ATTRACTIONS IN THE THEATRES

Dominion, Volume 29, Issue 139, 7 March 1936, Page 13

ATTRACTIONS IN THE THEATRES

Where to Go and What to See in Wellington

ST, JAMES “Birds of the Night’’ O’Brian-Hart Revue Company. REGENT “Strike Mo Pink” Musical extra- Eddie Cantor, vagatiza DE LUXE “Captain Blood” Adventure Errol Flynn. MAJESTIC “Mutiny on the Bounty” Adventure Charles Laughton, Clark Gable. PLAZA “First a Girl” Musical to- Jessie Matthews, inance Sonnie Hale. STATE “The Littles Rebel” Romance Shirley Temple. PARAMOUNT “Magnificent Obses- Drama Irene Dunne, si On ” Robert Taylor. KING’S “Annie Oakley” Romance Stanwyck. GRAND OPERA , „„ . t . , HOUSE Last Night of Stanley McKays Gaieties.

DE LUXE THEATRE

“Captain Blood” Featured at Gala Reopening * Roaring adventure in that turbulent period in English history, the late 17th century when men preserved their lives by the strength of the sword arm, or alternatively forfeited it in the intrigues of high politics under the reign of the iniquitous James II —this is the background of “Captain Blood,’’ the long awaited Rafael Sabatini film which made its New Zealand premiere at the gala reopening of the redecorated De Luxe Theatre last night to a crowded house, which included many prominent citizens. The audience, after the show, placed it as one of the finest films of its kind to have come out of any studio. Most people are familiar with Sabatini’s famous romance, which hardly needs retelling here. As transferred to the talking screen, however, it can be mentioned that “Captain Blood” takes to itself .1 Verve and vigour not to be read into the pages of the novel by the most imaginative mind. The story as the cornera narrates it, is action all the distance of its 11,000 feet. Romance and comedy deftly interwoven relieve the grimness which is necessarily the foundation of a historical tale faithfully depicting the brutalities of the times. Magnificent photography, and acting of a . uniformly high standard from the principles down to the least of the "supers” complete all that theatregoers of 1936 demand in picture entertainment. In the immensity of its drima, tremendous sets, its bizarre and picturesque background, thrilling action and its characterisations, “Captain Blood” stands out as one of the great film masterpieces. The picture has been produced on a lavish scale. Seventeenth century cities, and villages have beep reconstructed; pirate galleons, slave ships and English and French war vessels. complete in every detail are shown in battle action. The costuming of thousands of players, kings, Colonial gov ernors, nobles, slaves, peasants and pirates and peons is a work of fine artistry Heading a east as unusual as the production itself are two young film players whose work will undoubtedly set them among the leading stars of the cinema. These are Errol Flynn, the young. English actor-adventurer tvho is Captain Blood in the flesh,”aud Olivia.de Havilland, the young high school girl discovered by Max .Reinhardt, and who scored a personal triumph as Hermia in his production of “A Midsummer Night’s Dream.'’ Flynn, tall, handsome, debonair, has Deen a soldier of fortune, a master of tradihg vessels in the South Seas, a master of his own craft, and one of the few real adventurers Of this age. Above all he is a real actor. The mannerisms of a swashbuckling buccaneer, his recklessness, and the subtlety of his characterisation, show why this comparatively uukiiown aCtar was given so important a part as the title role of Captain Blood, after scores of Hollywood’s leading film favourites had •been tested for the part; Misa de Havilland justifies Reinhardt’s faith in her. She has lieauty and charm, and is thoroughly adapted to the role of a noblewoman Who first buys the slave and then loves him. Also there is Lionel Atwill, famous stage etar, in the role of a wealthy West-Indian plantation owner, Basil Rathbone portraying a cruel and treacherour French pirate slain in a duel by_Captain Blood; always lovable Guy Kibbee as a pirate. Fine performances are also given by Ross'Alexander, Robert Barrat, Frank McGlynn, David Torrence and Colin Kenny, in the role of friends ot Blood. The supporting programme ineludes a topical newsreel and a rich teehnicolour subject, “Carnival pay,” one of the best short films by this process. The Orchestra De Luxe, under the baton of Mr. L. D. Austin, played a number of pleasing selections.

