ROUND THE THEATRES

Dominion, Volume 34, Issue 197, 17 May 1941, Page 14

ROUND THE THEATRES

Films Showing In Wellington

Films in Wellington this week, together with the names of the theatres at which they are being shown, are:— "Gone With the Wind” Majestic ihcatie "The Saint in Palm Springs” I laza Iheatie ••Where Did You Get That Girl?” and “Pride of the Bowery” De Luxe I he.it' -Call a Cop” SL ’ ,a,nes lliear,e "hack Street” “The Great Dictator" . Kings J heat ( "Young People” and “Inspector Hornleigh On Holiday” Tudor Iheatie “San Francisco Docks” and “Vivacious Lady” Paramount Iheatie -Go West” Operfl llons,J -Let’s Make Music” and “The Fargo Kid” 1 1l t ‘ "Bulldog Sees It Through" and “Oklahoma Kid” *‘ ex

MAJESTIC THEATRE Probably no film since D. W. Griffiths 8 “Birth of a Nation” has roused so much popular interest as “Gone With the Wind,” now screening at the Majestic Theatre. And the reasons for the interest, when they are examined, are pretty much the same. Both films in their time were of an extraordinary length, and both introduced technical innovations which have added to the dramatic powers of the cinema. "Gone With the Wind” is a story too well known and too well liked to need any further description. The film keeps very closely to the original text, and the characters as shown on the screen might very well have stepped straight from the pages of the book. Olivia de Havilland, in particular, as Melanie, gives a magnificent performance, almost certainly the most effective and inspired of her career. Clark Gable as Butler is good, but both he and Miss de Havilland are outshone by Vivien Leigh in the part of Scarlett O’Hara. Her characterization of this extraordinary part is in itself extraordinary, bringing to life on the screen a woman selfish to the core who yet is magnificent in the manner in which she sticks through all the viscissitudes of life in war and peace to the principle of keeping the land she was born in. From start to finish, “Gone With the Wind” is subtly planned to hold the interest of the audience. Something is going on all the time, and when the drama and contrast of warfare is for a time eclipsed by the seemingly quieter times of peace, the interest is still held by tin: quieter conflicts of personality. Of outstanding significance to films iu general is the quality and the method of handling such a long film entirely in colour. For the first time a director has really got to grips with the problem of directing and editing a colour film so that the colour itself plays its part iu the unfolding drama. In one sense, this film has become three dimensional, and the complexities of blending sound, move rnent and colour in one excitingly orchestrated piece have been solved with a skill approaching genius. Yet when all the technical innovations have been assessed, there remains the fact of a grand story grandly told, a broad sweep of history, national and personal, brought up in sharp focus for the delight and entertainment of the millions who will see it. “Gone With the Wind” is, in short, one of the few films no one can afford to miss. ST. JAMES THEATRE George Formby takes the part of a policeman in wartime England in “Call a Cop,” which is running for a second week at the St. James Theatre. George's duty is in a shipyard, and there, as he often has before, he falls foul of the villains who are trying to sabotage the launching of a great new warship, and the representatives of legitimate authority, who think he is one of the gang. George seems to get badly out of favour with both factions in most of his pictures, and in “Call a Cop” he has just as much trouble in re-establishing his rightful place in society as ever he had. George Formby is at his best in this type of film, and he sings, and acts in his usual inimitable style. Dorothy Hyson is his leading lady, and a very attractive one she makes, too. The whole thing is just what is expected from a Formby film—something with no sense to it but a lot of laughs and plenty of antics by the star, who does not seem to have allowed the present situation to dampen his inventive genius at all. KING’S THEATRE “The Great Dictator,” which is today entering its sixth week at the King’s Theatre, bids fair to rival “Pygmalion’s” run in Wellington. It is not an ordinary Chaplin comedy. In it Chaplin, who was star, author, director and producer, aimed to bring home the ridiculousness of pomp and the emptiness of personal ego, and this he does with one of the greatest weapons known to man—laughter. Not only does Charlie talk for the first time in his brilliant screen career in “The Great Dictator,” but he also plays a dual role. This comes about through a series of hilarious incidents in which Charlie, an unsuspecting little barber, is mistaken for a great and powerful dictator, and is pressed into service to his country. He has a rival dictator in one Napaloni. played by Jack Oakie, and others in this part of the picture are Reginald Gardiner. Henry Daniell. Billy Gilbert. Grace Hoyle, and Carter tie Hayen. The leading lady is Paulette Goddard, and others in the Ghetto scenes are Maurice Moscovitch, Emma Dunn, Bernard Goreev, and Paul Weigel.

STATE THEATRE. PETONE

Norma Shearer and Robert Taylor are co-starred at the top of the east of “Escape." which is showing for a short season at the State Theatre, Petone. It is the first time these two have been starred, and the film is made even better by the work of Conrad Veidt in a supporting role.

