Cinema Reviews

Press, Volume LXXIV, Issue 22593, 24 December 1938, Page 15

Cinema Reviews

AVON “MANNEQUIN” The acting ability of Joan Crawford has seldom in the last few years been scon to better advantage than in “Mannequin,” the Christmas attraction which began a season at the Avon yesterday. Sharing honours with Joan Crawford in the film is one of the most popular and able of male actors, Spencer Tracy, famous for his performances in such successes as “San Francisco.”

“Mannequin” is a tense and sophisticated story of a New York tenement girl who married for the opportunity to escape from her surroundings, ana then finds a new meaning to life. It gives Joan Crawford ample opportunity for the best use of her acting talent, and Spencer Tracy is equally well suited, playing the role of a wealthy man whom sudden and unexpected adversity forces to a knowledge of the seamy side of life. The film features, too. a new Hollywood discovery, Alan Curtis, who does remarkably well in the role of a nor very likeable young criminal, who conceives a scheme for blackmail which goes awry at the last minute. The background to “Mannequin” is full of contrasts, ranging from the squalid, unhappy, poverty of the tenement area of New York to the luxurious, sumptuous furnishings of the penthouses and apartments of the city’s free-spending millionaires. The story of the film is original, with many novel and exciting twists that will leave the average picturegoer guessing at the end until the last few minutes. Frank Borzage, one of the best directors In the film colony at Hollywood, whose films are too few to suit his many admirers, was responsible for “Mannequin.” His work in producing excellent film entertainment was made the easier because of excellent dialogue, good music—Joan Crawford herself sings a song—and splendid costuming which should have a big appeal to the feminine picturegoer. It would be unfair for those who have not yet seen “Mannequin” to tell its story, and especially its gripping climax, but the film is certain to add to the number of admirers of the skill of both Spencer Trr»'y and Joan Crawford. The work of the main actors is more than adequately supplemented by those in the minor roles—including such well-known actors and actresses as Ralph Morgan, the irrepressible, Mary Phillips, Oscar O’Shea, Elizabeth Risdon, and Leo Gorcey. There is an excellent supporting programme, including a clever Robert Benchley novelty, a good newsreel, and a bright "Our Gang” comedy.

CIVIC “ALF’S BUTTON AFLOAT” The popular and familiar story of Aladdin’s lamp, modernised—which is to say complete with “wisecracks,” beer in kegs, and sailors who want any women but their own wives—is brought to the screen in “Alf’s Button Afloat,” without doubt one of the most hilarious comedies that have ever been produced by British studios. It is a Gainsborough picture from the G.B.D. Studios, and is a film which preserves the traditions of the English musichall stage. The story centres on the activity of the “Crazy Gang,” which comprises Flanagan and Allen, well known on New Zealand radio programmes, Nervo and Knox, Naughton and Gold, music hall stars, and Alastair Sim is the Genie of the Lamp. The button, of course, is made from the brass of Aladdin’s lamp, and has come into Alf’s possession after centuries, during which the Genie has been sleeping. When the button is sewn on to the uniform which is to become All’s when he is a marine, is pricked with the needle, the Genie is seen to leap with an “Ouch" on his ancient bed. Alf and his Gang, who are in the marines on board the Invicta, with him, are slow to realise the magic properties of the button, which each is more than ready to pass on to the other because it is dirty and meets the sergeant’s eye. Even when the Genie appears and mistakes Alf's oath for “Stripe me pink,” Alf does not know of the treasure he possesses. The pink stripes that appear on his face cause an epidemic scare, and causes a sensation in the fleet. Eventually the slave of the piece of brass explains his purpose, and the first thing that the Crazy Gang wishes for is beer. One bier, old. Egyptian style, arrives on the scene. The Gang puts its heads together to figure how “beer” can be explained to the rusticated Genie. Pantomime of elbow-lifting solves the problem and gallons of liquor are on the spot. Women come next, and with nectar and houris the mess-room is soon a shambles. The sergeant no longer bothers the Gang; as long as they can lay Alf’s hands on the button, that is. Adventures follow quickly, and the Genie comes to the aid of Lieutenant Hardy, who in his turn comes gladly to the aid of the Captain’s daughter. The Genie is only too pleased to aid romance. The Gang has had beer, and houris. Millions of pounds in notes disappear from the Bank of England next. Trouble follows, and the gang is rounded up while it is enjoying an English hunt. The Genie knew no better though than to provide circus horses, which run round in circles all the time. Exasperated, Alf throws his tunic at the Genie, who sees his chance to own the button and have his freedom. Instructed to send the Gang back to where it was before it had the button, the Genie holds it in the air, his eyes gleaming with delight at the prospect of his freedom, and announces with unction—“ Time, marches back!”