Reopening Celebrated

During the evening the Deputy-Mayor of Wellington, Mr. W. H. Bennett, addressed the audience from the stage, after being introduced by Mr. Herbert Wood. Mr. Bennett commended the co-manage-ment and Warner Brothers-First National Pictures on their enterprise in reopening the theatre in its new and most pleasing decorative and lighting scheme, and men-

tioned that their policy of bringing in the future the best pictures from those studios would, he was confident be rewarded by an appreciative public. The interior of the theatre has been redecorated in a delightful scheme of cream and gold, with lighting completing a soft diffused effect throughout. Among many prominent people pt esent were the Minister of Education, Hon. 1. Fraser, and Mrs. Fraser; the Minister ot Public Works, Hon. R. Semple, and Mrs. Semple; and Mr. R. MeKeen, M.P. At the conclusion of the show a number ot guests were entertained by the manaoemeilt at a supper party at the Midland Hotel.

PLAZA THEATRE

“First a Girl” Merry comedy, extravagant spectacle, and good acting arc provided in “b irst a Girl,” which last night drew a crowded house to the Plaza Theatre. Even Without the splendour of her surroundings, the dazzling bevy of dancing chorines and the sustained support of Sonnie Hale and a specially-chosen cast, Jessie Matthews effortlessly “puts it across” in a him that appeals even more than did “Evergreen. Scenes in “back-stage” theatre surroundings are skilfully interwoven with the exotic atmosphere of the French Riviera. Just as sophisticated is the blending ot the cast. Jessie Matthews hud Sonnie Hale are the ideal team, each is a perfect foil to the other, each is, nevertheless, strictly individual, throwing their whole personality into the success of the film. “The other couple,” played by the beautiful Anna Lee and darkly handsome Griffiths Jones, lends added romance and the necessary balance to the clever story. Anna Lee, already famous for her Seductive, sophisticated beauty, is the worldly, somewhat choosey young lady who, seeing through the masquerade, jealoUslv fights for her latest fiance, but fails. Griffiths Jones, playing the hero, is the blase young man about town who falls head over heels with the little dander, and carrying himself with debonair sureness of touch, wins her. The film includes a finely-staged mannequin parade and a superbly fantastic scene in which Jessie Matthews sings frOm a suspended gilded cage prior to presenting a whirlwind dance. The narration is spiced throughout by sparkling dialogue and diverting comedy incident. Fluent direction, delightful portrayal, orfiate settings, faithful recording, and imaginative camera work make for first-class entertainment. The film includes some eatchy songs, including "It’s Written All Over Your Face,” “Everything in Rhythm With My Heart,” and'“Little Silkworm.” In early sequences there is a big audition scene, during which a full choir of forty sopranosji,contraltos, ten Ors, and basses are seen and heard singing a “Hymn to Aphrodite.” Another feature a number sung in clever rhythm by Donald Stewart, the well-known cabaret 'and dance-band singCr, and the “Radio Three.” Jessie Matthews, whose persistent and steady grip on the public imagination was cemented by the overwhelming success of “Evergreen,” will be even more firmly entrenched in public favour with “First a Girl,”

PARAMOUNT THEATRE

“Magnificent Obsession” Rarely has a film, the theme of which can truly be said to “mean something,” inet with stlch a reception aa has “Magnificent Obsession,” which, after a season at the Regent Theatre, is now in its second week of a highly-successful run at the Paramount Theatre. It tells a strange story, far removed from the banal and meretricious in life, and deftly interwoven into the warp and woof of it is a delicate thread of spirituality, very beautifully and delicately suggested, yet permeating the whole. Despite the serious. almost exalted, quality of the story, It will pass over the head of nobody, for there are plenty of touches of hearty comedy to relieve the drama and keep it always at a level where it will be appreciated and enjoyed by the average picturCgoer. Even a very brief outline of the story should give an indication of its possibilities. At a big hospital a young

