AROUND THE THEATRES

Dominion, Volume 32, Issue 282, 26 August 1939, Page 16

AROUND THE THEATRES

Special Reviews Of New Films

Filins screened in Wellington yesterday for the first time have been specially reviewed lor-“The Dominion’' by "E. Stanhope.” These reviews, distinguished by the mark * beside the title of the film, appear weekly in the issue following the fust change-ot* programme night in city theatres.

PLAZA THEATRE

* "The Story Of Alexander Graham Bell”

"The Story of Alexander Graham Bell''' is now showing at the Plaza Theatre,' with lion Ameche, Loretta Young and Henry Fonda in the leading parts. This fiim presents a highly romanticized story of Bell (Don Ameche), the inventor of the telephone, and his struggles to put his "miraculous invention” onto a proper and paying business footing. Loretta Young, is his deaf sweetheart, and later wife, who does so much to keep the young inventor at his work in moments of discouragement. Henry Fonda is the hard-bitten assistant who follows his friend like a faithful hound through poverty and disappointment to ultimate prosperity. When the story opens, Bell is receiving assistance from older friends to carry on his work in pursuit of a multiple telegraph, and it is ideas gained in this work that prompt him to investigate the possibilities of transmitting . sound by wire. He is in love with his sponsors daughter, a deaf girl who rouses his interest. at first because of his former profession as a teacher of the deaf. The telephone is invented at last, but despite some public interest, it is regarded as a toy ; it takes a personal visit to Queen Victoria, and her ordering of a set for the palace, to put its production on a commercial footing. In the meantime a wealthy telegraph company back home challenges Bell’s patent rights and he is involved in expensive litigation which all but ruins him and his friends. As a result of a love-letter produced in court, the opposition company undergoes a change of heart, withdraws its claims, and lets Bell in on the ground floor of its own prosperous business. Just before this, the Bell’s have a baby. Personally I do not like this sort of history, but of its kind this picture is exceedingly well done. .It is saved from

being too sentimental >by the line acting of Henry Fonda, whose sharplyetched portrayal of. the . sceptical but admiring assistant .is particularly interesting. There is, too, a splendid scene in which, almost by accident. the new telephone works; but perhaps best of all is that point at which, under Beil’s tuition, the little deaf-mute bov huskily calls to his father. There is a good deal of mild fun. and not nearly enough of either Fonda or the invention of the telephone. As usual, American court procedure puzzles me, particularly at such points as that at which it permits the reading aloud of a love letter when the real evidence is in the form of scribbled notes on the other side of the same sheet of paper. However, little things like that cannot prevent such a film from marching steadily to its inevitable conclusion. •‘The Story of Alexander Graham Bell” is a simple and movingly told story of a great invention.

PARAMOUNT THEATRE

“Out West With The Hardys” And “Rootin’ Tootin’ Rhythm”

The Hardy Family entertains again in '•Out West With the Hardys,” the main film .at the Paramount Theatre. The. Northeotes of Arizona are having difficulty with water rights, and the Hardys are invited to their ranch. While Judge Hardy unravels the legal red tape round the rights, the younger members of the family find it hard to keep away from trouble. During the time Marion Hardy is falling in love with Kay Holt, the handsome ranch foreman, Andy Hardy is finding a new companion in Jake Holt, the foreman’s capable 10-year-old daughter. Andy considers himself “the terror of the range.”' He is taken down a peg when Jake outshoots him, and outrides him.

A story of mixed identities, “Hootin', Tootin' Rhythm” is the' associate film. Gene Autry and Smiley Burnette are taken for outlaws, while the real outlaws are taken for sheriffs.

OPERA HOUSE

“The Lambeth Walk” Lupino Lane, in. the role of a Lambeth Cockney who inherits a title and estates, adds another outstanding performance to his long list of comedy successes in “The Lambeth Walk,” the attraction- at the Opera House. .Lupino Lane is Bill Snibson. and Sally Gray is Bill’s Cockney sweetheart, who is cold-shouldered by ■ Bill's “Aristoscratchie” relatives, till she finally decided to leave him alone: in the midst of his ancestral glory. Of course, in good time, the cold shoulders begin to thaw, and finally Bill and his girl .are reconciled; to walk out of the picture under a. shower of confetti, while the Lambeth "Walk melody rings out in place of the Wedding March.

