MAJESTIC THEATRE

Dominion, Volume 30, Issue 261, 31 July 1937, Page 15

MAJESTIC THEATRE

*— “The Man in Possession” In 1931 Metro-Goldwyn-Mayer made a farce called “The Man in Possession” and starring Robert Montgomery, which stood as one of the brightest films in the early period of the talkies. It was also one of the most “sexy,” for that, was in the era before Will Hays and the Hollywood Purity Code made producers look to their screen morals. Now the pl# by 11. M. Harwood has been filmed again by the same company, and, although some of the more piquant situations in the original have been necessarily bowdlerised, the picture as a whole has lost little of its pep, sparkle nnd joyous fun. Now showing at the Majestic Theatre, it can be recommended for an evening of laughter. Another very good reason for seeing the picture is that it contains the final appearance of the late Jean Harlow. While the care-free nature of the story cannot help but emphasise the tragedy of her early death, such morbid thoughts should not be allowed to interfere with enjoyment of her very clever performance —one of the best she gave during her long and success-filled career. A third special reason why I would draw your attention to “The Man in Possession” is that at last Robert Taylor is allowed to forget that he is expected to be just a “great lover,” and consequently is able to prove his ability as a very charming romantic comedian. Picturegoers who remember Robert Montgomery in the role are not likely to think that his successor suffers by comparison. The story may be well known but it will bear brief repetition. Raymond Dabney (Taylor) is the black sheep of a snobbish London family. When he returns from serving a prison sentence for a minor felony, his father (E. E. Clive) and pompous brother (Reginald Owen) propose that he take himself off to some far-flung comer of the Empire. But Raymond has other ideas, and being much attracted by Crystal Wetherby. an impecunious American widow (Jean Harrow), he seizes the opportunity to turn 'bailiff’s assistant and move into her comfortable apartment until she shall have paid her debts. When he is’’ there, he deems it his duty to make himself as pleasant and useful as possible to the lovely lady, who soon finds the arrangement more enjoyable than she anticipated. But money has to be fouud somehow, and Crystal is going to marry for it. The amusing complications can be imagined when her fiance turns out to be none other than Raymond’s fatuous brother Claude. Since Claude in his turn believes that Crystal is very wealthy, it becomes the task of Raymond to disillusion both parties and at the same time pay off Crystal’s debts and marry her himself. The methods he adopts make for farce at its funniest, reaching a peak at a dinner party where Raymond acts as butler to his own family and some other incredible guests. The picture takes rather too long to get moving and between the highlights it has some comparative!}- slow moments. The fact that the story has already been filmed will deprive it of the ejement of surprise for some people. Yet these shortcomings seem of small account when balanced against the strong cast (which in addition to those already mentioned includes Uno O’Connor, Henrietta Crosman and Cora Witherspoon), the witty dialogue, the basic humour of the theme, and that general polish of direction and production denoted by the trademark of M-G-M. „ Deanna Durbin, of “Three Smart Girls , fame, is to be seen in “Every Sunday,’ a 20-minute musical comedy on the supporting programme. There is also a mannequin parade on the stage. REGENT THEATRE ¥. “A Star is Born” “The best picture about itself ' that Hollywood has ever made” is a true, scription of the Selznick-United Artists production “A Star is Born,” which began yesterday at the Regent Theatre. The path of the cinema is strewn with the bones of producers who have tried to extract popular entertainment from this theme and have perished in the attempt. But Selznick has done it. Although quite good in their way, most other pictures about Hollywood have failed to line up the queues at the box office because they contained too large and obvious an element of satire and burlesque. Everybody knows that Hollywood is a crazy place: there is no real need to labour the point by caricature. In “A Star is Born” Selzniek has simply placed on record, as he found them, the extraordinary, bewildering facets of life in probably the strangest city on earth, and it is largely because there is this sense of truth in the picturesque background that the drama presented against it becomes bo absorbing and entertaining. Here at last is the real Hollywood, that city of glamour and incredible contrasts, of recklessness and uncertainty, of heartache and occasional soaring triumph—a fantastic citadel where, among every 100,000 persons clamouring at the golden gates of fame, only one can hope to enter. The makers of the picture have spared hardly any aspect of the system in which they belong. They have focused the limelight upon Hollywood directors, producers, publicity men. gossip writers, the stars themselves, Hollywood elopements, Hollywood funerals, and Hollywood first nights. This candid and intriguing revelation Is assisted greatly by the use of technicolour. With the exception of “The Garden of Allah,” this is the most convincing nnd natural use of the medium that has yet been seen, giving added realism to the famous places in and around the movie capital where the story unfolds. One is seldom conscious of the colour: that is why it is so successful. Yet although the backgrounds are so important, the interest of the story is never subordinated to them. Here, in this inherently simple yet captivating tale of a girl who makes good the one chance in a hundred thousand to become a star is the stuff of which genuine popular entertainment is made. There is romance, pathos and humour in her struggle for recognition, her sudden swift rise to fame, and her marriage to an actor whose star is on the wane. There is drama in his efforts to save his own career for the sake of hers, and to conquer the craving for drink that is at the root of his failure; there is tragedy in’ the solution of the problem; and there is a bit-ter-sweet quality about the ending. Little in the picture seems overdrawn, and only occasionally does sentiment obtrude beyond legitimate limits. And throughout there is that indefinable quality of "human interest” that will make “A Star is Born” one of the biggest box-office successes of 1937. Up till now the name of Janet Gavnor has been always associated with sieklv sweetness and cloying emotionalism. It should be so no longer, for as the star Who is born in the story she herself emerges as a greater star than ever before,, no longer a silly simpering miss but a poised and mature actress who sustains brilliantly a difficult role. Fredric March also makes up any ground he may have recently lost with a thoroughly human, very, humorous portrayal of a 'man who is likeable despite his faults. Nor is there a single member of the supporting cast (which includes Adolphe Menjou. May Robson, Andy Devine and Lionel Stander) who cau be said to let the picture down. KILBIRNIE KINEMA Singing hilarious new song hits and performing hilarious new pranks, Jane Withers scores another triumph in “Can This Be Dixie?” which will be seen this afternoon and this evening at the Kilbirnie Kinema. Surrounded by an exceptional cast, including Slim Summerville, Helen Wood, Thomas Beck, Sara Haden, Claude Gillingswater and Donald Cook. Jane goes through a series of riotously amusing adventures as she saves tlie old homestead, unites a pair of young lovers, and brings happiness to everyone. In “Old Hutch,” which will be the associate feature to-night, Wallace Beery has another of the character roles which have made him the beloved ne’er- ' do-well of the screen.