' wastrel and a groat doctor are both involved in accidents and need artificial respiration. But there is only one pulsometer, and it is used on the young man, with the result that the much more valuable life of the doctor is lost. Impressed by the debt he owes society, the young man partly reforms his mode of life, amt incidentally falls in love with the doctors beautiful young widow. But he is then responsible for a motoring accident in which she loses her sight; and his magnificent obsession to take the great doctor’s place and cure the blindness of the woman he loves becomes the driving force in his life. “Magnificent Obsession 'is wonderfully well produced and capitally acted. Irene Dunne makes a deep impression by extremely natural, sympathetic and sensitive acting, and in Robert Taylor is disclosed a handsome, debonair star, possessed of all the qualities of a screen idol. ATI the other characters in a long cast are admirably presented.

STATE THEATRE

“The Littlest Rebel” Whenever Shirley Temple’s films make their all too infrequent appearances, audiences show no inclination to allow them to depart quickly. And so it hns been with her latest and best effort, lhe Littlest Rebel ” which entered its second week at the State Theatre last evening, bo amazing is Shirleys talent and pelsuasivenees that nobody could fail to leave the theatre without feelings ot the greatest admiration. It is her first big dramatic role, aud it definitely proves her a premier entertainer. The locale of the picture is in Old Virginia, at the height of the Civil War, with Shirley and her parents loyal snjiporters of the losing Confederacy. Much of the pathos and tenderness of the picture centres about Shirley and her mother, Karen Morley. Three songs are also worthy of particular attention. Shirley sings Dixie, Polly Wollv Boodle,’’and “Those Young Charms.” She also docs several new tap-dances. There are adventures aplenty to thrill those who like a bit ot excitement when Shirley has scrapes witn the “Yankees,” and a thrilling flight as her father, John Boles, attempts to smuggle her through the “Yankee” lines, only to be caught and held as a spy. In another scene there is a night raid, and loyal servants prevail on Shirley and her mother to leave the house and take shelter in* a slave cabin. The mother becomes dangerously ill, and Robinson risks his life in coming across the lines to inform Boles, the father. Both make the perilous return journey, but as Boles reaches his wife she dies. There are some very charming parts when Shirley sets out to save her father mid to teach the capital. As they have little money she makes it possible by strhet singing and dancing. Shirley is a delightful imp, and no one can help but love her.

MAJESTIC THEATRE

“Mutiny on the Bounty”

Ships and islands! These.are the subject of a score of films, and half a hundred novels every year, but rarely are they so wonderfully photographed, so stirringly presented, as in “Mutiny On the Bounty,” now showing at the Majestic Theatre. Based on the two best-sellers by Charles Nordboff and James Norman Hall, the film follows the actual facts with a good deal of accuracy. The story, of course, is well known. Captain Bligh left England for Tahiti, about 150 years hgo, in the wabship Bounty, the purpose of the voyage being to load breadfruit trees for the West Indies. The role of the cruel and tyrannical captain, who before sailing embezzled the ship's stares, and afterward broke the spirit of his men by flogging, overwork, and short rations, is played with great ability by Charles Laughton. A seaman is flogged to death on the day when the Bounty sails from England, and throughout the Voyage the rope’s end is in constant use. Even his officers Bligh submits to indignity, insult, and injustice. The voyage down to the South Seas is long and bitter, and is filmed with an inside knowledge of thh sea and sail. The Bounty herself is a splendid reproduction of n period vessel. A beautiful ship—with hell aboard of her. No Wonder When Tahiti is reached crew and officers are looking forward to the relaxation of dry land. But not so Bligh. There is to be no shore leave for enjoyment. The work of loading must occupy all hands —except Roger Byam, midshipman (Franehot Toue), who has been sent by Sir Joseph Banks to make a dictionary of the Tahitian language. lie is adopted into the family of the High Chief, and spends his time ashore. Roger's friend Fletcher Christian (Clark Gable), master’s mate, is Bligh’s especial enemy, because he refuses to sign the falsified ship’s books, condoning Bligh’s peculations. He steals one day ashore, however, and fulls in love with a lovely native girl. Two days out from land, bound for the West Indies, Bligh accuses Christian of a petty theft. He has already put in irons several deserters, and When Christian finds one of the ship’s officers maltreating these prisoners he is goaded beyond endurance, The men are ripe for mutiny, and quite spontaneously their smouldering rage breaks into open flame. Bligh and his supporters are thrown into the ship's launch and turned adrift. After a long and hazardous ocean passage of some 3000

