Cinema Reviews

Press, Volume LXXIV, Issue 22419, 4 June 1938, Page 11

Cinema Reviews

MAYFAIR “IN OLD CHICAGO” Once again Hollywood has used its technical resources to' build what would otherwise be average entertainment into magnificent entertainment. As it was with, tor instance, '‘Hurricane,” so it is with “In Old Chicago,” the picture that began a season yesterday at the Mayfair Theatre. The climax of “In Old Chicago” comes with a fire, and for sheer spectacle the last 20 minutes of this picture must stand unsurpassed by any of Hollywood’s recent achievements in this direction. But spectacle alone is not enough to satisfy audiences now, and this has been recognised by the producers of this film, for with it there is a vastly entertaining story of three brothers and their fight for success in the hectic days of Chicago’s rise as a great city. The portrayal of the lives of these brothers alone would be enjoyable entertainment. but it would not be outstanding. That it has become outstanding is a result of unusually clever direction and magnificent use of technical resources. The fire that destroyed a large part of the Chicago of 1871 has been recreated so vividy and so powerfully that even though it is presented by an artificial medium it is almost terrifying. This must surely be one of Hollywood’s most ambitious efforts to achieve the spectacular, and it surely must have strong claims to being the most successful. The rest of it is unusually good melodrama of a period rich m variety and interest. Money flowed freely in this rapidly growing city; there were countless opportunities for those with the head for business; there were good and bad among those who flocked to this prosperous city; and that good and bad stand out in sharp relief as the story is developed. For the purposes of the story the contrast is, in the main, confined to one family. It is seen in two of the brothers, the one honest and 'far-seeing; the other unscrupulous, calculating, ready to turn anything to his own profit. How the honest one, although losing his life, achieves the final triumph, makes an absorbing story. The story is portrayed by a cast that is more than competent. Heading the cast are Tyrone Power, Don Ameche, Alice Brady,' Alice Faye, and Brian Donlevy, and among them Alice Brady stands out for her characterisation of the head of the O’Leary family. The supporting programme is short, but excellent. A newsreel shows the opening of the Empire Exhibition at Glasgow by the King and Queen, and the final of the Association Football Cup at Wembley. The other supporting film is one of the “March of Time” series, which is always full of interest. PLAZA “PARTNERS OF THE PLAINS” Hopalong Cassidy, Clarence E. Mulford’s hero in more than one thrilling story of the “wild west” days, is the central figure in “Partners ot the Plains,” now showing at the Plaza Theatre. The film is a good one, well produced and capably acted, and holds the , interest from start to finish. It has for a background the grim scenery of Arizona, Arizona when outlawry was prevalent, and when the ability to draw a six-shooter quickly ensured for a man pretty well his only means of self-protection. Although there are many spectacular moments in “Partners of the Plains” such >as when Hopalong’s Lorna is endangered by a raging bush fire, and when he and the remainder of the ranch riders have to fight for their lives against a band of rustlers and “bad-men,” nothing is over-done. The atmosphere of a stirring epoch in American history is conveyed excellently in this picture. Hopalong Cassidy,' played by William Boyd, commands the central role of the hardriding, reckless, chivalrous cowboy, and whether he is galloping furiously in pursuit of an enemy, or dallying with the beautiful, imperious Englishwoman, Loma Drake, his personality is such that it dominates each situation. Usually Hopalong Cassidy acts the gallant kr.ight errant of the prairies on somebody else’s behalf. In “Partners of the Plains,” however, he meets romance when Lorna. Drake (Gwen Haze) arrives at the ranch and begins : tp| run things accordingly to how she would like them. Lorna happens to have a personality • that clashes at once with his own, but that does not blind him to her courage and other attractive qualities. They fall in love with each other, and this proves too muqh for Lorha’s eastern fiancee. Ronald Harwood (John Warburton). who plots with some of Hopalong’s old enemies to kilL him. He very nearly fulfills his pqrpose, too, so nearly that the eVehts which intervene to preserve Hopalong’s life produce a great climax. As Hopalong Cassidy, William Boyd is superbly cast. He is a splendid horseman , and he acts very naturally the part of Cassidy, the practised gunman. GWen Haze is convincing in her role of the spoiled English beauty. She acts with restraint where it is called for but can infuse plenty of fire into her interpretation of Lorna. Russell Hayden, as Lucky Jenkins, plays his role easily, while as Baldy, Harvey Clark is outstanding. His is one of the most difficult parts to play, but in this film he again proves his ability to interpret an interesting character well. The remainder of the playefs are suitably cast, filling their parts distinctively. “Scandal Street,” the second feature, is a story with a moral. It is also one of the few pictures that suggest a lance being raised against hypocrisy. The film is an entertaining one and admirers of Bernard Shaw or Samuel Butler should enjoy it immensely. Simply it concerns a girl (Louise Campbell) who lives in a small town and is continually being harassed by gossiping and petty minded women. Little Virginia Weidler is also starred and with her mischievous pranks and general tom-boyishness, happily balances the rather ironic humour that runs through the story. CHRISTCHURCH CINEMAS, LIMITED The new programme at the Regent is headed by Deanna Durbin, starred in “Mad About Music,” with Herbert Marshall and Gail Patrick. Gordon Marker is starred in “The Frog,” Edgar Wallace’s exciting story which opened yesterday at the MaThe new programme at the Tivoli is headed by “Lost Horizon,” starring Ronald Colman .with Edward Everett Horton. ~ Shirley Temple and Victor McLaglen are starred in “Wee Willie Wihkie,“ which opened at the Liberty yesterday. The second feature is a Jones family story, “Back to Nature.” “The Country Beyond,” starring Rochelle Hudson and Kent Taylor, opened at the Grand yesterday, with “O’Malley of the Mounted.” Chapter 2 of “Wild West Days” is also being shown. REX James Oliver Curwood’s “God’s Country and the Woman” now screening at the Rex Theatre, Riccarton, is an outstanding film in colour, starring George Brent, Beverly Roberts, and a great cast

