THE PICTURES—NEW PROGRAMMES

Evening Star, Issue 20986, 28 December 1931, Page 7

THE PICTURES—NEW PROGRAMMES

’ SONG D* MY HEART* JOHN rCORMAGK IN CHARMING IRISH STORY ‘ Song o’ My Heart,’ the picture that marked the brilliant debut of John M'Cormack in the talkies, commenced a rwturn season at the Empire on Saturday evening. Is is without doubt a charming and delightful production, and its screening afforded much pleasure to the whole audience It contains that rich simplicity that is characteristic of Irish life, and the characters are delightfully drawn. Indeed, we have all seen at some time in our lives the people that live in this picture, and the Irish witticisms and the Irish brogue all awaken memories of living people. That, indeed, is the art of the picture. All this is apart from tho singing of the great tenor. Without M‘Cormaek, the film would still be a fine study of Irish life, but with the singing of tho tenor it becomes an epic film. His is tho outstanding figure throughout. As a simple and understanding villager with a broken romance, M‘Cormack has the sympathy and affection of all his neighbours, and it is small wonder that that marvellous voice of his, enriching the still, evening air, makes him the adored centre of a group of enchanted children. Again, as the master of melody in a great New York theatre, he holds some of the most critical audiences in the world under his magic spell—for, has he not suffered, as all artists must suffer, to achieve real greatness? The singing in tho theatre, indeed, is a masterpiece of recording, and though it would bo impossible to say which song he sang best, it must be said that the marvellous rendering of ‘ I Hear You Calling Me ’ is ono of tho triumphs of the sound screen. One completely forgot tho screen and the audience became as one with the great New York audience, clapping when it clapped and listening just as intently, No less appealing, however, was his song to his old sweethear, ‘ Rose of Tralee,’ just before he departed for America. There one discovered tho tragedy in his life, and it welled forth in his voice, telling the story as only a great song can tell it. In contrast with this was a merry little song for tho young villagers, “ Kitty, My Love,’ and again the song * The Little Toy Dog is Covered with Dust ’ stirred the emotions with its sweet pathos. The actual story has been entrusted to a highly accomplished cast, and tho great performance of J. M. Kerrigan and Farrell Macdonald, who as tho two old Irish cronies sincerely attached to each other, and yet cloaking their affection by a sort of continuous quarrel, is but another instance of the exceptional quality of the production. Steeped in Irish wit and humour, they keep tho audience laughing at every word and action, although nothing they do is Maureen O’Sullivan makes a charming little heroine, with all the Irish warmth and sincerity, and the difficulties that her crabbed old aunt places between her and her sweetheart win a ready sympathy from tho audience. These are but three of about a dozen artists of exceptional ability. ‘ Song o’ My Heart ’ is a production which will be remembered for its charm, its deep sincerity, and for M'Cormack’s marvellous voice.

In the first half of the programme is a comedy entitled ‘ Immediate Possession,’ and it has more laughs packed in it than many a feature comedy that has been seen in Dunedin for months. Herbert Mundin, who appeared in Now Zealand in the flesh as the delightful comedian in \ The Desert Song,’ is seen as the working partner in a firm of house agents who have done no business for fifteen years, and whose efforts to sell a haunted house within twenty-four hours to a nervous client provoke screams of'laughter. Even to look at Mundin makes one want to laugh, while he has only to start talking to start the audience off. It is a fairly long comedy, but is one that could easily be seen and enjoyed a second time. An interesting Fox Movietone News completes the programme. The hqx plans are at the theatre and The Bristol.

CHEVALIER AT HIS BEST

‘ SMILING LIEUTENANT ' AND CHARMING PANTOMIME

That the Regent should have been packed to capacity on Saturday evening is scarcely surprising. A huge crowd attended that popular house of entertainment in a holday spirit, looking for bright entertainment to round off a day in the open. And not one member of that audience could possibly have been disappointed. It was entertainment par excellence presented by the management, a fact obviously appreciated by everyone present. The premier attraction was, of coarse, the one and only Maurice Chevalier in ‘ The Smiling Lieutenant.’ Then there was a stage presentation that delighted every eye and ear—a pautomino in miniature, arranged and produced by Miss Lily Stevens and Mr Alec Regan.