“Let's Make Music." al the head of the double-feature programme presented at the State Theatre, stars Bob Crosby, witli his well-known band. Bob shows himself to be a screen artist of no mean ability. His singing and acting are well above the standard expected from band leaders turned screen actors. Twenty-five years ago one of the leading Western actors was Jack Holt. Now it seems that his son is following in his father's foolsteps. Tim Holt appears in the second feature, “The Fargo Kid," and is a worthy successor to his father. He takes the part of a youthful and attractive cowboy who manages to substitute for a “killer” whose arrest is desired by the whole countryside. TUDOR THEATRE Shirley Temple has a more sophisticated part than before in “Young People.’ whicii continues a season in Wellington, now at the Tudor Theatre. She takes the part of the adopted daughter of two old and tried troupers. Joe and Kitty Ballantine. The parts of Joe and Kitty are taken by Charlotte Greenwood and Jack Oakie. and both roles look rm if they were specially made Io fit. Shirley has grown up a good deal, but has not altered, and is still as capable ami accomplished as ever, while Jack Oakie and Charlotte Greenwood make perfect, film parents for her. Some of their acts nre exceedingly clever and their patier very amusing. The associate feature is "Insnector Hornleigh on Holiday.” starring Gordon Harker, whose reputation is long and we]] established, and Alaslair Sim. who played the irascible editor in “This Man Is News ” REX THEATRE

’Bulldog Sees 11 Through.” with Jack Buchanan, and “Oklahoma Kid,” with James Cagney, arc now showing at the Bex Theatre. Episode .10 nf “Junior GMen” is also on the programme.

PLAZA THEATRE Once again George Sanders takes the part of the Saint, that versatile crook who is usually, strangely enough, on the side of law and order, in “The Saint in Palm Springs,” now seieeiring at the Plaza. He has lost nothing of his easy charm of manner or of his almost supernatural resourcefulness in time of trial. This time the Saint, immediately upon his return from Europe, is requested by the chief of police detectives (Jonathan I-Iale) to help him out in an important case. He wants the Saint to accompany a certain man to Palm Springs. This man is in charge of three postage stamps, valued at the tidy little sum of sixty-five thousand dollars apiece, which are the entire legacy left to a young school-teacher (Wendy Barrie). They had been smuggled out of Europe by her father.

When the messenger is killed by a mysterious intruder, who had not been able to find the stamps, the Saint undertakes to deliver them himself. While on his journey he stays at an hotel and meets an old acquaintance. This is a former crook,, now out on parole, who has reformed and enjoys a position as the hotel detective. This ex-crook introduces the Saint to the heiress and offers to hand the stamps over to her at once. Before he can do this, however, he is knocked down and the stamps taken from him. He recovers them again, but before he can give them to their rightful owner many adventures befall him and no less than three people are killed. Finally, however', as is to be expected, when the Saint takes charge, the gang of thieves who tried to steal the stamps is caught, the stamps finally presented to their rightful owner, and once more the Saint is ready to set out on his adventures, as debonair, as whimsical and as heart-whole as ever.

