a brilliant nor tray al and lends a fineness of feeling to the role which ends with his death ?! action—a death which brings the first suggestion of a tragic climax. The action and the tension of wartime scenes play an important part in the enthralling characteristics of the story; but the driving force of the plot is derived from the love of Hayward for Miriam Hopkins whom he knows as Denise. Unknown to him, she is Helens, wife of Muni, and the one woman for whom Muni lives. On leave, Hayward learns for the first time her true identity, and, in spite of her deepest protestations, and despising himself bitterly, he leaves her to return to the front. Muni notices the change in Hayward, but is at a loss to explain it; and it is not till nis wife visits him later that he suspects the true cause of the young observer's dejection.

Clive has meanwhile guessed how matters stand, and manages to convince the woman that a man despising him- ( self must ultimately despise her if she / persuades him to take a weak course. j On the eve of an attack, Hayward had intended to take a position as mstruc* tor in Paris, and Clive tells her that i Hayward has changed his mind. On the day of the attack Clive goes to his death, and Muni and Hayward, reunited in their common desire to avenge their leader's fall, take off on what proves to be Hay ward's last flight—a flight which brings Mum severe wounds. Invalided home, Muni without disclosing to his wife that he knows of her feeling for Hayward, does his best to console her subtly. The climax reaches a height of emotional and dramatic attainment which will be remembered as long as the splendid acting of the players is remembered, j

CIVIC "UNDER THE RED ROBE" The popularity won in Christchurch by Annabella when she apeared in "Wings of the Morning" is likely to be repeated now that she makes her second appearance iit "Under the Red Robe," which began its season at the Civic last evening. The film is different in every way from its predecessor, but it presents the lovely French star in a role that reveals many new sides of her attractiveness and her acting ability. She is ably supported by Conrad Veidt, an actor who never fails to give distinction to a film, and who in "Under the Red Robe" adds another to his long list of successes. In "Wings of the Morning" Annabella was tomboyish, but won hearts with her wistful charm. In "Under the Red Robe" she is a great lady, still young and charming, but anything but tomboyish. She is, if anything, much more herself than in the earlier film, in which she appeared to adopt many of the mannerisms of Bergner. This film shows that she is a fine actress in her own right, and it is in every way well worth seeing. "Under the Red Robe" is a story of France in the days of the despotism of Cardinal Richelieu, who was in effect ruler of the country. To put down an incipient rebellion in the south, led by the Duke of Foix, the cardinal sends as a last resort a gentleman adventurer, Gil de Berault, with instructions to win the duke's confidence and either arrest him or kill him. De Berault (Conrad Veidt) gains admission to the duke's castle as a benighted traveller. The duke is away, but his sister, who is in charge of affairs, suspects him as a spy, and keeps him a nominal prisoner. They come to love each other, and when eventually he is able to carry out his commission and arrest the duke he is faced with the conflict between his love and his duty, He chooses a course that may be disastrous to himself, but satisfies his honour.

The love story provides many pleasing scenes, but they are only part of the film, in which Conrad Veidt carries the brunt of the work. He appears as a strange swashbuckling type, with a queer old-fashioned sense of honour, which constantly lands him in difficulties. The period settings of the film are admirably done, and it succeeds in creating the atmosphere of a past age.

Notable among the supports to the main feature is a coloured cartoon about three mice who would not work. In essential ideas it naturally owes something to the famous Walt Disney series, but it achieves originality of treatment, and the colour work is very effective. A boxing short, newsreels, and topicalities complete a good programme.

CRYSTAL PALACE "ON AGAIN—OFF AGAIN" Pink pills make the setting and excuse for some lively comedy by Wheeler and Woolsey in their latest xarce, "On Again—Off Again," at the Crystal Palace Theatre this week. The background of the film is a huge American commercial firm, which has ouilt its success upon the sale of pills, I and the buffoonery introduced by the | comedians arises when the two partj ners Hobbs and Horton (Wheeler and ] Woolsey) quarrel about the respective shares contributed by them to the success of the pills. I Ludicrous situations and typical wit - j ticisms spring up as the partners seek I the advice of their solicitor to arrangI a dissolution of the partnership; but the real fun starts when they agree to settle their • differences by wrestling each other, the winner to become tIK master, and the loser to become the slave who must obey every dictate of his former partner under penalty, on disobedience, of heavy fines. The wrestling match ends when Wheeler is stunned by accidentally bumping into one of the firm's potential clients. Woolsey staggering over to Wheeler and pinning his shoulders for a winning fall. Woolsey makes Wheeler his butler. Meanwhile Wheeler compromises Woolsey by arranging a meeting of Woolsey's wife and a siren whom Woolsey is embracing in his office. Woolsey's efforts to humiliate Wheeler provide hilarious moments, and he is within an ace of making Wheeler break the contract which would mean that Wheeler's share of the business would pass to Woolsey. Wheeler, however, after being fined heavily for the verbal abuse he heaps on his master, acts on the advice of the solicitor and makes Woolsey think he is enjoying his work, at the same time givine Woolsey the imDression that he (Wheeler) and Woolsey's wife are having an affair. The comedy reaches a peak when Woolsey retaliates by sending 'or Wheeler's fiancee who has heard nothing of the contract. Wheeler goes to ridiculous lengths to prevent the j holding of the party she is expected to attend, and manages to bring back the siren as a servant. The siren brings with her a band of "toughs" and comolications follow fast when wife, fiancee, and siren meet in the same house.

Wheeler'? humbled station meets with scorn from his fiancee, and Woolspv becomes an ob.ifct of suspicion bv his wife. The climax comes when Woolsey has sisnpd a ruinous contract "'ith a bankrupt firm, and the "crooks" who hav« a vert with Ihp plren «teni the contract, intending to turn it to Recount. All ends hapoily in a final i whirl of romance and hilarity, CHRISTCHURCH CINEMAS, LIMITED "Love on the Run," an amusing comedy, is showing at the Regent Theatre this week. The leading players in this production are a group of popular stars. Joan Crawford, Clark Gable, and Franchot Tone

"The Road Back," the screen version of the famous book by Erich Maria Remarque, is showing at the Tivoli Theatre this week. The stars are John King, Barbara Read, Slim Summerville, Richard Cromwell, Andy Devine, and Lionel Atwill. 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 Liberty Theatre this week is showing a double feature programme, on which the main attraction is "The

j SOLE BROTHERS' CIRCUS + BOXING KANGAROO SECURED A special attraction has been secured by Sole Bros.' Circus in "Aussie," a famous boxing kangaroo. "Aussie" has completed a highly successful tour of Europe, and is sure to prove very popular with patrons of the circus when he appears this afternoon and evening. The circus drew another full house last night, when the large and varied programme was repeated in the big tent opposite the railway station. Further performances will be given in Christchurch this afternoon and evening. Next week the circus will begin a country tour, showing at Leeston on Monday, at Winchester on Tuesday, at Waimate on Wednesday, and Oamaru on November 19 and 20. To-night's performance is announced as the last, and the final matinee will be to-day at 2.15 p.m. Reserved scats may be booked at the D.I.C.

Texas Rangers," with Fred Mac Murray and Jack Oakie. The other film is "This'll Make You Whistle," with Jack Buchanan and Elsfe Randolph. "The Black Sheep," starring Edmund Lowe and Claire Trevor, and "There goes Susie." with Gene Gerrard and Sally O'Neill, make up the doublefeature programme at the Grand Theatre this week.