PICTURE THEATRES

Evening Star, Issue 21013, 29 January 1932, Page 7

PICTURE THEATRES

EMPIRE ‘Children of Dreams,’ the newest attraction at the Empire Theatre, possesses a strange fascination—different—and at the same time universal—for it is the age-old quest for love —and the age-old quest for fame. Oscar Hammerstein ll.—creator of words and lyrics for ‘ Hose Marie,’ 1 Show Boat,’ ‘ Sweet Adeline,’ and. a host of othor hits—chose the heretofore unused locale of the California apple orchards at harvest time. The characters are the hosts of people who wander from orchard to orchard picking apples and living the care-free life of the gypsies. The love story of a girl and boy of the nomads is the theme tor the beautiful music by Romberg. The girl singing in the camp one night is overheard by the son of a rich woman who lives near. He urges his mother to send her abroad to study. The girl clings to her humble lover, till a loss incurred by her drunken father makes her accept money for him and for herself. She goes to Italy/becomes a success, and returns to sing at the Metropolitan. Her humble lover comes to hear her, bnt the years of separation have . laced a gulf between them, and he goes back to the apple country. Her nealth fails, she develops the temperament which artists are supposed to be permitted to have—and it is only the kindly machinations of a shrewd old doctor that at last sets things right. The story rings true—the scenes in Italy and in New York are realistic, but it is the sequences in the luxuriant orchards, with raggedly romping children, scores of them—young people and old tripping the light fantastic to accordeon and guitar—the wandering ne’er-do-well youths who arrive in camp in a quaint house-on-wheels, and proceed to win the hearts of everybody—including the audience—that make up the curious appeal of ‘ Children of Dreams.’ To the other delights of the picture add the glorious Romberg melodies and the Hammerstein songs—and perfection is not far off. Featured are Margaret Schilling, Paul Gregory, Tom Patridola, Bruce Winston, Charles Winninger, and Marion Byron. Mr Paul Cullen, the “ singing organist,” presents another delightful musical interlude. REGENT In producing such a film as ‘The City of Song,’ which opened its season at the Regent Theatre to-day, British motion picture studios have created not only a work of art which will stand as a triumphant milestone in the progress of the industry in Great Britain, but also a musical treat of a calibre such as has never before been achieved on the screen. Filmed for the most part in and around Naples, the scenes in the production have a striking authenticity which can at best be poorly imitated by the sets of a picture studio, with the result that the general atmosphere of the production is perfectly in keeping with the story it portrays. As a vehicle for the famous Italian tenor, Jan Kiepura, whose work is naturally one of the outstanding features of tho picture, ‘ The City of Song ’ is an admirable effort, both artistically and photographically, a fact which audiences will not be slow to appreciate. The glamorous beauty of Naples and the Island of Capri, the diminished glory that was Pompeii, are woven into the story with a sureness of touch that raises the picture above the ruck of sound productions and sets a standard of entertainment Avhich again demonstrates the almost limitless possibilities of the producer’s art. As is intended Kepura’s singing is the dominating feature of the production, which is built N up, on a conventional theme of such a character as to permit the tenor to display the great beauty and unexcelled quality of his voice "in a number of admirable selections, each breathing the atmosphere of sunny Italy and her vivacious children. The recording of such a voice is a triumph in itself, for the singer’s efforts are reproduced with a clarity and purity of tone which make the' hearer forget that the voice is being reproduced by mechanical means and that the vocalist is not actually before >him.

Playing opposite the principal figure is Miss Betty Stockfield, who enacts the part of ‘the sophisticated English girl who steals the Neapolitan’s heart. Her performance is in every way admirable, for, in addition to a pleasing and gracious appearance, she has stage ability of unusual qualifications, whist she s also an excellent foil, both in temperament and general characteristics, to the principal actor. ST. JAMES ‘My Wife’s Family,’ which started to-day at the St. James Theatre, is utter, unashamed farce, but most farce yo i don’t become tired of it about halfway through. The comedy is broad, and even naughty, and no attempt is made to draw a discreet veil over the extraordinary complications, but the tempo is so fast that the audience has no time to realise that it should not perhaps be laughing at one witticism before it finds itself laughing at a new one.

The story plunges gaily and unashamedly ahead without a pause for breath; the dialogue fairly sparkles and crackles with wit; and the whole proceedings are so joyful and irresponsible that they are entirely innocuous. The old, old tale of the fearsome mother-in-law and the henpecked father-in-law, who plant themselves on a newly-married couple and make plenty of trouble, has been taken out of the box and dusted and put on the screen in probably its funniest form. That it is a time-worn theme there is no doubt, but that it still has the power to amuse and entertain is conclusively proved by I My Wife’s Family.’ It is really surprising how funny a mistake can be. In this case the mistake occurs over a baby grand piano hidden in a summer house, and a real baby also hidden there by a young fathe. who for various quite_ innocent reasons does not want it discovered. Unfortunately the mother-in-law and the hero’s wife find the baby and not the paino, and the resultant series of cross-purposes reduce the audience almost to tears.

