ROUND THE THEATRES

Dominion, Volume 32, Issue 94, 14 January 1939, Page 14

ROUND THE THEATRES

Special Reviews Of New Films

Films screened in Wellington yesterday tor the first time, including the change at the Regent Theatre, have, been specially reviewed for “The Dominion” by “Roger Holden.” These reviews, distinguished by the mark * beside the title of the film, appear weekly in the issue following the first change-of-progijainme night in city theatres.

REGENT THEATRE * “The Adventures Of Robin Hood” Adventure —real swashbuckling, sword-and-cloak adventure such as has not been seen since the heyday of Douglas Fairbanks —returns to the screen in “The Adventures of Robin Hood,” now showing at. the Regent Theatre. This was a daring and costly experiment for Warner Bros, to make, for many people have said that the day of the “costume picture” is over; but it has been worth it; and thousands of pieturegoers will be grateful to the producers. On the wings of pageantry and romance, they sweep us away from the complexities of the modern age, back eight hundred years into a

world which “may never have existed,

hut which would have been a dreadful loss if nobody had thought of inventing

it.” Robin Hood takes the centuries in his stride, and the audience—all except those who are confirmed cynics and cannot attune themselves to the spirit of the thing—gladly take them with him. There are a hundred angles of entertainment in “Robin Hood.” It is hard

to know which to praise most. The colour, perhaps; because the colour —magnificently flamboyant—is so typical of the spiri f the piece, creating a mood of enchantment from which you emerge with regret when the curtain falls. So in this story, the good are very good and the

bad are so very, very bad that you rejoice when Robin Hood and his Merry Men of Sherwood Forest bring about their downfall. Robin Hood, as portrayed by Errol Flynn, is the perfect knight of old legend, so dashing, so forthright, s o super-humanly brave. Actually, ...ni.hriito XTr TTlvnn

perhaps, Mr. Flynn is not one ot our greatest actors, but in such a part you need enthusiasm and vigour rather than subtlety. And you need also the ability to wield a 'broadsword so that it swishes through the air and to bend a longbow to the manner born. Errol Flynn can do all this very well; and so, for this role of Robin Hood, I can think of no one —except the old Fairbanks —to equal him. And then by way of complete contrast, there is Basil Rathbone as Sir Guy of Gisbourne, and Claude Rains as Prince John. Both are so uncompromisingly villainous that never for a moment can one feel sympathy for them, only a momentary fear that they may prove too much for gallant Robin, and snatch away from him the prize of lovely Maid Marian. Olivia De Havillaud plays this gentle damsel, and becomes the perfect storybook princess in distress, t Much still remains to be said before one exhausts the category of “Robin Hood’s'” virtues —the acting of Alan Hale as Little John, of Eugene Pallette as Friar Tuck, of lan Hunter as Richard the Lion-Heart, and of many others who fit into the harmonious pattern. Points of criticism there may be. But what of it? Set against the excellence of the whole they ate the merest quibbles.

BAND RECITALS The Legion of Frontiersmen Band will .play at Lyall Bay, the Regimental Pipe Band at Oriental Bay. and the Band of Ist Battalion, Wellington Regiment (C.W.0.), at Worser Bay, tomorrow, at 8 p.m.

MAJESTIC THEATRE

“Love Finds Andy Hardy”

The Hardy family, led by .Mickey Rooney, add further to their laurels as the screen’s most amusing and entertaining family in “Love Finds Andy Hardy, which continues for the second week at the Majestic Theatre. In this picture Mickey Rooney, as Andy Hardy, encounters fresh difficulties when he purchases a second-hand car without telling his father (Lewis Stone). Lewis Stone, who portrays Judge Hardy in this film, does so with mature understanding. Andy has made a down payment of 12 dollars on the car, but needs another eight to complete the deal. With this as the simple, unaffected theme, the delightful flavour of typical American family is contained in “Love Finds Andy Hardy." Stone, Rooney, Cecilia Parker, Fay Holden, Ann Rutherford, and Bettty Ross Clarke, important members of the Judge Hardy series, again play their original roles. But the cast is further augmented by Judy Garland, singing sensation of “Everybody Sing.” Featured on the same programme, and exclusive to the Majestic Theatre, is a newsreel with full details of the Roy Scout Jamboree in Australia. Other featurettes include a Pete Smith comedy, comedy cartoon and newsreels. “Marie Antoinette.” After a year of research for history's doubles, a large cast of 152 players was assembled for “Marie Antoinette,” costarring Norma Shearer and Tyrone Power. The spectacular story of one of the world’s greatest romances will be shown starting on Friday next at the Majestic Theatre. Among the prominent players featured in support of the stars are John Barrymore, Robert Morley, Anita Louise, Joseph Schildkraut, Gladys George, Henry Stephenson, Cora Witherspoon, Barnett Parker, Reginald Gardiner, Henry Daniell, Leonard Penn, Albert Van Dekker, Alma Kruger, Joseph Calleia, George Meeker Scotty Beckett and Marilyn Knowlden. Hundreds of tests were made before actors and actresses could be found capable of recreating such famed historical characters as King Louis XVI, Madame du Barry, the Empress Maria Theresa, Danton, Lafayette, Benjamin Franklin, Robespierre and others.