‘ The Old Woman in the Shoe ’ was. the title of this charming little extravaganza. It was based on the old fairy tale, so dear to the hearts of all children, and gave the'producers ample scope to demonstrate the undoubted talent of the children of this dancing school. There were several delightful ballots and solo dances, the singing of the children being an added attraction. One especially appealing scena ■ was ‘ The Bicycle Made for Two,’ in which the two diminutive lovers made a great hit. The children were beautifully dressed, the ballet frocks being particularly attractive. Both Miss Stevens and Mr Regan are to be complimented upon their joint production. It was a distinct pleasure to witness their presentation. The children had the very warm reception they richly deserved. An interesting gazette, a screamingly funny Mickey Mouse cartoon, and the pantomine were the preludes to ‘ The Smiling Lieutenant,’ definitely the best picture Maiuico Chevalier has yet made. With Chevalier there are two charming and accomplished young ladies, Claudette Colbert, and Miriam Hopkins, to share the laurels of the performance. But the one to whom the greatest praise is due, is Ernest Lubitsch, a man who must rank with Josef Von Sternberg as one of the most brilliant personalities in _ the motion picture industry. The Lubitsch touch may bo discerned in every scene, in the remarkable polish and smartness of each sequence. ‘The Smiling Lieutenant ’ is an adaption of the Strauss operetta, ‘The Waltz Dream,’ that enjoyed such wide popularity on the Continent. The production has been considerably revised, but Strauss lias written additional music, Ernest Vadja the dialogue, and Clifford Grey .the

lyrics. The two last-named are both highly skilled writers, and their association with Strauss has resulted in a particularly delightful and entertaining comedy. The choice of stars could scarcely have been bettered. It follows, then, that ‘The Smiling Lieutenant is a picture out of the ordinary. Among other things, it is a very shrewd American satire on Continental royalty. Chevalier has the role of a lieutenant in the royal guards of a European monarchy. A care-free and jolly soul, he falls deeply in love with the leader of a ladies’ orchestra in a “ Biergarten,” a charming lady who cannot resist him. Then comes tho unfortunate (or fortunate) incident off the story. Chevalier is in command of the guard drawn up to greet a visting royal princess. His lady love is in the crowd, and he favours her with a broad wink and a laugh. But at that moment tho haughty princess passes in her carriage and intercepts both the wink and the laugh. Then the trouble starts. She and her father consider themselves grossly insulted, and demand tho j>resence of the lieutenant. He, however, charms them both so utterly that the unprepossessing princess falls in love witlx him. A litt’e later wo hear the royal decree that they shall bo married. The princess is delighted with such a handsome and charming groom, but the mi fortunate lieutenant is plunged into the depths of despair. The marriage is solemnised, but the princess finds a totally indifferent spouse, who neglects her altogether, and continues his laison with his former sweetheart. The manner in which she transfers his affections, is the whole point of the story, and it would be distinctly unfair to describe it here. Suffice it to say that the sory is vastly entertaining, and has many ingenious complications and developments before everyone is happy. As ‘The Smiling Lieutenant,’ Chevalier is at his best. He sings his way through the picture with his usual charm, and captivated Saturday night’s audience completely. Claudette Colbert and Miriam Hopkins are equally charming, and enrich the picture with their presence. Charles Haggles, too, is another distinguished member of the company. Altogether, ‘The Smiling Lieutenant ’ is extremely diverting entertainment. There is much pleasure in store for Regent habitues this week.

‘ FIGHTING CARAVANS'

GRIPPING PICTURE AT OCTAGON Indian war-whoops, ' hard-ridden ponies, hard-drinking but hard-fighting men, _ and fleets of great cumbersome “prairie schooners” tacking their way slowly over miles and miles of sunbaked wastes, treacherous mountain passes, and aqross swollen rivers. These have provided material for countless stories of the early days of America, and the adventures of the pioneers who set out in their great covered wagons across the continent to open up the wealth of now land that lay beyond for those who had heart enough to win through the many hardships, but few of those stories, if any, can claim _to possess so much appeal as ‘Fighting Caravans,’/by Zane Grey. ‘Fighting Caravans’ has been reproduced on tlie screen as a talking film, and for action it must be considered one of the finest pictures of its kind yet seen in Dunedin. It was shown here for the first time on Saturday evening at the Octagon Theatre. By action, it is not meant that the story is full of scalp-seeking Indians who let loose blood-curdling whoops at intervals, and “ shoot-from-the-nip ” gunmen, but there are certainly no dull moments. The film has been remarkably well produced, and the most has been made of the opportunities. In addition to the many thrilling scrapes experienced by the characters, there are many delightfully humourous touches, which cannot help but raise a laugh. The story centres round a large wagon train wending its way over 1,600 miles of most treacherous country during the American Civil War. With fresh dangers lurking at every mile covered, that game band of people struggles on, treating discomfort and hardships in a light-hearted manner. There is, of course, a girl in the story —in this case a young Frenchwoman who has thrown in her lot with the rest of the band—and as her “opposite number” one of the scouts, a lanky and care-free individual with a good eye, Clint _ Belmet, who does all sorts of heroic things. The chief feminine role is played by Lily Damita, a French actress, who was starred in many first-class silent films. With her French accent and_ delightful manner she is particularly suited to her part. Gary Cooper, a favourite with pio-ture-goers, plays the part of the daredevil scout, and Ernest Torrence and Tully Marshall, two very hard-bitten characters, supply the necessary light touches. The film is supported by several good news pictures and a comedy. TWO BIG FEATURES STRAND'S FINE PROGRAMME The very name of Ann Harding in conjunction with a feature film is usually sufficient to ensure its worth, but there are many other attractive attributes in ‘ The Girl of the Golden West,’ the great out-of-doors picture which opened its Dunedin season before a big audience in the Strand Theatre on Saturday night. This fine production is brimming over with the healthy glamour of those fascinating days in the Western States of America, and Ann Harding’s part in it is something which will greatly please her admirers. The story concerns a girl who is taken out West to live in a mining town, where she eventually falls in love with one of the place’s rather wild inhabitants. The theme of the photoplay is woven round the girl’s good influence on the man.