miles in the open bout, one of the seafaring sagas of all times, they reach the East Indies. Meanwhile Christian and his party sail for Tahiti. Byam has fallen stunned by a musket butt, and must accompany them. How he waits in Tahiti for the coining of a British ship, which takes him back to stand trial in England with a number of other mutineers, how Christian and the ringleaders, with a number of native girls, seek out the lonely island of Pitcairn ns a safe shelter for the rest of their lives, provides a fine denouement to a very remarkable film. The two brief supports are also of high calibre.

REGENT THEATRE

“Strike Me Pink” Ravishing girls, catchy music, and a feast of hilarious fun, combine to make Eddy Cantor’s latest picture. "Strike Me Pink,” which opened its Wellington season at the Regent Theatre yesterday, an extremely entertaining one of its kind. Eddie, of course, is himself the best part of the show, and he carries it through from start to finish, in what is a veritable riot of fun. “Strike Me Pink” is magnificently produced, and presents the Comedian in his fuuniest role as the alternatively mouse-like and aggressive Eddie Pink, graduate of a dominant personality development course, "Man or mouse, what are you!” Eddie finds himself managing Dreamland Amusement Park, menaced by a gang of slot machine racketeers. Secretly he has worshipped a newspaper picture of Joyce Lennox, glamorous night club singer. Some of the most amazing scenes of all are provided in the interlude in which she, the wife of one of this gang, uses his affection to get the crooked slot machines installed in “Dreamland.” The story itself is slender, as little is required in that way to put such a lavish and entertaining show over, lint it culminates in one of the most amazing scenes in recent film history—a wild career on an aerial railway and a breath-taking balloon escapade which ends with Eddie in the arms of Claribel. Song hits arc made by Etbej Merman in “First You Have Me High, Then You Have Me Low,” “Shake It Off,” and “The Lady Dances”—all this against an array of gorgeous Goldwyn girls in a number of gjiitering dance ensembles. Sally Eilers makes a pleasing Claribel. Other supports of the lend are Harry Parke, Brian Donlcvy and William Frawley. Something reiiily brilliant in the’ form of pictorial journalism has eome to tlie screen in "The Match of Time,” the first release of which was shown at the Regent Theatre yesterday. “The March of Time’’ has the whole world as its field, and tells in graphic word and picture the news of the day. The race to control the air routes from Europe to the East, the building of the new Palestine, and extremely topical scenes in the ItnloAbyssiuian war were shown. Intimate chapters from the edreel's of half a dozen of the world’s greatest men of this gen-eration—-President Woodrow Wilson, Signor Mussolini, Herr Hitler, and the Earl of Balfour—are some of the things “The March of Time” takes in its stride. Hitler is seen in characteristic denunciation of the Jews, and his Minister for Public Enlightenment and Propaganda, Dr. Goebbels, is in similar vein. Other supports are the funeral of King George and a Walt Disney silly symphony, “Water Babies.”

KING’S THEATRE

“Annie Oakley” That quaint old American cowboy and roughrider, Buffalo Bill, together with all his retinue of trick riders and stunt artists, returns again in “Annie Ohkley,” which is showing at the King’s Theatre this week. A fine story dealing -with the life of the young Annie Oakley, who gained international fame with the Buffalo Bill Wild West Show as the greatest rifle shot in the world, coupled with realistic scenes of early American history, make a picture with an appeal to all tastes. “Old May Rythme,” which is the supporting feature this week, stars that old favourite Charles (“Buddy”) Rogers, who has sung and danced his way into so many hearts. As the young college student who is only saved from an unfortunate marriage by an indulgent father who joins the college as a “fresher” and directs his son into more suitable channels, Rogers is to be congratulated. Six new song successes ’ make this one of R.K.O. Radio's best musicals to date.