KING’S THEATRE

* “Five Came Baek” "Five Came Back." the R.K.O. Itadio picture now screening at the King’s Theatre, is notable for the absence of stars from its cast and for the good acting of the "featured players." who, i>y reason of this absence, aie given a much better chance than usual to show how effectively they can build up the dramatic elements of their story.

The technique adopted is the old one of confining a diverse group of personalities to it small space, cut. off from the outside world, and following their reactions to this situation. This time, as so often before, the confined space is an aeroplane, forced down in a South American jungle during a tropical thunderstorm. What is not so usual is the really gripping fashion in which the story his been told. There is John Carradine, a mercenary detective in charge of Joseph Calleia, who is being taken home to a death sentence for hie political activities. ' Chester Morris) and Kent Taylor are: the pilots of the plane, and Dick Hogan the steward who meets a terrible death. C. Aubrey Smith and Elisabeth Hisden are the elderly bo tanist and his wife: Allen Jenkins is a gangster leader’s tough but kind-hearted henchman, taking care of his dead chief's little boy. Casey Johnson. Patrie Knowles is the wealthy playboy who “just couldn’t take it,” with Wendy Barrie ns his fiancee. Lucille Ball, last but by no means least, is a show girl and gold-digger with real character despite her rather cynical outlook on life.

I have gone to the trouble of putting in all their names because this film bears out the thought that must have occurred to many thoughtful "fans” as it has to me —that the little advertised “featured players.” such as these, unobtrusively supply much of the entertainment for which the stars get all the credit. In “Five Came Back” the credit is given in the right place—ami credit is the word to use, because it is a genuinely exciting film. .

The story itself is simple enough. These 12 people have to live in the jungle for a good many weeks with none of the usual amenities of civilized life, when their plane makes a forced landing during a thunderstorm. The wireless transmitter is put out of action, though through the receiver they hear the story of the fruitless search for them. Chester Morris makes a fine job of his part as chief pilot, who, by sheer force of personality, becomes leader of the lost party during the repairing of the plane. The romance between Patrie Knowles and Wendy Barrie suffers badly under the strain, and Wendy and Lucille Ball form new attachments. In fact, looking at the whole group is like watching a chemical experiment : the little groups disintegrate in the changed circumstances and later recombine in new- formations. The tracing of these reactions is-most skilfully done. At the end, when the power of life and death is placed in the hands of Calleia, the anarchist who legally has no right to live, the picture reaches its peak of dramatic tension. (Calleia gives a fine performance.) The plane, you see, is repaired, but cannot carry, more than five people to safety, and, strangely enough, the choice is left to the condemned man. There are some loose ends to the story and two of those who escape would probably have to make a few awkward explanations; and the jungle bears a strong resemblance to a hothouse at times. But these are minor- faults in a very interesting and very exciting picture in which the characters, are credible people that you might meet in the street. In its class, “Five Came Back" is a very good show indeed.

VOGUE THEATRE

“Society Smugglers” In “Society Smugglers.” which will be presented at the Vogue Theatre, Brooklyn, today and again next Monday, Preston Foster plays a Department of Treasury operative, and is teamed with Irene Hervey and Kegis Toomey to break down a smuggling ring. Frank Jenks, Walter Woolf King, and Fred Keating have other roles. Joe May directed from the screen play by Arthur Horman, with Ken Goldsmith as associate producer.

STATE THEATRE, PETONE

“The Great Waltz” "Tile Great Waltz. - ’ which will begin a brief season at the State Theatre. Petone, today, deals with the composer, Johann Strauss (Fernand Gravel), from the time ho loses his position as a bank clerk and turns completely to music, to his final honours in the Emperor’s court.

His marriage to the sweetheart of his youth (Luise Rainer), and his subsequent. infatuation for a brilliant opera star (Milza Korjns) who sends him back to his faithful wife, form the plot against which dazzling spectacle, ballets and other glorious incidentals bedec'i- the best-loved music in the world.

