THE PICTURES—NEW PROGRAMMES

Evening Star, Issue 20996, 9 January 1932, Page 11

THE PICTURES—NEW PROGRAMMES

REGENT'S GREAT FARE 'THE OUTSIDER'AND FINE SUPPORTS Noteworthy for a feature film which is a dramatic triumph from the British studios and for a series of supporting pictures of outstanding merit, the new programme at the Regent Theatre supplied excellent entertainment to the big audience which attended last night’s screening. ‘ The Outsider ’ is all that it is claimed to be—and more. Previously presented on the stage to New Zealand theatre-goers by Maurice Moscovitch and his company, and read by many in book form, this play from the pen of Dorothy Brandon provides a further indication of the extent to which the screen can now perform what was once thought to be the unchallenged part of the legitimate theatre. The story is an extremely unusual one, and the audience_ undoubtedly reacts strongly to the highly dramatic and even sensational tale. The film follows the > story of .the play in all substantial details, although the cinema has allowed a large number of particularly wonderful settings to be used, the photography throughout being of an extraordinarily high quality. The story is that of Anton Ragatzy, a (Russian-Jew, who gained a wonderful practical knowledge of anatomy in the slaughter yards of Chicago, but was too poor to go through a medical course and gain the degree which would give him' a “ front-door ”• entrance to the exclusive circles of qualified surgeons. Ho is the inventor of an electrical appliance which can effect cures in cases of paralysis and deformity which have defied medical skill. Despite his successes, recognition of his undoubted genius is denied him, and to vindicate himself ho undertakes the cure of the beautiful daughter of the most adamant of his conservative opponents. The girl’s love for a young man whom she feels returns her affection and would marry her if she were well makes her risk everything by entrusting herself to “The Outsider.”. The story works up to an intensely dramatic climax, in which the man “ outside the pale ” justifies His unbounded faith in himself. The part of Ragatzy, arrogant, boastful, and possessor of a magnetic personality which overcomes opposition in spite of everything, is an extremely difficult one to represent, but Harold Huth achieves an outstanding success, and naturally becomes the dominating character. He is absolutely convincing as the unorthodox healer, while Joan Barry, a new and beautiful star, handles the part of Lalag© Sturdee, the girl whom he uses to prove himself, with care and full understanding. The supporting cast is exceptionally strong, but includes none better than Annie Esmond as Pritchard, Lalage’s faithful woman retainer. For sheer dramatic content ‘ The Outsider ’ has a story quite unequalled, and the central and unparalleled theme—this so-called “ quack’s ”• determination to win acceptance as a Fellow of the Royal College of Surgeons—forms the basis of one of the finest pieces of drama that has appeared on the screen. Heading the supporting programme is a very fine travel picture dealing with Switzerland, in which both summer and winter attractions are admirably presented. Included in a strong Paramount British news reel are shots depicting the submarine Nautilus in the Arctic, and Flight-lieutenant Stainforth making his world’s speed record in a Schneider Cup machine. _ ‘ The Cat’s Nightmare ’ is an extraordinarily clever Walt Disney cartoon, while ‘ Curiosities of the World ’ embraces interesting titbits from here, there, and everywhere.

DELIGHTFUL COMEDY-DRAMA GLORIA SWANSON IN * INDISCREET ’ Gloria Swanson has made the hit of her brilliant career in ‘ Indiscreet,’ a most delightful comedy-drama shown for the-first time at the Empire yesterday. Miss Swanson gives a highly polished performance, and sings very charmingly during the production. The picture is skilfully enacted, and afforded last night’s audience much pleasure. The drama of the story is very effectively relieved by deft comedy touches, and held the undivided attention of the whole house until the final scene. The pie9e is a fast moving comedy'drama, with Miss Swanson rising to the opportunities afforded in a highly brilliant manner, and she is capably supported by a cast of unusual talent, headed by Ben Lyon, with such other well-known screen personalities as Barbara Kent, Arthur Lake, Monroe Owsley, and Maude Elburne. Of outstanding note is the fact that the story was written especially for Miss Swanson by the famous song writers, De Sylva, Brown, and Henderson, who have successfully turned their talents from song writing to that of dramatics. They have given her a story of modern society with subtle humour, withal an enthralling plot of life in the upper strata of society. There are, however, two songs used, which were written by the author-composers, entitled ‘ Come To Me’ and If You Haven’t Got Love,’ which, of course, are headed for “hit ” dimensions if they are not already in that classification. They are used to good advantage, and . fit in admirably in the scheme of things. 1 Indiscreet ’ is a little different from the stories we have seen Miss Swanson enact in the past, and’ for that reason we believe she will be much heralded for her work in her current film. Not that her past work has been found lacking, but because her latest offering gives us a chance to glimpse Miss Swanson invading new fields and turning in a fine performance does she deserve such nigh praise. . Then there is Ben Lyon, who helps no little in making a success of the picture. This handsome leading man, who is surely gaining a firmer footing on the ladder of fame, supports Miss Swanson in a manner demanding his share of the praise, tpo. His work is of outstanding character, and adds to the evening’s entertainment. Barbara Kent and Arthur Lake handle their roles in true “ old trouper ” fashion, and their_ important roles stand, out with merit. _ Monroe Owsley as the “heavy” shines, too, as does the rest of the cast. In ‘lndiscreet,’ admirers of Miss Swanson particularly will find nothing lacking in the display of brilliant wardrobe. _ She wears creations in her characteristic manner which will be a delight to every woman’s eye. The modern settings also help this feature. Leo M'Carey, who recently did such fine work in directing ‘ Let’s Go 'Native! and ‘Part Time Wife*’ does

