Cinema Reviews

Press, Volume LXXIV, Issue 22467, 30 July 1938, Page 3

Cinema Reviews

AVON

“HER JUNGLE LOVE” Adventure, spectacle, and romance are the main elements in “Her Jungle Love,” the picture that commenced a season yesterday at the Avon Theatre The setting of the story, it seems, is an island somewhere in tne South Pacific, where a white goddess is venerated by a savage host that occasionally welcomes an opportunity of placating the gods with a human sacrifice, and when . there arrives a lost aviator — with whom, of course, this goddess falls in love—there is plenty of scope for the producer who likes to keep his audiences on edge with excitement. Some may find this picture a little too improbable and a little too vigorous in its adventure; but there should be plenty, if the continued success of the Tarzan series is any indication, whc will find this picture very much to their liking. Added measure to this entertainment is given with the singing of Dorothy Lamour, who has the part of this jungle goddess. She has three songs—“ Jungle Love,” “Coffee and Kisses,” and “Lovelight in the Starlight.” The male lead is taken by Ray Milland, as the aviator who is forced down on this jungle island. The romance between the aviator and the jungle goddess, combined with the comedy touches provided by Lynne Overman, and an extremely intelligent chimpanzee, give a welcome contrast to the vivid incidents that constitute the most exciting scenes in the picture. Overman’s comedy is particularly bright. Hollywood’s resources in providing the spectacular staging for the story were obviously in full demand. The picture is filmed in colour, and it depends for its climax on the terrifying destruction of an underground temple where the human sacrifices are offered. The climax is timed to perfection. for just when the audience has been almost convinced that the crocodiles are really to have the offerings, the place is shaken by an earthquake. and caves in, annihilating the misguided savages and allowing the jungle princess and her lover to scramble off to safety. All this makes spectacular adventure of the type thal Hollywood knows so well how to present. It is a picture that should have a strong appeal, and even those who are accustomed to ask for probability as a prime essential will find plenty to entertain them. y There is a strong supporting programme. of which outstanding items ar 3- 3 ■ P ara mount British newsreel yVHu i£} c } u ded scenes of the Trooping of the Colour on the King’s Birthday, a “Popeye” cartoon and one of the “Popular Science” series.

CRYSTAL PALACE

DOUBLE-FEATURE PROGRAMME The ancient adage that “variety is the spice of life” applies with emphasis to the programme now showing at the Crystal Palace. “Fight For Your Lady” is a comedy romance which is brilliant for its bright dialogue, cabaret scenes, and uproarious situations. The other film, “For the Service,” stars Buck Jones, riding his horse Silver, in a fast-moving action and romance picture of the Wild West of the middle nineteenth century. In “Fight For Your Lady” the fun starts at the ringside of a London wrestling bout, when a wrestler who has agreed to lose changes his mind at the crucial moment and wins. This leads to the bankruptcy of his manager, Jack Oakio, who, after a series of misadventures, switches his managerial capabilities to the handling of an American opera singer, John Boles, while the wrestler finds solace in the companionship of the singer’s fiancee, Margot Grahame. an actress of high ambitions. Heartbroken, Boles attempts to find comfort in drink, and it is the stiains of the “Blue Danube” coming from his radio that make him decide to visit Budapest and forget. At Budapest he is rudely reminded. Newspaperman Paul Guilfoyle informs him of the marriage of his former fiancee, and he contemplates suicide. How they decide on the unique method of suicide they choose in a drunken orgy provides many amusing situations and also affords an introduction to Ida Lupino, who, as Marietta, the cabaret singer, is loved by Spadissimo (Erik Rhodes), a gallant Hungarian count who has fought—and won—forty-five duels for her love. It takes all Jack Oakie’s managerial capabilities to get his master out of the death’y situation he willingly walks into and although one usually expects something extraordinary ot Jack Oakie, one is not prepared for the sight of the faithful Jack, on his knees in the garb of an old woman, begging John Boles’ life "for the sake of his aged mother.” Combining realism with magnificent natural scenery and a thrilling stor> “For The Service” is an unusually good Western pictuie. Buck' Jones, who is also the director Of the picture, gives an excellent performance as the valiant scout who rides the dangerous trails. Torn between duty to his country and pity for his captain’s son iClifford Jones), a youth unsuited to the ways of the brutal West, Buck tries to help the boy when he cringes in battle and manages to shield him in his father’s eyes. Clifford Jones is convincing as the fear-crazed boy. and Edward Keene, Fred Kohler. Bet Marion, Frank McGlynn, and Ben Corbett contribute praiseworthy performances.

