ENTERTAINMENTS

Dominion, Volume 29, Issue 138, 6 March 1936, Page 7

ENTERTAINMENTS

De Luxe Reopens With “Captain Blood” Tile production of the elaborate screen version of Rafael Sabatini's pulsating story of romance ami reckless adventure cost the Warner Bros.-First National company no less than one million dollars, but the terrific success of the picture in every overseas city where it has been shown lias already proved the wisdom of lite company in producing the story in the pretentious and elaborate manner befitting a saga of thrills, romance and adventure that millions the world over have rend and reread. ‘'Captain Blood,” with its vibrant action, multitude of thrilling situations, and smashing adventure, is worthy of being bo filmed. It is undoubtedly one of the most gigantic things Hollywood has undertaken in many mouths. Tiie picture-going public’s appreciation of the adventure type of film was demonstrated by tiie approval given to “The Count of Monte Cristo.” "Captain Blood,” with its swashbuckling hero, Sts pirates and galleons, subscribes to that glorious tradition. Heading an enormous cast is a young player whose success has been synonymous with the acclamation accorded "Captain Blood” itself, a handomc, reckless, adventurous, devil-may-care, six-fc.et-four of manhood. No better choice for tiie role of that charming rogue, Peter Blood, could have been made than Errol Flynn, ex-South Sea trader, hunter of head-hunters, and master of his ' own craft. Flynn’s meteoric rise to fame is still another glamorous romance of Hollywood. “Captain Blood” is an ideal Beleciion for the auspicious reopening of the Wellington De Luxe Theatre to-night at the 8 p.m. session, and the management is not unwise in expecting the picture to create new records for the house. Renovated and generally modernised, the De Luxe Theatre now takes its place in the very front rank, and it is important that the participation of the Warner Bros.-First National organisation in the actual operation of the theatre assures the De Luxe of a continuity of outstanding productions unprecedented in the annals of motion picture history in Wellington, aud. indeed, New Zealand, too. To-night’s programme includes items by the augmented Orchestra De Luxe, under the baton of L. D. Austin, supplemented Dy the grand Wurlitzer organ and other screen items, including a sparkling techmcolour featurette, “Carnival Day.” Subsequent to to-night’s performance, commencing at 8 p.m., the entire programme will be seated at the De Luxe twice daily at 2.15 and 8 p.m. Box plans for to-night’s gala performance at the De Luxe are open at the D.I.C. and the theatre.

“Annie Oakley,” Romance at the King’s

The thrilling story of a beautiful girl who, wholly feminine at heart, invaded a man’s vocations and found romance as well p and who captured the world’s rifleshooting championship, is brought to the King’s Theatre screen in “Annie OakTey,” starring Barbara Stanwyck. Good-look-ing, conceited, a braggart, “The Great Toby Walker” (Preston Foster), challenges any marksman te beat him with the rifle—for a bet. James tyaclvor (Andy Clyde), hotel proprietor, takes him up, producing Annie Oakley (Barbara Stanwyck), who kills quail by shooting them through the head with single balls. In the months which follow, Annie and Toby are still bitter professional rivals —in love with each other. Ned Buntline (Dick Elliott) persuades Buffalo Bill to stage a protracted contest for the world’s championship, which Annie wins. Some time later, in Cincinnati, Toby suffers powder burns in his eyes. Unwilling to admit defeat, he meets Annie in a shooting contest, but his sight is so impaired that he misses the coin she holds between her fingers and hits her arm. As a result he loses his job. With Toby out, Annie is brokeii-hearted, but she goes on n European tour, performing before tiie Prince of Wales and Crown Prince Wilhelm. The trip makes Annie an internationally famous character, hut her heart is still wrapped up in Toby Walker. With the aid of Sitting Bull, she institutes a search for him, and-he is traced to a shooting gallery. Annie is reunited with the only man she ever loved. More than 1000 players in costumes ranging in tyne from debutantes of the “Gay ’Nineties”"to whooping Indians, are seen in a single sequence in "Annie Oakley.” The scene pictures a performance of Bulfalo Bill’s Wild West show almost fifty years ago. In the arena, a replica of the famous Deadwood stage coach careens crazily, pursued by half-naked Indians on racing ponies. This is a particularly fine programme. Regent Shows Eddie Cantor in “Strike Me Pink” Eddie Cantor’s latest, “Strike Me Pink,” which will start to-morrow at the Regent Theatre, is stated to be more than the equal of its predecessor for hilarious situations, pretty girls, mid catchy music. Eddie Cantor’ romps through the story, provoking a continuous stream of laughs by his efforts to change from a timid little tailor to the fearless manager of a big amusement park. Subscribing to a correspondence course in character building, the mouse becomes a man —so much so that lie secures the job at the amusement park and immediately comes up against racketeers. More by good luck than good management, he succeeds in impressing the gangsters with the power of his newly-acquired personality, but his fascination for a beautiful cabaret singer (Ethel Merman) almost proves fatal, for the gangsters use her as a decoy to get Eddie into their clutches. However, Eddie finally foils the villains. As in all Cantor films, the Gorgeous Goldwyn Girls are given every opportunity to display their beauty in a series of spectacular and novel dance ensembles. The star is supported by a clever Greek comedian Parkyakarkns, and by Sally Eilers, Brian Donlevy, and William Frawley. The first half of the “Strike Me Pink” programme will include two outstanding featurettes —the latest Walt Disney Silly Symphony in colour, “Th > Water Babies,” which is a perfect little gem of beauty and novelty; and the first issue of “The March of Time,” a sensationally “different” kind of newsreel, which will be screened every six weeks at the Regent. This new form of pictorial journalism not only shows the happening of an event of current international interest, but explains also “why” and “how” it happens.