KILBIRNIE KINEMA

The main attraction at the Kilbirnie Kiiiema this evening is the thrilling sian spy production, “Moscow N’.ghts, starring the new screen find, Harry Baur, with Penelope Dudley Ward and Laurence Olivier. Thrills and excitement abound in the production, and a glorious romance is IntetwoVen throughout. The supporting attraction is the hilarious comedy, ”Bovs will he Boys,” a skit on old school tie's, made for laughing purposes only, and starring Will Hay, Claude Dampier, and Gordon Harker. “Boys will be Boys” will be screened at to-day s matinee at 2 p.m., in conjunction with cartoons, comedy and serial.

STATE, PETONE

Warner Baxter has created a screen role more romantic than his famous "Cisco Kid” in "Under the Pampas Moon,” now playing at the State Theatre, Petone. Baxter takes the part of a South American gaucho, a cowboy of the great plains of the Argentine republic. A notaad, a descendant of the bandit crews which roamed the pampas and raided villages before the railroad and civilisation settled the country, the gaucho is part Spanish and part Indian, controlled now but not tamed. Opposite Baxter is Ketti Galibin, the French star who scored so heavily in her first American appearance in ‘‘Marie Galante.” She is cast as the Parisian cabaret singer over whom the gaucho becomes enamoured through an unexpected encounter in an air wreck on the lonely pampas.

GRAND, PETONE

“The Legion of Valour," the thrill-pack-ed dramatisation of the Federal war on organised crime, which will be shown at the Grand Theatre, Petone, to-day, Monday and Tuesday, not only reveals the unceasing efforts of the Federal agencies to curb criminal activities, but details the procedure pursued by the Department of Justice in tracking down eritniuals’ Richard Arlen, Virginia Bruce, Alice Brady, and Bruce Cabot head the cast. An excellent supporting programme includes Walt Disney’s latest Silly Symphony in colour, “Cookie Carnival.”

PALACE, PETONE

The world's greatest living tenor, Richard Tauber, is to be seen at the Palace Theatre, Petone, this afternoon, to-night, Monday and Tuesday evenings in the enchanting success or to “Blossom Time,” in “Heart’s Desire.” Tauber plays the role of Josef Steidler, romantic Viennese singer, who is pef-suadefi, against his will, to go to London and sing in a new opera. There are some extremely amusing scenes depicting poor Steidler’s attempts at mastering the new wonders that are opened up for him. He has no appearance till he is carefully groomed, but it is his voice which finally wins acclaim. In “Heart's Desire" Richard Tauber sings many songs, including the famous and popular “Vienna, City of my Dreams.”

PRINCE EDWARD, LOWER HUTT

An uproarious comedy is “Love in Bloom,” featuring the popular laugh team George Burns and Gracie Allen, which :s to show at the Prince Edward Theatre tliia afternoon and this'* evening. Thtf? will be followed by “Men Without Names,” a thrilling “G-Men” story starring Fred Mac Murray and Madge Evans. On Tuesday evening "Freckles.” with Virginia Nicdier, is to be screened.

KING GEORGE, LOWER HUTT

Those who have read aud learned to love the delightful humour and pathos of Gene Stratton Porter’s works should be especially attracted by the screen version of one of her greatest. “Freckles.” which is to screen at the King George Theatre, Lower Hutt, this afternoon and this evening, Virginia Nielder, Tom Brown and Carol Stone head the cast. A second feature at the evening session will be “Strangers All,” starring May Robson. On Monday and Tuesday evenincs the King George will screen “Three Kids and a Queen,” with May Robson, and “Mystery Woman,” which features Mona Barrie.