MAYFAIR

“THE ADVENTURES OF MARCO POLO” Marco Polo’s famous journeys form the basis for “The Adventures of Marco Polo,” the film showing at the Mayfair. This production makes excellent use of the romance and adventure of the legendary journey to China of a Venetian traveller in the thirteenth century. It does not pretend to be a literal chronicle historically correct in detail, but it is abundantly entertaining and spectacular, and many times creates novel effects that give vitality to the story. In Gary Cooper the film has a star who as Marco Polo, takes his part with the laughing and romantic manner which made Douglas Fairbanks so popular in his prime. Ernest Tuex. small and ridiculous, accompanies him to provide interludes of broad comedy, much as Sancho Panza accompanied Don Quixote on his adventures. Many perils, briefly suggested, have to be overcome on the way, as when they are shipwrecked off the coast of Arabia. meet a sandstorm in the desert, and brave the snows of Tibetan passes. At last they reach the magnificence of high-walled old Peking, where Kub'lai Khan rules over his vast empire. Probably because their journey from the far west of Shina has taken so long, they have no difficulty in talking Chinese. The Khan, presented as an amiable fat fellow by George Barb ; er. is generous in his treatment of the ■Granger. but his sinister Saracen chief minister (Basil Ra.thbone) is hostile, and determines to get rid of Marco Polo as soon as possible. After he has learned the secrets of spaghetti and gunpowder from a Chinese saee. Marco discovers the Princess Kukachin (Sigrid Gurie). and naturally they fall in love. Because Chinese lovers do not kiss, he is able to make much of teaching her the art. The Saracen tries tc CT et rid of Marco bv sending him tc the camp of a rebellious chieftain (Alan Hale), so that his own plans to overthrow the Khan and marry Kukachin may prosper. In the nick of t’me Marco brings the chieftain to Peking, the walls are stormed by a Tartar horde, and all ends well.

CIVIC

“THE BARONESS AND THE BUTLER”

That the season has been extended is the best tribute that could be paid to “The Baroness and the Butler, which is showing at the Civic Theatre. This gay comedy should have many admirers. It has succeeded in catching the tone and flavour of an old regime suddenly confronted with a dilemma in which the self-effacing butler emerges to assume social equality with his noble employers. How a butler becomes a Prime Minister and yet manages to combine the direction of household affairs and party politics makes a story as amusing as it is improbable. But its improbability is no handicap. With the association of Annabella. as the Baroness Katinka; and William Powell as the butler, Johann Porok, the greatest satisfaction with the acting is assured Powell has had a long and successful career, and he has already shown his flair for comedy. Annabella has had a swift rise to fame, and in this film she is associated for the first time with a male lead who is one of the most notable of screen stars. It is an association that could easily have shown any deficiencies in her wqrk, but it is to her credit that at no time does she suffer from the comparison. Allied tc the brightness of the story and to the fine acting of the principals and those who are most important in the supporting cast is intelligent direction which gives easy continuity to the production. With such a story there are naturally many quaint situations. Pqrok’s em ployer is unwilling to lose his services, and so he stays to look after the Sander household until his parliamentary duties become so onerous that he ceases to be the faultless servitor, and so is dismissed. But while he is still in service he keeps his loyalties strictly divided.

PLAZA

“YOUNG FUGITIVES” AND “AREN’T MEN BEASTS” Refreshing humour is the predominating feature in “Young Fugitives,” which opened at the Plaza yesterday in a double programme with “Aren t Men Beasts.” An original plot in which two young persons are brought into the lives of a veteran of the American War of Independence, and his comrade, gives ample scope for Harry Davenport to make the most of a delightful role. The last of a group of veterans in a country town, he is the centre of a gathering of the townspeople who make him the recipient of 50,000 dollars—a rather fabulous sum for one who has always lived a simple life. What is to be done with the munificent gift is,decided by the unheralded entry into his life of a young girl who, hitherto, has spent her life with a gang “jumping” freight trains. Dorothea Kent plays the part convincingly and with vivacity She settles down to domestic duty at the home of her adopted “grampa much to the dismay of the old veteran's comrade. Robert Wilcox. A grandson of a late friend of his is regarded with suspicion as he devotes his energies to farm work. This young man from the city, Larry Blake, completes the romantic team in this fast-moving comedy. He is attracted more by the 50,000 dollars which is kept in the old farm house, than by the beauty of the “granddaughter.” The visit of his city friends, who prove to be a gang of crooks determined to deprive the old man of his fortune, gives a new turn to the story. Blake, who had failed to convince the girl that he had decided to forsake his former pr~ tices. becomes the hero in a successful effort to forestall the machinations of the gang. The second feature, “Aren’t Men Beasts,” with Robertson Hare and Alfred Drayton heading the screen cast, provides comedy of the most brilliant kind. The supporting cast includes Billy Milton, June Clyde, Judy Kelly, Ruth Maitland, Amy Veness, and Ellen Pollock. CHRISTCHURCH CINEMAS, LIMITED At the Regent Jeanette Macdonald, Allan Jones, and Warren William arc seen in “The Firefly.” The film is notable for many catchy songs. “Sinners in Paradise,” starring Madge Evans and John Boles, a story of people stranded on a Pacific island, is now showing at the Majestic. In addition, the Louis-Schmeling fight is shown in slow motion. “Anthony Adverse,” the film version «f Hervey Allen’s famous novel, is being shown at the Tivoli. Its stars are Fredric March, Anita Louise, and Olivia de Havilland, The film version of Edna Ferber’s famous novel. “Come and Get It,” has started a season at the Liberty. Its stars are Frances Farmer and Joel McCrea. The associate feature is “The Lady in the Morgue.” “Moonlight Murder,” starring Chester Morris and Madge Evans, is showing at the Grand. The associate feature is “The Three Wise Guys." REX THEATRE Two outstanding pictures will be screened at the Rex Theatre to-night, on Monday, and on Tuesday. They are “Easy Living,” with Jean Arthur and Eaward Arnold, and “Mr Dodd Takes the Air,” starring Kenny Barker, Frank McHugh, and Alice Brady.