DE LUXE THEATRE

“Spirit Of Culver” And "Queer Cargo”

"Spirit of Culver," now screening at the De Luxe Theatre, tells the story of a young boj who during the depression was forced to stand in food queues and to haunt soup kitchens. The kindly supervisor of the soup kitchen offers him a job washing dishes and presently discovers that he is the sou of Dr. Alien. a hero

who died for his country mid who was posthumously awarded the Congressional Medal, the highest honour awarded in the American Army. This discovery, together with the boy's own jood qualities, earns him a scholarship al Culver, the military academy, and there he goes in a fairly cynical and disillusioned frame of mind. He admits to all and sundry that he is attending the school just for "something to eat. and a roof that doesn't leak. He antagonizes his colleagues by his attitude and becomes something of an outcast. His room-mai c ' the end makes the peace and slonlj b t surely the boy is reformed till he sub the error of bis ways and comes round W thinking that the school is the best inthe world Me also realizes that bis fathers medal is something to be proud ot am that having a hero for a father is a great tU Aff goes well till father turns up and it is found that instead of dying in the course of duty he had run away and had been all these years trying to hide his shame in different countries., Overcome, however, by a desire to see Ins son before he dies lie returns to America. Finally he and his son are reunited under circumstances which make everybody happy. The bov in the case is that young and clever actor Jackie Cooper. lie certainly has a way with him, and though that worried look which he often assumes seems to be more or less permanent in this film, he has his lighter moments. His room-mate is none other than our old friend Freddie Bartholomew—and how those youngsters do grow, h rec die has grown longer and thinner than when we saw him last, and lie has also lost that. super-English accent. He has in fact become far more human and, it not quite so good looking now that he is out of his childhood, has made up for this by the depth of his acting. Andy Devine is the king of the soup kitchen and is, as usual, very like Andy Devine. The accompanying picture. "Queer Car go,” is a good offering, the action taking place almost entirely on a tramp steamer running from China to Singapore. The queer cargo turns out to be nothing more peculiar than five blue pearls of almost fabulous price, and the young captain (John Lodge) has a busy time in keeping them safe. The crew mutinies, then the tramp is attacked by pirates. There are lights and guns galore. With Judy KeLy supplying the feminine interest, the picture is as good as might be expected.

THEATRE MAJESTIC

‘The Adventures Of Huckleberry Finn’ (Mark Twain's "The Adventures of Huckleberry Finn,” has been made into a film, and tiny film has entered the second week of a season at the Theatre Majestic. The motherless Huck. (-Mickey Rooney) is living with a kindly widow and his sister when the story opens, playing "hookey” from school and fishing sleepily in the shade beside the great grey river. Up in his bedroom later that evening his drink-sodden "Fappy, working on the desire of the two women to care for Huck., blackmails them to the tune of 800 dollars to allow Huck, to stay. Huck, will not Jet this happen to his benefactors, and runs away, only io be caught and locked up in a riverside whack by "Pappy.” He breaks out of this next morning, fakes things to look ns if he has Iwen murdered, and makes off down-river. When he lands, he finds Jim, the widow's negro slave, who has run away to join his wife and child. Back in the village, disguised as a girl Huck, finds the menfolk out on a lynching party hunting for the escaped Jim, who is supposed to have committed the murder faked by Huck. The boy and the slave escape on a raft, and a day or two later they pick up a couple of card-sharping swindlers who have been thrown overboard from a steamboat. The two cardsharpers—chief of whom is Walter Con-nolly-—po-se as long-lost brothers of. a Pikeville citizen who has just died, and they make plans to rob the two bereaved and beautiful daughters. Huck, foils their plans by reporting to Captain Brandy, owner and master of the ".River Queen” steamboat, who turns out to be an abolitionist. and offers to help Jim to get away. Unfortunately, Connolly and his offside.r .get in early by reporting Jim's hidimt place.' In the subsequent melee! Huck, rs bitten by a rattlesnake, and Jim is caught. Captain Brandy, when he finds Jim is wanted for murder (of Huck.), hands him over to the authorities, keeping this news from the convalescent Huck. When Huck, does find out he rushes off to help Jim, and. assisted by the “River Queen” under a full head of steam, and with Huck, himself at the wheel, he arrives just in time to save Jim from being lynched.

STATE THEATRE

"They Made Her A Spy” And “Swift Vengeance”

■ Disclosing thrillingly how a spy ring is organized and operated, with its head men unknown to the rank and file of agents working for it; how these agents are checked and observed by other agents to prevent doublecrossing; and, above all, how counterspies make their way into the organization and pretend to work for it while actually reporting its secrets to the other side, is "They Made Her a Spy,” main feature at tlie State Theatre, “Swift. Vengeance,” the other feature, is replete with adventure, romance, and comedy, and revolves round a young police officer who has. trained his shepherd dog to perforin many police duties. The officer's success in capturing several criminals witli the aid of his clever dog, however, meets with the department’s disapproval. and eventually lie is suspended from active duty.

Subsequently, when dog ami master again prove their worth in capturing dangerous criminals, the idea of using dogs in police work is accepted by the department.