The story is dramatic and full of thrills. The polka saloon and the dance hall, where much of the action of the play takes place, are reproduced on the lines of some old sketches, made in the early ’fifties of a big hall at Dutch Flat, in the Californian gold rush country. Ann Harding plays the title role, and James Ronnie and Harry Bannister have strong supporting roles. The second big feature is * Wedding Bells,’ which is based on a lone battle between two sisters. Cornelia Quinn, an attractive young artist, loves Lewis Dike, whom she met in an art gallery. Dike, a wealthy clubman, also loves Cornelia until he meets Eve, her selfish, beautiful sister. Eve, thinking that Dike would be a very profitable match, sets out to win him from Cornelia, and before long Eve and Dike are married, despite Cornelia’s efforts to keep them apart. Interesting situations then arise.

H. B. Warner has a congenial part in Dike, the popular clubman; Lois Wilson, whose performance as Cornelia Quinn is consistently excellent, has a sympathetic part, which she enacts with intelligence and spirit; and Olive Borden gives a brilliant characterisation of the shallow Eve Quinn. ‘ Wedding Rings,’ which is carried along by a sparkling dialogue, moves swiftly, and always commands interest.:

JOE BROWN'S BEST TO DATE

COMEDY PREDOMINATES AT ST. JAMES

Jog E. Brown lias a free and epsy role in ‘ Broadminded,’ which was shown to a full house at the St. James Theatre on Saturday night. It may easily have been invented especially for th i comedian’s mirth-provoking propensities. There is a connected story running through the picture, which features comedy largely, and this concerns a carefree and rather irresponsible young may who has recently left college. He is Jack Hackett, whose sowing of wild oats is feared by a highly-respectafale father to threaten the family reputation. The father’s worst fears are realised when he reads in the morning paper that his son is engaged. The woman is a notorious actress, and Jack has no alternative but to acknowledge the truth o£ a forced engagement. Deciding that something must be done to put a stop to his son’s wild life, the father says he must go on a tour “ to anywhere,” and _ furthermore, his guardian shall be his cousin, Ossie Simpson, Ossie being regarded by the wornout father as the embodiment of rectitude. Setting out in a two-seater car, the pair have many adventures en route to “ anywhere,” and Ossie adheres rigidly to the fatherly exhortation that his charge be kept away from women, but with all the human frailties, Ossie , himself proves most vulnerable to feminine charm. Highly amusing incidents follow in rapid succession, and at times difficulties have to be overcome, but in the end everything is surprisingly straightened to everyone’s satisfaction.

Much of the comedy is supplied by Joe Brown, whose antics and sayings in previous pictures have branded him as one of the screen’s foremost funmakers. There is no other comedian on the screen quite like Brown, whose face is one of his big assets. It is aptly described by one of the girls in the picture as being “ so frank and open.” His dress in ‘ Broadminded ’ is distinctive, if not artistic. All through the film he creates situations which cause the most violent hilarity, and in these moments when free rein was given his burlesque work on Saturday, the auditorium echoed and re-echoed with unrestrained laughter. William Collier, jun., has the role of Jack Hackett, and assumes the part with a boyish abandon which is quite refreshing. Bela Lugosi; whose screen name was made with his performance some months back as Count Dracula in the picture of that name, is cast as a fiery foreigner. He dislikes being insulted, and wishes to kill those who cause him to lose his temper. On the feminine side of the cast, Ona Munson is responsible for clever artistry, while Margaret Livingstone, Grace Hampton, and Thelma Todd take a hand in the working out of the plot. One or two others in the cast also help to make ‘ Broadminded ’ one of the few real comedy gems the screen has produced in recent months.

An entertaining list of shorts opens the programme. These include a Pathe gazette, which presents many items of interest in England, two comedy turns, one of a Spanish flavour, the other recalling the days of vaudeville; a musical and talking skit, and a song scena, the last-mentioned being an extract from ‘ May Time.’ One of the lingers in this is Vivienne Segal, who will bo remembered for her. performance in ‘Viennese Nights.’

KING EDWARD The principal feature of the special Christmas programme at the King Edward Theatre this week is ‘ Chasing Rainbows,’ a bright and colourful picture full of action and merriment. The fact that Charles King, Bessie Love, Marie Dressier, and Polly Moran are included in the cast is in itself an indication of the entertainment value of the picture. The supporting programme includes a Mickey the Mouse cartoon called ‘Traffic Troubles,’ and the eleventh' episode of ‘Heroes of the Flames.’