an equally fine job in directing this one. As for the story, it concerns Miss Swanson as “Jerry Trent,” risking her own romance in order to frustrate a discarded lover’s attempt to win her younger sister. The solution of the problem gives rise to a series of complications which serve to make this new offering one of the fastest comedydramas seen in some time. The supporting programme is highly attractive. The Pathe nows reels are especially interesting, and then there is one of those delightful Mickey M'Guire comedies and a very instructive < practical demonstration of the application of the finer points in golf play by Johnny Farrell, a former United States champion. His talk was followed with great interest by all golfers last evening. Paul Cullen has made an excellent impression upon Empire audiences. This accomplished young musician last evening gave a vigorous and colourful performance of the ‘II Trovatore’ selection, and played and sang 1 The Rose of Tralee ’ very charmingly indeed.

REMARKABLE FILM AT ST. JAMES PICTURE WITH A PURPOSE It has been said of ‘ Seed,’ which opened at the St. James Theatre last night, that mere words fail to describe its splendour, and that is no exaggeration. The story from the novel of Charles G. Norris treats “ the eternal triangle ” in a new light. Previous to ‘ Seed ' all pictures dealing with this theme placed the “ other woman ” in a particularly unsympathetic position. But this latest edition of the problem gives one food for thought. Of course, convention demands that the wife and mother must eventually triumph, but this picture is inclined to defy convention, and the audience is rather impressed with the other woman’s sincerity and her claims upon the husband. The story centres round Bart Carter, his wife and five children,and a former sweetheart. Peggy Carter was a staid and old-fashioned girl, who thought of no one but her five children. Could it he any wonder then that Bart, her husband, started to slip when a former sweetheart returned to show some interest in him and see things from his point of view P The interest of Mildred Bronson in Bart was obviously sincere. In his earlier days Bart had shown exceptional talent as a writer, and one can quite understand the indignation of Mildred (who still loved him) at the wife’s apparent disregard of Bart’s attempts to get her interested. It was ten years since their marriage, and Barb had never really had one opportunity of putting his mind to writing. Peggy was quite content to drift along with Bart as a clerk at a publishing company, but the husband began to get discontented, and when Bart deserted it was not through lack of affection for his family. Mildred’s quiet sympathy and the opportunities that her friendship offeree! for his writing made him seek her advice to such an extent that his wife began to suspect an intrigue. Then began a stern struggle for possession between the two women, in which Mildred finally triumphed. Ten years elapse before the threads are picked up again. The love for bis children. which Bart placed even before his love for his second wife, forced him to return, and therein lay the ultimate triumph of the mother. Perhaps the outstanding figure _is that of Mildred Carter, played with such charm by Genevieve Tobin, a comparative newcomer from _ the stage, whose few appearances in Dunedin have promised much for the future, and that has come to be_ realised in ‘ Seed,’ which must certainly denote the peak of this star’s fame. She invests the part with such sympathy that it is hard to realise that Mildred Bronson is merely a figure of fiction. The other feminine lead is taken by Lois Wilson, of whom little has been seen since the days of silent pictures. The part she plays requires much skill, and the producers must have studied their selection of a cast for a long time before giving this part to Lois Wilson, so well does she fit into it. The third figure of the triangle is John Boles, who needs little introduction to picturegoers. This is probably his first appearance in a truly dramatic role, and it is the first time that he has not been required to sing. The supporting programme is a strong one, including a couple of interesting news reels, a funny cartoon, and, taken all through, the entertainment is one of real quality. The programme will be repeated to-night and during the week.