CRYSTAL PALACE “CRASHING HOLLYWOOD” AND “CITY GIRL” The Crystal Palace has a generous measure of fast-moving drama, comedy, and romance on its double-feature programme this week. “Crashing Hollywood” is a delightful piece of comedydrama, supported by a swift-moving tensely dramatic story in “City Girl," both films making entertainment in keeping with the theatre’s popular standard. There is plenty of action, in fact, seldom can more action have been seen in any two films on the same programme, and what is most satisfying about the entertainment is the efficiency of the cast in each story, and the smooth, convincing manner in which the dramatic moments succeed one another. . . ' Lee Tracy heads the cast in Crashing Hollywood,” and has the able support of Joan Woodbury, Paul Guilfoyle, Lee Patrick, and Bradley Page. The story tells how a convict and a wouldbe scenario writer actually do “crash” Hollywood. They not only “crash” it, but have very nearly smashed it before a highly exciting and funny series of situations is brought to a happy ending. Lee Tracy is the literary aspirant with the usual ideas about getting into Hollywood. Paul Guilfoyle and Lee Patrick are the people who show him how. The way is delightful until the villain in Tracy’s film stories actually comes to life and chases him round the studio with a gun. Excitement is intense and there is a happy touch of romance, in which Joan Woodbury figures. “City Girl" is an outstanding story of racketeering, given from the point of view of an innocent young girl who is attracted to the glitter of wealth that comes easily, and is swiftly caught up in a net of criminality. Then she accidentlaly kills a rival and is found guilty of murder. The king of racketeers snatches her out of the clutches of the law only to lead her to worse things. The story moves swiftly and convincingly, to a dramatic climax, making first-class entertainment. Ricardo Cortez is the villain of the piece. Phyllis Ward is attractive and capable as the girl. Her performance is outstanding. She captures the film, AVON “MARKED WOMAN” Enthusiastically received by large audiences, “Marked Woman,” which is showing at the Avon Theatre, has had its season extended. Tense and dramatic throughout, it reveals the gambling and vice rackets of New York from the inside. Bette Davis. Humphrey Bogart, and Eduardo Cianelli. the three principals, raise the standard of this popular film far above the average by the finish and versatility of their acting. “Marked Woman” is a picture of gangsters and racketeers, but it is different from the usual run of gangster pictures. There are no melodramatic gun duels, no sawn-off shotguns, and no impossible motor-car chases. The story turns upon the activities of five night-club hostesses who become entangled in the affairs of Johnny Vanning (Eduardo Cianelli). Vanning gradually converts their club into a gambling den and the lower he sinks the lower he forces his hostesses until their actions have passed completely beyond the protection of the law. Bette Davis has a schoolgirl sister who comes to yisit her. But she, too, is caught in the web of vice and is murdered by Vanning. Vanning tries to hush up the crime, but, although almost beaten to death afterwards, Miss Davis informs a rising young lawyer of all she knows. Emmy Lou. a part played by Lola Lane, escapes from Vanning and by their united efforts Vanning is trapped. Love interest in this film is supplied by a certain attraction existing between Bette Davis and Humphrey Bogart, but .which, can be nothing more than friendship. Save for this element the picture is hard and ruthless. but superbly acted. The principal racketeer is played by Eduardo Cianelli and the prosecutor, chiefly responsible for bringing the racketeer and. his gang to book, is Humphrey Bogart, who can play the part of hero .as well as villain. Bette Davis, Isabel Jewell, Rosalind Marquis. Mayo Methot, Jane Byron,, and Lola Lane are the night-club hostesses. At the risk of their lives they expose Venning’s methods when induced to do so by the prosecutor. Bette Davis, last year’s academy award winner for the screen’s greatest actress, strives for. fresh honours in this gripping story, which is based upon the adventures of G-men whose task it is to place the hand of the law upon racketeers. CIVIC « SAILING ALONG ” The season of “Sailing Along.” at the Civic Theatre, has been extended. This English picture gives great scope, for the brilliant acting of its principal. Jessie Matthews, who proves beyond doubt that she is the foremost of English film, stars. Although “Sailing Along” has American touches, particularly in the person of Jack Whiting, the Broadway matinee idol w* lo is partner to Jessie Matthews, it is successful chiefly because of its characteristics. which mark it as a British film. Jessie Matthews and Jack Whiting do not fill the stage all the time, however, for much of the entertainment is provided by the puzzled but well-meaning Roland Young, Jessie Matthews represents a stage type belonging to England rather than to America. That same sauciness which has made Grade Fields so popular is often apparent in her actions. And added to this, she is not only graceful and charming, but as good a dancer as any, and also a pleasing singer. . , . The picture opens in a typically English setting on a barge sailing up the Thames. Kate, -the bargemaster’s adopted daughter, is as useful on board as most men, but her ambition is to dance on the stage. Meanwhile she dances whenever she can'on the decks of the barge, much to the annoyance of the bargemaster’s son. who is busy taking various correspondence courses, and who is convinced that if he had £SOOO he could make immense sums on the stock exchange. Then one day, when the barge is delayed at a lock, Kate’s dancing attracts the attention of a soup millionaire whose hobby is to collect geniuses. Most of his geniuses turn out to have no talent at all, but Kate takes a different course. Although, failing the first time she tries to show a theatrical producer what . she can do, she receives a thorough tuition subsequently. Comedy of her owh inimitable kind shines through many of. the scenes in which She is receiving.. her training. An actress with a manner of her own, Jessie Matthews in “Sailing Along” gives her best.