The star is Gene Gerrard, a talented English comedian, who, as Jack, the hero, fools at the top of his bent and seems thoroughly to enjoy himself. He is well assisted by Jimmy Godden, a comedian not unknown to Dunedin stage followers. He is the übiquitous Dr Knott, a wandering jack-of-all trades, who dashes about the place looking for food, not disdaining the goldfish or the ducks in the pond. He causes a lot of trouble, but he gets his meal at last, and also makes a sale. Amy Vcness is perfectly terrific as the mother-in-law, whoso presence makes even strong men tremble. This does not exhaust the cast, every member of which adds to the merriment of the film.

OCTAGON George Arliss is the greatest of all screen players, and it is a remarkable tribute to his art that ‘ The Millionaire,’ his latest play, has been transferred to the Octagon TheaUo for another week. ‘ The Front Page,’ which was to have commenced at this theatre to-day, will be released next Friday. Arliss has appeared previously in but three pictures, each a classic, and the faith of the public in Arliss’s ability to satisfy in a modern picture was clear. Most dignified of all actors, Arliss rises to new heights in ‘The Millionaire,’ which is exceptionally charming because of its simplicity and human appeal. Arliss never exaggerates. He is always the refined gentleman and captivates with his great personality. In Disraeli ’ he made a sensational appearance on the screen after many years of tremendous success on the stage, and he followed that wonderful play with ‘ The Green Goddess.’ Then came ‘ Old English,’ that quaint Galsworthy play, and since then the legion of Arliss admirers have had to wait Patiently for his fourth picture. It is The Millionaire,’ and they will now agree that their patience has been more than recompensed. Arliss is a master. He has a finish to his work beyond compare. Special supports have been chosen to accompany ‘ The Millionaire ’ during rts extended run. Reserve seats at The Bristol or at the theatre. STRAND Dunedin theatregoers who appreciate the best in drama will find their tastes catered for at the Strand Theatre this evening, when Fuller-Hay-wards will present a new programme. That even in the gayest of society the pleasure mad, ultra-modern parties of care-free youth, real love is the final and dominant factor is the theme of the Metro-Goldwyii-Mayer feature. ‘ This Modern Age,’ in which the splendid artist, .loan Crawford, has the principal role. She has the exceptional support of Pauline Frederick and Neil Hamilton. I This' Modern Ago ’ is

worth anyone’s time because it so exactly describes the position of “ mother ” in these modern times. As the mother in this picture, Pauline Frederick sits at no fireside, but gets out and makes “whoopee” with the youngsters. In fact, ,the excellent drama of the piece revolves around the indignation of daughter Joan when suitor Neil Hamilton (tells her, “ I love you—but your mother’s reputation. . . I” The story Has a decidedly new twist, and has been splendidly directed by Nicholas Grinde. There are two leading men. one the too-upright Mr Hamilton, the other Monroe Owsley, who repeats in large scope his extremely well-received genteel drunk of ‘ Holiday.’ Both men have good parts, with the acting' honours about even. Albert Conti is suave and convincing as the admirer of mother, while Hobart Bosworth and Emma Dunn as the New England parents of Hamilton give two finely-etched characterisations. The story is permeated with lavish backgrounds and costumes. Among the most spectacular scenes are a gay party in the home of the heroine and an episode which takes place in an ultramodern swimming pool restaurant. The short items are exceptionally interesting, and comprise a very funny Charley Chase comedy, 1 What a Bozo.’ Two complete editions of the Metrotone Sound News, ‘ Flip the Frog ’ cartoons, and a Pox gazette. The complete programme will be screened at both the afternoon and evening sessions. Reservations may be made at either The Bristol or the theatre. KING EDWARD ‘ On Approval,’ with Tom Walls ip the leading role, heads the current bill of faro at the King Edward Theatre. This delightful British comedy concerns the Duke of Bristol, who is greatly concerned about his friend Richard’s welfare. He considered that r Richard was anxious to suffer the bonds of matrimony, th sooner he arranged with Maria Wislak, a wealthy though temperamental .widow, to share .them

with him the better it, would be—for him. The duke himself was weighing up the possibilities of honouring Helen Hayle, also wealthy, but with the added attraction of good looks, by asking her to accept the title of her Grace.- Maria and Helen both loved their prospective husbands, but Maria,' who had heen previously married for eighteen years, decided to take Richard “ on approval ” for a raopth to her house in Scotland. Helen also was certain that a holiday in Scotland would do her good, and the duke had similar sentiments. Just how this arrangement works out makes very interesting entertainment. ‘ The Sea God, 1 featuring Fay Wray and Richard Arlen, is also on the programme.