Jessie Matthews in “First a Girl” at the Plaza

Much of the lavish comedy and incident of "First A Girl,” the GaumontBritish musicale starring Jessie Matthews and Soniye Hale, takes place on the sunny beaches of the French Riviera. Jessie Matthews makew a tine gentieman in this Gaumont-British picture to be shown at the Plaza Theatre tomorrow. The star is seen in the guise of a man, and a great deal of fun results from her efforts to live up to the new role. Strong double brandies and hefty cigars have never been Jessie’s strong suit, but on this occasion she tackles them with a zest that would do credit to the toughest he-man. The results however are temporarily disastrous for the masquerader, and it is with the greatest of difficulty that Sonny Hale, her abettor in the little comedy, manoeuvres her down a long corridor to her room after a heavy night out with some of the boys. Jessie in her smart suits is something to chuckle at and admire. In the evening when she floats on to the stage she is a vision of femininity as the central figure of half-a-hundred dancing girls. Some brilliant sets and exciting scenes in the theatre are features of this new Gaumont-British film, in addition to an attractive love story. Gaumont-British secured that most popular team of songwriters and melody-makers, Al Hoffman, Maurice Sigler and Al Goodheart,

to make music for Jessie Matthews. The.‘<e gentlemen, well known in U.S.A, and England, have produced some sensational hits for “First a Girl” —‘“It’s Written Alt Over Your Face,” “Everything in Rhythm With Mj’ Heart,” “I Can Wiggle My Ears,” “Half and Half” and ‘“Little Silkworm.” “Magnificent Obsession” Still at, Paramount “Magnificent Obsession” is still screening at tile Paramount Theatre, where it is having an outstanding success. It is a strange story, far removed from the banal and meretricious. “Magnificent Obsession” is wonderfully well produced and capitally acted. Irene Dunne makes n ! deep impression by extremely natural, I sympathetic and sensitive acting, and in i Robert Taylor is disclosed a handsome, j debonair star. The story relates how i Joyce Hudson returns to New York af- ' ter a European trip, being met by her I father's new wife, Helen, for whom she ■ has an affectionate regard. They pro- i eeed to the hospital supervised by the father, reaching there in time to discover that he has been drowned. A young reveller. Bob Merrick, sees Helen and falls in love with her. Very shortly after they have started on a motor ride, Bob shows his affection, and Helen leaps from the parked car. A passing auto runs her down and the resultant brain injury makes her blind. The daughter. Joyce, is married to Tommy Masterson, and the passage of time shows them in their home, expecting Bob Merrick from Europe where for seven years he has been persistently studying medicine, concentrating on eye surgery. Once returned to America, Bob runs down every clue until he finds Helen, and perforins an operation which restores her sight. ' “Mutiny on the Bounty” at Majestic A film based on tile celebrated best seller written by Charles Nordhaff and James Norman Hall is almost bound to be a success. Particularly when it has been filmed against tiie actual background the events it chronicles took place, by the palm-shaded beaches of the ►South Seas. An actual replica of the Bounty was specially constructed in California for the filming of the story, “Mutiny on the Bounty,” Metro-Gold-wyn-Mayer’s great sea picture, which conies to the Majestic to-morrow. Although a historical romance, wrung from the actual records of the British Admiralty, it is far more absorbing than pure fiction. It is a superb achievement in motion pictures, a historical picture as it should be, and one that will live for years to come as one of the most exciting sea tales ever screened. The picture’ is the true story of the voyage of H.M.S. Bounty 150 years ago, on n scientific expedition to the South Seas. It tells of the tyranny of a brutal captain who drove his crew to mutiny, of the life and loves of the sailors in a tropical paradise, and the dogged pursuit of Captain Bligh for the men who had fed him to the wrath of the sea by casting him adrift in an open boat. “Mutiny on the Bounty” lives up to all the advance praise that has shouted the picture’s merits around the world. Its scenic beauty, sometimes stark and eruel, is unsurpassed. Its cast, headed by Charles Laughton, Clark Gable and Franchot Tone, is incomparable. Nor can the brilliant direction of Frank Lloyd, still remembered for “Cavalcade,” be overlooked. The supports include the funeral of the late King and a coloured cartoon.