The supporting programme is good, and most of the audience last night will remember the instructional film of zoo feeding-time adventures, which are new and absorbingly full of interest.

STATE “SNOW WHITE AND THE SEVEN DWARFS” In the advertisements, everyone from five to 50 is advised to see “Snow White and the Seven Dwarfs,” the film for the Christmas season at the State Theatre. And it is probable that all picture-goers from five to 50 will see this film, for it is justly given an extraordinary amount of publicity; certainly all those who see it will be glad. “Snow White and the Seven Dwarfs” is a triumph among the colour films from a technical point of view alone, probably the best fulllength colour picture that has been seen in JNlew Zealand. But when it is said that the film is of the usual Walt Disney standard in colour and design, it will at once be known that the colour is very good and the design inspired. It is not, however, to be thought Uiat this film is a Walt Disney cartoon of the quick and bright kind concerning Donald Duck, Mickey and Minnie Mouse, qpd the others; it is much more than this. There are the sudden appearances, the almost unbearable suspenses, the calamitous uproars of a Disney cartoon, but there are also quiet, gentle, and palely-coloured scenes as beautiful and delicate as any to be found on the screen. And this is where the animals and birds that people the forest of the Seven Dwarfs make this film outstanding. If only the rabbits with their nervous ears and inquisitive noses, and the young fawn with his round, blowing ears and hesitant legs and hooves were shown, the film would still be memorable as the picture with the beautiful animals. But there are the birds whistling a perfect fugue with Snow White, the old man tortoise who follows slowly and gets swept away in the rush back from any journey, the squirrels, the chipmunks, and innumerable small creatures that run before and about the princess in an adoring wave whenever she moves. There are also the strange trees that reach out fingers to catch the passer-by; logs floating in pools rqady to turn into crocodiles at a moment’s notice; fearsome lights in the night becoming the innocent eyes of deer, squirrels, and rabbits in the dawn; tree trunks with grotesque faces: and grasses and mushrooms and toadstools, and a whole population sensed at first seeing of the film. It would require close examination to follow all the intricate detail of any one of the swiftly-moving scenes on Snow White’s fleeing journey from the wicked queen’s palace to the cottage of the little men in the forest.

And then more fascinating than the animals, the trees, the princess, the magic mirror in the wall, the wicked queen, the handsome prince, or his beautiful white horse, are the seven dwarfs themselves —Doc, Sneezy, Bashful, Grumpy, Sleepy, Happy, and always last, always least, but always most delightful—Dopey. He doesn’t speak. Can’t he? He’s never thought of trying. How well these little men act, how constantly unbelievable are their balloon noses, how true to his character is Grumpy—when anyone is watching—how unwilling they are to learn to wash themselves—“lt’s not New Year; it’s not Easter”—and how gallant and polite they are to their gentle visitor; these things all bring humour and gentleness to a picture which has its cruelties and its horrors in dungeons—the bones of the corpse With the hand not quite reaching the pitcher; and “Have a drink!” shrieks 1 the wicked queen, kicking the empty jug and scattering the white bones. The film stays in the mind as a fascinating and delightful entertainment; right triumphs over wrong and the prince goes off with his princess on the milk white horse to live happily ever after. That was what the brothers Grimm intended in their most famous fairy tales. CRYSTAL PALACE “CONVICT 99” AND “OUTLAWED GUNS” There is only one Will Hay and he can be seen at his best in the picture “Convict 99,” which is showing with “Outlawed Guns” at the Crystal Palace. Will Hay has a style of his own, and he makes the most of it in this picture when he takes the part of Dr. Benjamin Twist. The story begins as he is “forcibly retired” from St. Michael’s school, and he goes to live as the unwelcome guest of his brother Alfred, and his nagging wife, who does her best to find him a job. She succeeds in applying successfully, without his knowing, for a position as headmaster of a school for “bad boys,” at a salary that is not altogether tasteful to him. It happens that he is interviewed by a board of prison authorities. who are expecting a Mr Benjamin from Australia. He gets a job as prison governor through mistaken identity, and still thinking that he is going to the school for bad boys he sets off driven by one of the Government employees. They stop' at several roadside inns on the way, and when he is landed at the prison he is not in a fit condition to realise the mistake. On his arrival, there is a mutiny, and he is mistaken for a criminal character who is brought in at the same time, but who escapes. He is hastily thrown into a cell and is unable to explain l.is real identity. He does three days breaking stones and in solitary confinement before the mistake is discovered on the recapture of the real convict. When he finds that he is the governor of the prison he first tries to explain the mistake made by the board of authoriites; but on discovering that he is to receive £2OOO a year he decides to go on with it and so there comes about a prison “reform.” It is one long laugh from then on.