TUDOR THEATRE

“The Little Princess” zVnd “The Hound Of The Baskervilles”

Shirley Temple is sent, to an exclusive school for girls, run by Miss Minehin, before her wealth.v father leaves for the Boer war, in ‘"The Little Princess,” now at (lie Tudor Theatre. Later, while .Shirley is holding a birthday party, new K arrives at. tho school Unit her fattier has been killed, and, what is more important to Miss Mineiiin, died a bankrupt. Shirley is banished to the garret, and assigned to the duties of a "slavey.” After a seriesol' bitter setbacks, Shirley is rewarded in a stirring climax, in the course of which she not only locates her father alive, but also meets Queen Victoria.

Sherlock Holmes mutches his cunning with that if a giant, unearthly hound, in “The Hound of the Baskervilles,’’ the associate attraction. This hound, with eyes blazing and fangs bared, roams the fog-ehrouded Tieton moors, terrorizing the countryside, striking horror into the hearts of tttjo youpg lovers, and leaving a trail so terrifying that only Holmes—and • Watson—dare- follow,,

Sl'. JAMES THEATRE

“Trouble Brewing” A city is perturbed about the success of a gang of counterfeiters who are flooding the market with spurious notes, iu "Trouble Brewing,” which Ims been retained at the St. Jami’s Theatre for a second week. There is a £5OO reward ofl'ereil for their apprehension, and George Formby. who has Sherlock Holmes’ tendencies. is till keyed up to win it. He does so. but not before he and Gits McNaughton have gone through a series of mirt h-provoking adventures. To see George as all all-in wrestler is something that should not be missed. Disguised as a waiter, his efforts to retrieve the finger-prints of a very temperamental prints donna whom he has suspected of being in league witli the gang, are something that must le seen to be believed—specially as (lie piece of paper which holds I lie precious fingerprints Ims a message on it which the prinia donna treasures, and which she has put for safety in it spot which proves extremely inaccessible. George is not too busy capturing criminals, however, to sing. He finds time and place to sing three catchy comical numbers, “I ('an Tell It B.V My Horoscope,” “Hitting tlic High Spots,” and "Fanlight Fanny, the Frousy Night Club Queen." George Formby is it comedian who cun usually make a laugh out of the poorest, of material, but when he has-a plot such as this one to work on. he is at his- very best. Googie Withers, too. would seem better than usual. Gus McNaughton, ns George's partner, is at his very good best, specially toward the end. when, after falling into a vat full of brewing beer and sampling the contents, ho comes out slightly the worse for wear, and very, very pleased with himself.

The last scene, in the brewery where the counterfeiters are brought to justice, is one wild scramble which ends in a fight between Gus and George and the gang, with full bottles of beer us ammunition'.

REGENT THEATRE "The Dawn Patrol” "The Dawn Patrol," continuing at the Regent Theatre for a second week, is played round events and aeroplane warfare in 1916. Basil Rathbone, a doughty warbiru himself, is iu command of a squadron, sending up inexperienced young flyers in worn-out old "crates," and suffering intensely because there is nothing much he can do about this waste of useful lives: The war must go on. Errol Flynn and David Niven, seasoned lighters who know every trick of the game, are always among the few of “A” Flight who come back after every patrol. But their first-hand knowledge of what goes op up there above the clouds when the black German planes swoop down, makes them feel bitter toward their superior officer. Flynn, in fact, tells Rathbone that, and he, with nerves already frayed by constant worry, replies in a dramatic outburst. Flynn finds out soon enough that being grounded, and having to take responsibility for other men’s lives, is none too easy for an active flyer, for Rathbone passes on by promotion to another job, and Flynn is ordered to take his place. He then has to repeat the same deadly ritual with drafts of young and eyeryounger recruits, men whose solo flying experience scarcely warrants their leaving the ground at all despite their eager young courage and assurance. Niven’s schoolboy brother turns up in one draft, and, against his better judgment and the pleadings and threats of his old friend, the youngster is ordered up with the dawn patrol—and does not come back That, for the time being, is the end of the friendship between Niven and Flynn. , , , Orders to call for volunteers for a desperate solo attack on a German base result in Niven’s acceptance of the job, but after a pleasant and notably alcoholic reunion of the two friends, Niven drops off to sleep and Flynn takes his place m the plane, Flynn achieves his objectii e, and then ,is shot down and lulled by his gallant German rival, von Richter. Niven takes command in his turn.