Cinema Reviews

Press, Volume LXXIV, Issue 22443, 2 July 1938, Page 4

Cinema Reviews

PLAZA

“HITCH-HIKE LADY” AND

“STATE POLICE”

Those who like a picture filled with dramatic situations and thrilling incidents, and to whom the staccato of machine-guns is relaxing after an uneventful day at home or at the office, should revel in “State Police,” now showing at the Plaza Theatre. The film is not- one that can be recommended for people with weak nerves, or for those who prefer a life of meditation to one of activity, but for those who can appreciate adventure, daring, and excitement, and who enjoy seeing a fight with naked fists, “knuckle-dust-ers,” knives, or revolvers, this film should be as acceptable, say, as a book of Sabatini’s, Agatha Christie’s, or of any of those authors who, _in their pages, mingle romance with killing and judicious murder. “State Police," although sensational, is not improbable. It concerns the efforts of the state police to “wipe out’ racketeering of a previously unknown type. In view of the trouble the American Government has had with the racketeering problem and of the efforts made to solve it, this picture should be enlightening insofar as it gives some idea of tne organisation which has done so much to reduce crime in the United States. Now Zealanders, or Englishmen, for that matter, can have little conception of the crime wave which only recently was checked by the “G” men of America: and this film is as much an indication of the lawless elements which the state police had to contend with as it is a tribute to the energy, resource, and courage of the police force as a whole. , ■ , , As sergeant in a detachment of state police, John King has to tackle a problem in racketeering that involves him and his sweetheart (Constance Moore) tn numerous perils. Gun battles and treacherous assaults are only a few of the difficulties King has to overcome before his worries are ended. The picture reaches a stirring climax when Larry Blake, as a murderer, and one of his gang, try to escape through a cordon of state police radio cars and embattled coal miners. “State Police” was filmed against the background of Southern California’s mountain ranges, and its story tells of how a force of state police drive on racketeers who prey on working men. Naturally, the success of the film depends upon the speed of its action, and the manner in which certain types are interpreted. Realism is its keynote, and it makes good drama. Some of the shots are frightening; all are impressive. Lastminute rescues and hair-breadth escapes ensure that the picture shall never flag for lack of interest. State Police” is one of the best films of its kind’ to be presented in Christchurch. “Hitch-Hike Lady,” which is beinp shown in conjunction with “State Police,” provides excellent entertainment, also, Alison Skipworth has the leading role of a widowed mother living in England, whose son. as sir.thinks, owns an orange farm in America when actually he is an inmate ol the San Quentin Penitentiary. The complications that follow her decision 1o visit her son provide a senes ot amusing episodes. Arthur Troachei and Warren Hymer. who are also m ihe cast, had last night’s audience Wr'hinti every few minutes v/ith thci/ clever fooling' and bright .quips.

CRYSTAL PALACE

“ISLAND IN THE SKY” AND “YOU CAN’T BEAT LOVE”

Varied and good entertainment is produced in the new double-feature programme which opened at the Crystal Palace yesterday. * Island .in the Sky ’ is a human story of sophisticated New York, tracing the progress of an exciting murder mystery, in which a woman plays a big part in seeing that injustice is not done an innocent man, and the other attraction is “You Can’t Beat Love,” an amusing and exciting story of the entry of an amateur politician into the widespread ramifications _ of smalltown 'politics in the United States. Gloria Stuart and Michael Whalen, who have been screen sweethearts in many good productions, are again together in “Island in the Sky,” Whalen is a young and successful district attorney and Gloria Stuart his secretary. * The story begins when the two, their engagement now announced, are planning their wedding. But thenplans go awry when the district at-, torney is called back to duty to deal with a murder case. It would be unfair to give away details of a good crime story, but after much excitement the district attorney finally “gets his man.” The trouble is that his solution of the crime does not satisfy his wife-to-be, who is convinced that an injustice has been done the suspected man—even although a trial finds him proven guilty and sentenced to death. Acting on her conviction that the wrong man has beeh fastened with the crime, Gloria Stuart, encouraged by the sweetheart of the suspect for the crime, steps into her future husband’s preserves to do amateur detective work on her own. Her search takes her into strange places-including prison—but the climax to a good film justifies the risks she took. It is excellent entertainment of the mystery type. Preston Foster and Joan Fontaine, the stars of the second attraction, “You Can’t Beat Love,” find themselves in some perilous positions when Foster, on a bet, forsakes his wealthy man’s pursuit of pleasure to enter a political ring where nothing is barred. An unsuccessful gambling ring seeking friends in municipal control, has Its own interest in the campaign result, and bitterly resents the intrusion In the fight of any newcomer. Graft traps, “frame-ups,” and similar unethical election moves figure largely in the campaign, and the picture piles excitement on excitement as the fight for the mayoralty, and the spoils of the office, goes on. The film is an interesting commentary on United States small-town politics,' and, as well, it is first-class entertainment. Laughs are frequent throughout the film, which is not surprising, considering the inclusion in the cast of such comedians as Herbert Mundin, Paul Hurst, and Bradley Page.