The second picture is a “Wild West” featuring Buck Jones, and takes high rank as a thriller and an exhibition of horsemanship such as only Buck Jones pictures can. Reece River, played by Jones, has a younger brother who is a constant source of worry to him because of his frequent visits to the gambling house of a doubtful character in a nearby town. The younger brother. Babe, is roped in by some crooks who

make him sefl a herd of cattle not belonging to him as payment of his gambling debts. With a friend, Reece sets out to find his brother, but is unsuccessful in saving him from being arrested. He then gets him out of the gaol by a cunning ruse, but Babe is fatally wounded. Reece finds out the leaders of the gang, but in trying to find a cache of bullion hidden by .them he gets into their clutches.- He escapes and turns the tables-on them and soon has them securely bound. There is much hard ridiag and quick action before the picture rushes to a close.

PLAZA “PRISON BREAK” AND “SHE LOVED A FIREMAN” Film-goers in search of thrilling action and tense scenes should certainly see “Prison Break” and “She Loved a Fireman,” which opened a season at the Plaza yesterday.

Authenticity is characteristic of the atmosphere behind the story in “Prison Break,” which is woven round the struggles of a paroled convict to rehabilitate himself, while the influences in society surrounding him conspire to prevent him from earning an honest living. Barton Mac Lane gives a thoroughly convincing display as the skipper of a tuna clipper, who goes to gaol to protect his sister’s fiance, whom he believes to have been guilty of murdering his own fiance’s brother. Kis father-in-law is bitterly opposed to his intending marriage. Prison politics, among convict cliques, attempted escapes and riots, are high-action points in a faithful delineation of prison life, while in the background is a continuous friction between Mac Lane and the leader of the gangs, who eventually turns out to be responsible for Mac Lane’s selfimposed crime. Many of these incidents are inspired by the official records of the California state parole board. At sea the scenes are cast in a modern tuna clipper operating off the coast of Santa Catalina Island. An unprecedented run of tuna and magnificent scenery provide the opportunity for some excellent photography, which is every bit as interesting from an instructional point of view as it is exciting in the story. The acting of Mac Lane and of Glenda Farrell, who leads a strong supporting cast, is notable for its sincerity. The story is excellent, and concludes in a thoroughly unexpected way.

Some of the most spectacular firefighting scenes ever filmed are screened in “She Loved a Fireman.” The leading role is taken by Dick Foran, and the story concerns the adventures of a “new chum” fireman. Foran, who sings often and well, joins the “checker-playing fireman” because lie is led. to believe that their life is soft. This attitude does not please the captain, Robert Armstrong, to whose sister (Ann Sheridan) he becomes attached and who takes his job very seriously. Foran is about to be dismissed for inefficiency when a spectacular fire breaks out in a waterfront warehouse. Amid amazing scenes, and every detail of fire-fighting technique is faithfully reproduced, adding greatly to the interest of the film, he rescues his former captain. Peace is then restored between the men, and the lovers, who had been temporarily estranged by Dick’s bad conduct.

CHRISTCHURCH CINEMAS, LIMITED Popular Deanna Durbin has the lead in “That Certain Age,” now showing at the Regent. She is starred with Melvyn Douglas and sings several new songs. “The Texans,” a stirring film of American pioneering, is the current attraction at the Majestic, starring Joan Bennett and Randolph Scott. “Popeye the Sailor meets- Ali Baba’s Forty Thieves” is an additional attraction. At the Tivoli Jeanette Mac Donald and Nelson Eddy are starred in “Girl of the Golden West,” which has had •an unusual success in Christchurch. The Christmas programme at the Liberty presents Fred Astaire and Ginger Rogers in “Follow the Fleet” and Pat O’Brien in “China Clipper.” “Sing, Baby, Sing,” with Alice Faye and the Ritz Brothers, and “The Border Patrolman,” with George O’Brien, opened yesterday at the Grand.

