DE LUXE THEATRE

Dominion, Volume 29, Issue 220, 13 June 1936, Page 16

DE LUXE THEATRE

“The Story of Louis Pasteur”

If a finer and more significant picture than the De Luxe Theatre’s current attraction, “The Story of Louis Pasteur, has been made, it is difficult to leealt. Much could be written about tile dramatic power, absorbing situations and masterly direction and magnificent acting of this film, but the impression it makes on those who have seen it tells a much jnore vivid story. De Luxe audiences are reacting to “The Story of Louis Pasteur” iu no uncertain manner, and the picture has received the kind of tribute—applause from deeply-aifeeted audiences—that would surely gladden the hearts of its pnxlueers even'if it had not been the gent success that it is proving at the box office. Pam Muni's picture of Pasteur should wiu for him a special and exclusive award for cinematographic art. His eyes and his lips; his fingers and his. dragging feet; the suffering in his face and his reluctance to accept the laurels when at last they rest u]ion him, stamp him as one of the master actors ot' his age. Forget liio "Chain Gang”; forget his other fine portrayals; it is his future triumphs that audiences will be looking for. Humanity can never pay the debt it owes to Pasteur, for on his shoulders rests the responsibility of having saved millions born after he himself was dead. Pasteur’s life and work, bis triumphs in the face of petty jealousy, prejudice, and, above all, ignorance, possess drama the most inspired of scenarists generally concoct from the imagination; it gave Pierre Gollings and Sheridan Gibney the thing for which all scenarists search —natural drama based on facts. This story of the life and work of a fine man can bring a tear to a man's eyes, and he is unashamed. Yet no dramatie story for years has been less sordid or harrowing. STATE THEATRE “It Had to Happen” One of the week’s good things in films is now at the State Theatre, where “It Had to Happen,” the new 20th CenturyFox picture, had its New Zealand premiere last night before a large and appreciative audience, ' In this picture the producer, Darryl F. Zanuek, has deftly blended comedy, drama and romance, to make one of the most entertaining films of the type for which “It Happened One Night” set a new standard. The story is not wholly unconventional, but there is enough in it that is fresh to keep the audience guessing what is round the next corner. ' Also the film is interesting in introducing a new romantic team, George Raft, co-featurcd with the beautiful Rosalind Russell, favourably remembered as the rival of Jean Harlow in “China Seas.” Rosalind Russell, in the part of an enormously wealthy heiress, lovely as a statue ami just as cold, until the irresistible Raft made her human, is certainly a star in the ascendant. Beside being lovely to look at this’ willowy brunette is endowed with an impish humour and a bewitching smile of simulated disdain that quickens the male pulse. Another etar of fond memory is Leo Carrillo, whose characterisations as the gay bad man, the genial brigand and the gallant eaballero, have been the bright spots of many recent screen offerings’. But in this picture he. creates an entirely different personality, yet one embellished by his quaint Italo-American idioms. The story tells of what happens when Alan Dinebart, as Miss Russell's husband, faces jail for his role in a threatened bank disaster, and he attempts to bribe Raft, a high person in the administration of a big city, to fix matters. Raft forces him to return the funds and saves the bank from crashing with depositors’ money. He meets Miss Russell and confesses that he’has long loved her. Dineliart secretly plans with Raft's enemies to furnish false evidence of bribery. The evidence is rushed to the grand jury. Raft, knowing that, be is framed, is ready to fly from the city, when Miss Russell begs him to stay and fight it out. With sudden decision he rushes to the jury chambers, makes a clean breast of the affair and is absolved of guilt. Thereafter the plot moves rapidly to a satisfactory climax. The supporting programme is well balanced with topical short subjects aud a bright eomedy. PARAMOUNT THEATRE “Thoroughbred” "Thoroughbred,” the latest film product from Australia —a vigorous openair dramatic picture dealing with the Commonwealth's ruling passion, horse racing—has been transferred from the Majestic Theatre to continue its successful season at the Paramount. For this picture Miss Helen Twelvetrees was imported from America, and her work is characterised by freshness, charm and sympathy, which accounts in a good measure for the success of “Thoroughbred.” Lovers of the turf will enjoy “Thoroughbred,” as it intimately depicts familiar scenes at Randwick and Flemington as well as many interesting scenes of thoroughbreds at work iu the country. Tommy Dawson (Frank Leighton) brings the equine hero, Stormalong, from the Dominion to rare in Sydney, aud after a preliminary failure it. improves mightily and begins a succession of brilliant, wins until it is hailed as the favourite for the Melbourne Cup. Then the dirty work starts. Several attempts to put the horse out of action fail, and finally it. goes to the post aud siwinning the enp when it is shot from the roof of the grandstand—but is just able to stagger over the finishing line before it falls dead. NEW OPERA HOUSE “Little Lord Fauntleroy” Hollywood explorers are going back in theatrical history for some of their best screen stories. One of these, which comes fresh, clean, and sweet out of the past is Francis Hodgson Burnett’s story and play of nearly half a century ago, “Little Lord Fauntleroy,” which is now at the Opera House. This beaut:fully-acted picture, notable for two extraordinarily good performances in those of Freddie Bartholomew as Lord Fauntleroy, and Mr. 0. Aubrey Smith as tin* Earl of Dorineourt, will, stir the memory of many who in their youth saw the play in New Zealand. and came under the spell of its charm. “Little Lord Fauntleroy” is the story of an elder son of the Earl of Dorineourt. who marries an American girl agn'nst his father’s wishes, and seek--his fortune tn New York, where he dies, leaving only his wife. “Dearest.” and their son, Cedric. As time passes the Earl ages. He feels that he must have tin heir—must, know tile boy. his grandson, who is to succeed him —so sends his lawyer to dig hint out in the back streets of Brooklyn.