TUDOR THEATRE “There Goes My Heart” And “Algiers” x Hal Roach's gay comedy romance, "There Goes My Heart.” featuring Fredric March and Virgin'll Bruce, has been transferred to the Tudor Theatre for an extension of its Wellington season. The story casts Virginia as a madcap heiress who tried to run out on her fortune, and March as a reporter who tried to run out on his boss. Virginia gives up her yacht for a job in a bargain basement and finds a new world full of apartments, kindhearted sales-girls and eccentric motormen. Then into her life roams the roving reporter and the pair have plenty of fun visiting, skating rinks, riding in the subway and falling in love. Practically the entire action of “Al giers,” starring Charles Boyer and Hedy Lamarr ,the associate feature, takes place in “The Casbah,” mysterious native quarter of the capital of Algeria. , The story opens with Boyer and his gang, fugitives from Paris, living in the Casbah, never venturing outside its boundaries for fear of arrest. In the district they are safe from the police in the adjoining French city, who dare not molest them because of the ferocity of the natives. The only hope of the officials is that some time they may lure the jewel thief outside the Casbah and thus bring about his capture.

PLAZA THEATRE

DE LUXE THEATRE

* “Pride Of The West”

* “Room Service” As I said when 1 wrote about the last Marx Brothers’ film nearly a year ago, there can ibe no half measures with your appreciation of these artists. Either you like them enormously, or you are bored by them. That contention still applies to their latest picture —their first lor RKO —entitled “Room Service.” which began yesterday at the Plaza Theatre. But in this film there is a marked extension ot the policy of attempting to widen appeal by lessening their scope. I hey are no longer the absolute be-all and endall of the play. They have an air o. sanity about them; they have been asked to lit themselves to the requirements of a demarcated plot. (Actually, "Room Service” is the screen version of an American stage success). Personally. I think that this policy is rather a mistake, holding that their forte is sheer extravaganza rather than farce-comedy ; but this is possibly not the opinion of all Marx fans. Be that as it may, the Marx Brothers in “Room Service” are still often riotously funny. Groucho Marx, the one ■with the moustache and cigar,, takes the lion's share of the laughs, with his caricature of a penniless producer who, together with his whole company (including Chico and Harpo), are living'on credit at an hotel while searching for someone to back their play. It is this search for a backer that is the crux of the story. “Room Service” is different from the customary Marx Brothers film. Harpo and Chico manage to be funny in other ways, particularly when Harpo stages a fake suicide. The film betrays its stage origins in the limitations of its settings: most of the action takes place in an hotel room, and when a company of actors invades the hotel ballroom, the fact is merely reported, not shown. Vet, restricted though they are by comparison with some of their former efforts, the Marx Brothers have always such a fund of brilliant nonsense that their admirers are advised not to miss them in “Room Service.”

Even the most ardent admirers of the Hopalong Cassidy series of films may have noticed a recent tendency for them to fall into a rut. But "Pride of tlu; West” (at the De Luxe Theatre), though still a typical Western, has qualities which lift it high in its class. It is significant, perhaps, that the noted composer Boris Morris was given the task of writing the musical background; and the direction is also of be'tter-than-average quality. It is no longer necessary to describe the performances of William Boyd as the intrepid Hopalong, of Russell Hayden as his young friend, "Lucky,” or of the always amusing okl 'George (“Wind}’ ’) Hayes. The story is also adequately covered when one mentions that Hopalong and his friends this time have to put their brains and their brawn against villains who have held .up a stage coach and robbed it of its cargo of silver bullion. But familiar though the story and acting are, the method of treatment has increased the scope of their interest. The tension is well maintained, and more attention than tisu.M is given to.the comedy. This is engagingly simple but effective, particularly in the sequence wherein the bandits are trapped into giving themselves away. Contrary to the title, the second feature, “King of Alcatraz,” does not concern itself with America's’ most fearsome prison except to the extent that one of the most prominent characters is an escaped convict from that rocky dungeon. Otherwise, the action takes place aboard a ship on the high seas, with the runaway and his gang as stowaways. J. Carroll Naish is chief villain; Lloyd Nolan and Robert Preston, both radii) operators and romantic rivals for the love of the ship’s nurse. Gail Patrick, who manages, to remain remarkably calm throughout the violent happenings for which the film is chiefly notable.