MAYFAIR “LITTLE MISS BROADWAY** Music and 'laughter in “Little Miss Broadway,” Shirley Temple's latest production, now at the Mayfair, make it one of the brightest films of its kind, and perhaps the best in which the talented little actress has participated. The music and the brilliant dancing alone would make this film quite worth while, even without the human interest and the plot. The story concerns a little miss who lives in an orphanage and is taken to live in a vaudeville hotel with her foster parents. Edward Ellis and Phyllis Brooks. When Jimmy Durante’s band gets too loud in its rehearsals, the wealthy neighbour and landlady, Edna May Oliver, complains and threatens to close down the hotel, George Murphy, her nephew, intercedes. and while he only earns the hostility of his aunt he at least wins the favour of Phyllis. Things look very black when Shirley is taken back to her orphanage by a detective and a law suit is proceeded with against her parents. But Shirley escapes, and saves the situation by convincing a learned judge that the proper procedure would be to hear the shew in court. The picture closes with a delightful scene of the judge unable to contain himself at the cuteness of the turns, even at the singing and dancing on his rostrum. Net to be baffled. Aunt Sarah outbids a promoter for the financial rights to run the show, and Shirley takes out a marriage licence for Phyllis and George Murphy. Shirley Temple, who never fails to give a natural and talented display, retains her originality and can cnly amaze her audiences by her versatility. The supporting cast, which is exceptionally strong, is led by_ George Murphy, one of Hollywood’s brilliant dancers, and Jimmy Durante, the droll comedian. Phyllis Brooks and Edna May Oliver, the prim old spinster, give the convincing displays generally expected of them. Six sparkling Bullock and Spina melodies, ranging from ballads to swing music, lend colour to the picture and carry the romance along. Shirley Temple's singing is as good as ever, and her songs include: “Be Optimistic,” “We Should Be Together.” “If All the World Were Paper." "Swing An Old-fashioned Seng.” “How Can I Thank You.” and “Little Miss Broadway.” the title song. “Prelude to Conquest” opens the 1939 season in the March of Time series by showing scenes in Czechoslovakia at the time of the crisis. A newsreel, revealing the activities of the amazing Father Divine, is also shown.

REX THEATRE, RICCARTON

H. Rider Haggard’s “King Solomon's Mines,” with Paul Robeson and Roland Young, and “Some Blondes are Dangerous,” starring William Gargan. Dorothea Kent, Noah Beery, and Nan Grey, will be shown at the Bex Tiieatre, Riccarton, to-night and chi Monday and Tuesday at T_3o p-xa-HOLLYWOOD THEATRE, SUMNER “Seventh Heaven,” starring Simone Simon and James Stewart, will be screened finally to-day at the Hollywood Theatre, Sumner. Commencing on Monday at the matinee, the star attraction will be “It’s All Yours,” featuring Madeleine Carroll and Francis Lederer. An outstanding selection of shorts completes an excellent holiday programme. A free car park is provided for patrons. FANCY DRESS CARNIVAL Cowboys, Indians, elves, and children of all nations gathered at the fancy dress carnival held at St. Peter’s Sunday school room. Beckenham. Music was supplied by Mr Noel Davidson. Fatner Christmas paid a visit to the school during the afternoon, and added to the enjoyment of the children. The organisers, Mesdairies Walsh. Davidson, and Mclntosh and their helpers were well rewarded for their work in arranging the carnival. Miss Dwyer (Sydenham ) judged the fancy costumes and awarded prices to Mary Davidson (Early Victorian). Joyce O’Brien (Crinoline). Bernadette Kyre (Fairy), Kathleen Courtney (Red Riding Hood), Nola Mahood (Hiker). Eileen Walsh (Washing Day). Molly Spearman (Danger Signals). Colleen Ryan (Circus Girl), Melvin Stewart (Admiral), Allen Glassenbury (Santa Claus). Kevin Courtney (Little Old Man), Bernard Mclntosh (Trapper), Rita and Bernadette Nolan (Buttons). Eede and Pamela Squire (Knave and Queen of Hearts). Helen and Vivian Berett (Daisy and Fairy). In the evening a dance for adults was held in the hall, music being supplied byMr Maher, and extras by Miss Joan Slogg.