CHRISTCHURCH CINEMAS, LIMITED

At the Regent the new programme stars Robert Taylor and Eleanor Powell, in "Broadway Melody of 1038.” “Beg, Borrow, or - Steal,” starring Frank Morgan, and “Flight into Nowhere,” starring Jack Holt, are now at the Majestic. "Mad About Music.” starring Deanna Durbin and Herbert Marshall, has been transferred to the Tivoli,

Sonja Henie, the popular skating star, appears with Don Ameche In ‘ Girl In a Million,” which is now at the Liberty, At the Grand the new programme comprises “36 Hours to Kill,” starring Gloria Stuart and Brian Donlevy, and “Soft Lights and Sweet Music,” with Ambrose and his orchestra.

REX/ RICCARTON

“Cain and Abel.” starring Clark Gable and Marion Davies, is being phoWn at'the Rex Theatre,. Riccarton, to-night and on Monday and Tuesday.

MAYFAIR

“HAWAII CALLS”

Bobby Breen's latest musical film, “Hawaii Calls," which is being presented a second week at the Mayfair Theatre, provides entertainment that should please not only all sections of the picture going public, but also all music lovers. The film has its setting largely amid the luxuriant semi-tropi-cal beauty of Hawaii, and in it is plenty of adventure, music, humour, and novelty. In addition to possessing a silvery voice, Bobby Breen has a winning personality. The naturalness of his acting places him in the front rank of child stars. His singing of half a dozen songs, including “Hawaii Calls,” the theme song, “Macushla,” and “Down Where the Trade Wind Blows,” is a feature of the film. Bobby Breen sings effortlessly, with abandon or restraint, and by facial expression, mannerism, and voice control, gives to each one of his songs that interpretation which will find a response from those who hear him. Excellent instrumental music is played by the orchestra of Raymond Paige, one of the wireless’s outstanding conductors, and the most talented Hawaiian dancers and singers are seen and heard throughout the picture, Ned Sparks and Irvin S. Cobb, who gives a splendid interpretation of his role as a gruff, kindly sea captain, supply the picture with some clever comedy. The photography in “Hawaii Calls” is scarcely less outstanding than the acting, singing, and dancing. One pleasing scene is a luau, or native feast, with numbers of gaily clad guests seated at a banquet, at which beautiful native girls join in the undulated rhythm of Hawaiian dances, to the music of a 25-piece island orchestra. The picturesqueness of this particular scene is reminiscent of the Arabian Nights. In the story Bobby and his young Hawaiian friend, Pua Lani, who have earned their living on the streets of San Francisco, go to Honolulu as stowaways on* a passenger liner. They make their escape to shore with the police in pursuit. Native friends of Pua give shelter to the two boys, and the story reaches a dramatic climax when they become involved in the search for a band of criminals who have stolen Government naval secrets. Included in the cast are Warren Hull, Gloria Holden, Mamo Clark, Juanita Quigley, Aggie Auld, and Birdie de Bolt. There is an excellent supporting programme.