A DOUBLE-FEATURE BILL OCTAGON HAS SPLENDID PROGRAMME Seldom has a motion picture programme provided two such fine features as are coupled on the Octagon Theatre’s bill presented for the first time yesterday. There is plenty of entertainment in both of them, and each has an irresistible appeal to humanity in that the basic yearnings and aspirations of every right-minded person are embodied in various forms. Apart from this similarity, the films treat with entirely different subjects. Richard Dix has won for himself an honoured place in the estimation of all picture patrons, and in ‘ The Public Defender ’ his excellent work will by no means cause him to fall in that estimation. His strongly-masculine personality dominates the story almost from start to finish, and one cannot but admire the fine figure he makes, both physically and mentally, in his dealings with clever crooks who, under the guise of respectability, clothe their nefarious deeds. There_ is nothing about the film that is reminiscent of the Wild West, in productions concerning which Dix figured so prominently in the earlier stages of his screen career. The action —and the story is full of action and thrills—centres round a somewhat Quixotic, but at the same time an eminently practical personality, whose main aim in life is to act the part of a modern Robin Hood. The plot is laid mainly in society circles, which necessarily involves the need for clever schemes for the bringing of the “ respectable ” thieves to justice. The Robin Hood of the story is known as “ The Reckoner,” who is a mysterious person about whom > all society is talking, and whose doings strike fear in the hearts of the crooks. These men are directors of a big financial concern, and make a scapegoat of the company’s secretary in order that they might shield themselves from the suspicion of having robbed the institution and deprived innocent clients of their hard-earned money. The scheming necessary to bring these men to justice involves some very exciting episodes. which are relieved by humour just at the moments when the tension threatens to become oppressive. _ The story is a clever one, and were it not for Dix’s dynamic personality, the picture .would probably have fallen far

short of the high standards of entertainment value attained. In the supporting cast Shirley Grey, as the daughter of the wrongly accused secretary of the financial institution, is a capable player. One domestic scene in which Dix outrages the prim susceptibilities of Aunt Matilda (Nella Walker) has in it one of the real touches of everyday life, and it is certainly not without its humour. The second picture on the programme is ‘A Man From Wyoming,’ which tells a story in Franco during the Great War. Garry Cooper displays remarkable talents as a captain of an American engineer company. Ho meets a girl of social prominence, serving with the ambulance division behind the lines, when she becomes separated from her company, and their acquaintance is rather tempestuous. After an all-

night tramp with the engineers back to headquarters, the girl is thoroughly worn out, but has sufficient energy left to let the captain know exactly what she thinks of his domineering manner. After being allowed rest, she is sent on to join her division, and it is when she parts from the captain that she realises she has fallen in love with him. So she returns, and it transpires that the love is mutual. They are quietly married, but the husband is wrenched from bis bride to go back into service. Dramatic heights are reached when the husband, reported killed in action, meets his wife at a hectic party she is giving in an attempt to find new happiness. June Collyer is the girl who faces danger without flinching, and after receiving a knockout blow, refuses to take the count. The picture comes from the Paramount Studio, where considerable time has evidently been spent in preparing the film in minute detail*

DOUBLE-FEATURE BILL i PLEASANT ENTERTAINMENT AT STRAND Two films more widely different than those at present at the Strand it would be difficult to obtain on one programme, and since they are both excellent examples of their respective kinds they afford capital entertainmnt well suited to tho holiday season. An old favourite, Lew Cody, in an exceptionally comical role, makes a welcome reappearance in ‘ Divorce Among Friends.’ Tho action begins in a bedroom where the husband is reluctantly waking after a long night at a “ fight.” His helplessness and his general irritability immediately arouse the mirth of

tho audience, which is at once led to wonder at the wife’s patience and conjecture as to how long it will ho before there is a scene, and a first-class qmrrel ensues when tho young wife confesses to having dabbed powder over her husband’s dinner jacket just to see what excuses he would make when accusd of philandering. His excuse is a misterpiece of lying, and so is the storj told later on in defence of his weakness in allowing an alluring vamp to escape with a fancy cigarette, lighter, j- present from his wife. Argument fpllows after argument till divorce is dicided upon as tho only solution. But neither party can agree to tho counsels oj their lawyers, and it takes an armed robbery to lead to a final reconciliation,' The ending is a really fine bit of contfdy. A sinister and hulking gorillajis responsible for over an hour of thrills interluded with farcical comedi provided by a pair of highly inconpetent detectives in the supporting film. ‘ Tho Gorilla,’ Sliding doors, mysteriqus disappearances, and .weird sounds idfi P

tho development of an extremely involved plot, and an entirely unexpected denouement relieves a great tension, and leaves the audience vastly amused. KING EDWARD The King Edward Theatre has secured an excellent feature for screening to-day in ‘ Stepping Out.’ Reginald Denny, Leila Hyams, Charlotte Greenwood, Cliff Edwards—these are some of the favourites appearing in tho new comedy hit to guarantee its popularity. Denny and Harry Stubbs play the roles of two husbands who have a speculative propensity for backing independent movies, Stubbs in particular being fascinated with the idea of playing around with two attractive young brunettes who volunteer to “ co-operate ” as stars of the projected extended season riot. The idea is developing magnificently when the wives of the men—played by Leila Hyams and Charlotte Greenwood —discover that a “ conference ” with tho “ stars ” is held right on the domestic hearth while the wives are away—in fact, right in the swimming pool. Then the wives decide to do some “ stepping out ” of their own accord, and what follows is entertaining to a degree.