ST. JAMES THEATRE

STATE THEATRE, PETONE

“Alexander’s Ragtime Band” The new bill at the State Theatre Petone, today, is headed 'by the American cavalcade, “Alexander's Ragtime Band.” To .prepare the background for ilic film, the research facilities of the 20tli Century Fox studios went into action, trac-

ing" the history of the most iistoni®bh),g years in history. Irving Berlin was interviewed, libraries, newspaper' files, pie-

KING’S THEATRE

Dwarfs”

lures, biographies, almanacs, and histories were searched, and there emerged a screen play in which Tyrone Power. Alice Faye, Dim Ameche, Ethel Merman, Jack Haley, Jean Hersholt, Helen. Westley, and John Carradnie have parts. STATE THEATRE -¥• “The Mysterious Mr. Moto” And “Variety Hour” Peter Lorre, as Mr. Moto, is now established as the successor to the late Warner Oland a® Charlie Chan. Ihio week, at. the State Theatre, he is to be seen as “The .Mysterious Mr. Moto —not that Mr. Moto has ever been anything but mysterious. At the outset of the picture he is encountered in particularly intriguing circumstances, nothing, less than aiding a prisoner to escape from the swamps of Devil's Island. This- seems peculiar behaviour for a man who is a '•uardian of the law. but it. is soon disclosed that Mr. Moto is up to the .fictional detective's favourite trick of gaining a crook's confidence in order to worm necessary information out of him. r.or tile trail which Mr. Moto follows in this story is that of a sinister international organization known a&‘ the League of ASraisins, who hire their services to whoever will pay. In the course of his sleuthing Mr. Motor enters London s Limehouse, and the adventures therein make for exciting entertainment of popular pattern. As usual. Peter Lorre has to assume elaborate disguises and accomplish amazing feats if jiu-jitsu, in , the role of Mr. Moto, but he also is given some chance for that intelligent acting of which he is capable. A competent supporting cast —including Henry Wilcoxon and the Australian actress Mary Maguire —help to make this one of the best of the Moto series. Such is the pace of world events, however, that Wilcoxons role is something of an anachronism, since he portrays a Czechoslovakian armaments king. The second feature, a British film entitled “Variety Hour.”, is exactly what Rs name implies. In this music-hall show transferred to the screen the artists include Clapham and Dwyer, and Carson Robison. The fare is varied and so is its quality.

“The Count Of Monte Cristo”

‘’The Count of Monte Cristo,’’ is a story whose romantic fantasy, imaginative, adventure and dramatic characterizations have enthralled millions for generations. Nothing has been spared to give the talkie version accoutrements as to character and setting that bring this great narrative to the screen in its true perspective. Robert Donat makes his American debut in this picture, which continues for an extended season at the St. James Theatre. Donat, after years of hard work, was given the starring part in this feature with Elissa Landi, the feminine lead. That “The Count of Monte Cristo” is entertainment for all, young and old, with undimmed appeal for urban and rural peoples alike, can be unequivocally proven by the universal success of the stage version, of this fascinating Alexandre Dumas fiction piece. Perhaps there is no tangible reason for the unprecedented popularity of this great Dumas work. “The Count of Monte Cristo" is full of priceless lines, imaginative romance, strong characters, beaij.fy of setting, sustained suspense of plot? elements of surprise, and fabulous proportions. The story leaves nothing to be desired. Donat as “The Count of Monte Cristo” has an auspicious vehicle on which production value and time have been spent lavishly. Donat embraces his opportunity in full measure and his name as well as the picture, takes rank along with those productions labelled “exceptional.” Convicted without trial and condemned without mercy, the Count of Monte Cristo spent 20 years in a dungeon. He had 20 years to plot and plan, 20 years of nerve-racking patience, and then freedom with riches and power to wreck the lives of the three who wrecked his,

“Snow White And The Seven

High drama, pathos, excitement and suspense are woven into M alt Disneys feature-length picture "Snow White and the Seven Dwarfs,” which continues for its fourth week at the King's Theatre.- In the seven-reel teclinieolour picture, Snow White's .beautiful but vain and wicked Queen consults her eerie magic mirror to find who is the fairest in the_ land. When the mirror replies "Snow White,” the Queen retreats to her secret dungeons at the bottom of the castle, through which a mysterious river flows. Here, in scenes which could never be done with the limitations of regular motion-picture technique, she brews magic potions and turns herself into an old witch, to an accompaniment of lightning and crashing thunder. She disguises herself thus so that she may go to Snow White living in- the cottage of the seven dwarfs, and, posing as an old peddler woman, induce her to bite into a poisoned apple. The ultimate excitement and suspense comes when the dwarfs, discovering the Queen at. their cottage, chase her through a blinding thunder and rain storm, up into mountain fastnesses where, just as she is about to roll a boulder down on them, a bolt of lightning sends her toppling over a cliff into oblivion. Calculated to bring a tear to the eye of everyone is the sequence wherein the dwarfs, believing Snow White dead, build a glass coffin for her so that they may still look upon her beauty. They place it in a flower-laden bower in the woods, where they and the small birds and auimals take turns keeping watch over it. Romance conies riding along soon, however, in the person of a handsome young .Prince, long 'in love with Snow White. He kisses her, breaks the spell of the magic apple, and the two ride away to lasting happiness, with Snow White promising to return Io visit her forest friends from time to time.