George Sanders dominates this film as he has done all others of this series, but good work is done by the supporting cast, which includes Ferris Taylor, Harry Shannon, and Eddie Dun. Paul Guilfoyle’s performance as the reformed crook provokes a great deal of laughter by his worrisome nature. This film is a good blend of comedy, near-romance, mystery and excitement. Also showing are some excellent and unusual shorts, including the latest news from the Middle East, and a new British Ministry of Information film called “Neighbours Under Fire.” DE LUXE THEATRE "Where Did You Get That Girl?” the main attraction at the De Luxe Theatre, is a lively comedy with plenty of music and bright dialogue to help it along. It tells how a pretty singer in a night club (Helen Parrish) induces a composer of classical music (Charles Lang) to permit, a musician to change his music to swing tempo, as she feels that this is the only way in which he can gain recognition. When he finally agrees, a band of youthful players practice on instruments lent to them by the owner of the neighbouring pawnshop. As the owner of the pawnshop is Leon Errol, it may be taken for granted that some of the situations are funny to a degree. By an ironical twist of fate, the players become famous as “The Mystery Band,” and hundreds of copies of one of their recordings are sold. In spite of all this, however, they cannot divulge who they are, as this might involve them in a robbery. In the long run the actual sulprits are caught and confess to the crime, so that, the way is clear for the band to forge ahead and identify themselves. As soon as they do so, they receive contracts from the radio and the recordings companies and their fortunes are made. The romance between the singer and the musician ends happily and all is well. The second feature, “Pride of the Bowery.” is a vyell-directed, fast-moving blend of comedy and excitement. Leon Goreey, the toughest of the “Dead End” Kids (if this is possible!) has what might be termed the leading role. He imagines himself an expert fighter, but his pal (Bobby Jordan), who knows he will never be able to train in the tenement where they live, persuades him to join a camp in the country. When Goreey arrives he acts in a manner contrary to the rules of the camp and makes a general nuisance of himself because of his purposely uncouth ways. He finally finds his level, however, and after a series of adventures, some humorous and some near-tragic, wins popularity and good fellowship from the boys with whom he felt he could never find affinity. The story has plenty of humour in it, mostly of the wisecrack variety, and the acting of the boys is, ns always, on a very high plane. Yet another episode of that unusual serial, “Junior G-Men,” continues on its way, and in this also the “Dead End” Kids *,do their stuff” in their own special manner. PARAMOUNT THEATRE One of the two feature films at the Paramount Theatre, “San Francisco Docks” has a self-explanatory title —up to a point. The locality is. of course, dockland, with the waterfront, the wharves, the public houses and all that goes to make up the right atmosphere. The story is exciting and often dramatic with such good players as Burgess Meredith and Irene Hervey to lead the cast. The story concerns Johnny Barnes and his sweetheart. Kitty. Johnny is :: longshoreman who "beats up" a man named Cassidy when Cassidy annoys the girl. That night Cassidy is found murdered in the street and Johnny is arrested and found guilty of the crime. Kitty, who is sure that Johnny did not commit (lie murder, turns private detective and. assisted by her father and a kindly priest, scours the neigliliou'rhood, checking up on clues and eventually pinning the crime on the actual culprit. Burgess Meredith makes the most of his part, as Johnny, while Irene Hervey is all that could be desired as the faithful Kitty. Others in the east are Barry Fitzgerald, who supplied the comedy relief. Raymond Wnlburn. Ed- Pawley. Esther Ralston. Robert Armstrong rlll-l William Davidson. The other featured film. "Vivacious I,adv." co-stars two of the screens leading favourites. James Stewart and Ginger Bogers. It is an up-to-date romance which further enhances .Miss Rogers reputation as "(lie versatile lady ol 'he screen." OPERA HOUSE The Marx Bi ol hers, with their hectic nonsense ill "Go West.’ have been this week transferred to the Opera House. “Go West” is a real old Western, with the players sharply cliiirneterized as either heroes or villains. There is no middle course Io be steered. As is essential in Western films, there is a chase —villains in buggy against heroes in railway trainsand the film works up to a smashing climax after the three strange gentlemen have pulled every gag, including a real mouth-stopping —one which the mind of Marx Brothers could conceive. "Go West" is a riot of nonsensical tun, not. excepting some harp-playing, pianoacting. and wise-cracking ol a very high order. It, is, in fact, a good Marx Brothers’ film, a concentrated dose of risibility.

REGENT THEATRE "Back Street,'’ now its second week at, the Regent Theatre, is taken from Fannie’ Hurst's famous novel of the same name, one of those satisfactory books which remain long in the memory and which need ' no effort of mind to recall. Though certain liberties have been taken with the film version, the spirit of the novel remains, and with the leading roles taken by those sterling actors, Charles Boyer and Margaret Sullavan, it may be imagin ed that no emotion or interpretation which the story calls for is shirked. Charles Boyer gives one ol the best performances of his career as Saxel, the successful hanker who is just not quite big enough to sacrifice position and wealth lor the girl he loves, ami Margaret .Sullavan has a part worthy of al! her many talents in the role of lamest, steadfast Kay Smith. Others in the cast who also give good performances are Frank McHugh as the cheerful little soft goods "drummer'’ who always lias a soft spot iu his heart for Kay, and who by introducing her to Saxel in the first place, is the indirect cause of her predicament. Richard Carlson is convincing in I lie small part lie is given, and Tim Holt plays Saxei’s son. who knows all about the liaison ami resents it. without being able to do anything alxmi it. SUBURBAN THEATRES Tivoli (Thormlon).—"Lillian Russell.' A.liee Faye. Don Ameche; "(laiubling Dn the High Seas." Wayne Morris, Jane Wyman. Kinenia I K ilbirnie). —"All This and Heaven Too." I’,cite Davis. Charles HoyRivoli (Newtown). —"Rhythm on ihe River," Bing Crosby, Mary Marlin; "Ar gentine Nights," the Ritz Brothers, the Andrew Sisters. (legal iK.i orii. "Ii All ('.-ime ITae." Ann Sheridan. Jeffery Lynn; “Angels Over Broadway," Douglas Fairbanks, Jun., Rita Hayworth. Capitol (Miramar 1.-- "I Take This Woman.” Spencer Tracy, Hedy Lamarr; "The Amazing Mr Williams." Melvyn Douglas, Joan Biondell. Matinee today. "Out West With the Peppers." Ascot (Newtown). — "Sporting Blood.' Roiierl Young. Maureen O'Sullivan: "She Couldn't Say No." King George (Lower Hutt). — "Four Wives." I’riscill.'i I.uno, Rosemary Lane. Prince Ellwand (Woburn). —“The Lion Has Wings,” Ralph Richardson, Merle Oberon; “’lite Doctor Takes a Wile.' Loretta Young, Ray Milland. De Luxe (Lower Hutt). —“Drums of the Desert." Ralph Byrd. Lorna Gray; "Meet the Wildcat." Ralph Bellamy. Margaret Lindsay. Vogue (Brooklyn I. —■" Florian,” Robert Young, Helen Gilbert; "Zanzibar," Lola I..'ine. James Craig.