AVON

“MARIE . WALEWBKA”

“Marie Walewska,” which is being presented for a second week at the Avon Theatre, is a picture that should be remembered for a long time by theatre-goers. All last week -it drew large audiences and last night again the theatre was filled. The acting of both Charles Boyer, who takes the part of Napoleon Bonaparte, and Greta Garbo, who plays the role of Marie Walewska. is superb. Boyer, particularly, achieves an uncanny interpretation of the great French Emperor, whose ruthless ambition rode roughshod over the feelings of others. It is to Garbo's credit that in this film she subordinates her striking personality to bring out by contrast the dominance of Napoleon’s. . Based on a lesser-known episode in the life of Napoleon Bonaparte, “Marie Walewska” nevertheless portrays the French emperor as he really was reputed to be by the essayists and historians of that age. In this picture two great artists are associated, and supporting them is an outstanding cast comprising Reginald Owen as the wily Talleyrand. Henry Stephenson as the Count Walewska. who spurns his wife after her sacrifice for her country. Dame May Whltty as the mother of Bonaparte, and Marie Ouspenskaya as the old countess whose thoughts are concerned only with the past glories of Poland before the Russian conquest. All the splendour, drama, and pathos of Napoleon’s military career is gathered together in this picture. There Is strength and continuity in the production as it moves to the climax of Napoleon’s fall from the exalted position of the most formidable ruler in Europe to the loneliness and desolation of his prison on St. Helena. As the scene moves from Poland, to Prussia, to Austria, with Napoleon’s legions triumphing on every battlefield; and as it changes to the sad return of the grand army from the white wastes of Russia to the final departure of Napoleon for St. Helena, there is unfolded a drama as moving as any that has ever been presented on the screen. Boyer, in this film, has been given by far the most exacting role he has yet had to portray. He brings to it an energy and understanding that invests the part with colour and reality. He has to express a character that is unique in history, to play the part of a man whose personality challenged the finest military and political genius of an epoch, ana to interpret a spirit that sometimes soared to noble aims, but more often was brooding and solitary. Greta Garbo, beautiful, gracious, and dignified, considered by notable critics as the most accomplished actress that the cinema has ever produced, acts with that queenly poise which it is said distinguished the piquant and fascinating Marie Walewska, She Is no less great in this picture than she was in "Camille,” “Anna Kerenina,” and "Queen Christina.” There is an excellent supporting programme.

CIVIC

“THE LILAC DOMINO” AND “THE SKY’S THE LIMIT”

Gay and tuneful musical comedy acted by competent casta makes up both of the new features at. the Civic Theatre. One of the most popular comedies ever staged in London, where it had a remarkable run at the end of the Great War, “The Lilac Domino” is the main feature and it is preceded by an equally successful film comedy, “The Sky’s the Limit," presenting Jack Buchanan at his most whimsically delightful best. In “The Lilac Domino” the leading roles are taken by Michael Bartlett, the golden-voiced American tenor, and June Knight a musical comedy star. They bring the light-hearted gaiety of the story out to the full and make an excellent team. Bartlett’s delightful voice is heard at its best and he more than fulfils the promise he showed as a singer in “Love Me Forever,” and as an actor in “She Married Her Boss." Szoke Szakall, a Hungarian comedian, with many years of stage successes to his credit, brings his unique humour to the screen in the role of the gipsy band leader, Sandor. The story of Shari, a romantic schoolgirl who falls in love with the handsome Count Anatole, is light in texture and consequentially gay. She meets him first at a village dance and then later at Budapest’s most brilliant ball where she creates a sensation dressed in a lilac domino costume. Anatole is penniless and unknown to both of • them his creditor is Shari’s father, Baron de Gonda. Anatole is invited to a party given by her father to announce i Shari’s engagement, and after a misunderstanding Anatole has to resort to an- ingenious trick to turn the tables on the other suitor..

A series of funny situations gives Jack Buchanan ample scope for his infectious humour in “The Sky’s the Limit.” With him on the screen is a captivating new Continental star, Mara Loseff. The picture was .written.

directed. and produced by Buchanan, who has the knack of producing a brand of humour that appeals to every one. A stormy romance in which the securing of two is involved makes up the bulk of the story. Jack Buchanan and Mara Loseff steer a comical way through the troubled waters.