PICTURE THEATRES

Evening Star, Issue 21080, 18 April 1932, Page 11

PICTURE THEATRES

EMPIRE ‘ Splinters in the Navy,’ tho riotously funny English comedy at the Empire Theatre to-day, is tho logical successor to the original film in which tlio famous war-time concert party proved such a success with Dunedin lilmgoers. The mainstay of this farce of shipboard life is unquestionably Sydney Howard, the forlorn comedian of numerous successes, notably lan Hay’s ‘ Tilly of Bloomsbury.’ Tho story provides Mr Howard with an opportunity to quarrel with Alf Goddard, who plays Spike Higgins, tho pugilist on the battleship, and finally to fight him in one of tho funniest boxing matches seen on the screen. Howard is extremely amusing, and uses his extraordinary hands with tho most riotous results. Alf Goddard makes a first-rate foil to bis defiant timidity; and Fred Bentley is good as his typically Cockney pal. There is much broad fun in ‘ Splinters in the Navy,’ which presents robust English humour in its most delightful form. Numerous bright interludes are provided by the unique concert party, with its inimitable “ beauty ballet.” The supporting features are unusually entertaining. REGENT Ronald Colman is now at the Regent Theatre in a stirring adventure yarn, ‘ The Unholy Garden,’ presented by Samuel Goldwyn. As stories go, hero is stern and racy stuff from the pens of Bon Hecht and Charles M'Arthur, co-authors of ‘ Front Page,’ and outstandingly successful contributors to the screen and stage. ‘ The Unholy Garden ’ refers to an outpost at tho edge of tho Sahara wastes, where renegades from the law hide, safe from tho police and extradition. The decayed splendour of a once magnificent resort gives sanctuary to a strange gathering of outcasts, awaiting forgetfulness or forgiveness. Civilisation offers each of them gaol or worse for a different reason. The suave, polished, and mannerly bearing that came to bo known as Ronald Colman in ‘ Bulldog Drummond,’ ‘ Raffles,’ and ‘ The Devil to Pay ’• is gone, and in his stead, the English star is recklessly-minded and a reckleslydressed adventurer, as indifferent to dress and appearance as ho is to morals and manors. Always fortunate in his leading ladies, Colman’s luck continues in the contrasting beauties of Estelle Taylor and Fay Wray, Miss Taylor is seen as the wanton voluptuary of the story, “ the tomb of a lady,” the outlawed and decadent English aristocrat, the Hon. Airs Mowbry, while Eay Wray is tho granddaughter of the recluse and blind old embezzler, tho Baron de Jonghe. Society and civilisation are to her merely pictures in tho Paris papers that come to her now and then. For tho twenty years of her life have been spent in, this abandoned resort, reading to and taking care of tho thief. ST. JAMES The work of Helen Hayes makes ‘ Tho Sin of Madolon Clandet,’ at tho St. James, one of the finest dramas over put on to celluloid; easily comparable with ‘ Madame X.,’ ‘ Sorrell and Son,’ and 1 Stella Dallas,’ but attention also be paid to the merits of the story itself. It is not light entertainment—its theme, indeed, is inclined to bo sordid—but it has been handled with such a sure and yet delicate touch by the director, Edgar Selwyn, that any traces of unpleasantness in the plot must be forgotten in admiration of its tense and vivid drama. Whether any woman should, even if she could, sacrifice herself so completely as tho heroine does for her son, is very doubful, but as a vehicle for powerful and at times poignant drama, there can he no question that the story of ‘ Madelon Clandet ’ is as far above the usual trite plots to which picture-goers are accustomed as the acting of the star is far above the average. Poor characterisation would have ruined the film, but Helen Hayes gives a magnificent performance in tho triple part of a sweet young girl of eighteen, of a disillusioned woman of tho streets, and of a doddering old hag. Her changes of make-up, which alter her appearance completely according to her various ages, bear tho mark of genius, and to tho expert responsible, high praise is due. Lewis Stone, Neil Hamilton, Jean Herscholt, and Robert Young all play their important supporting roles with fine understanding and dramatic ability, and slight touches of comedy relief are supplied by Marie Provost and Cliff Edwards. OCTAGON Constantinople in the days of intrigue and harems is the setting for tho thrilling drama ‘ Stamboul,’ which is one of the attractions at tho Octagon. Produced at the British studios of the Paramount Corporation, the film represents a skilful blending of English and American abilities. The story is woven round the efforts of a French military attache, Colonel Andre de Sevigne, to defeat a dastardly plot which affects, in addition to State secrets, the happiness of a beautiful woman, the Baroness Von Stuck. Subtle intrigues and complications follow, and the audience is left in ignorance of the denouement until the final scenes. ‘ Stamboul ’ is one of the best photographed pictures to leave an English studio. Rosita Moreno is seen in an entirely new role. Miss Morcnd has played in several important pictures. She starred in the Spanish version of ‘ Slightly Scarlet,’ ‘ Paramount on Parade,’ ‘ The Sea God,’ ‘ Gay People,’ and ‘ The Santa Fe Trail.’ Warwick Ward, in the male lead, takes the part of a distinguished French soldier who is in love with the wife of a German, played by the lovely Rosita Moreno. Tho other picture, which is entitled ‘ Hot Curves,’ is a story of America’s national game, baseball, Benny Rubin has the featured role, and he plays it in a manner which must win the approval of all and come as a surprise to those who have seen him previously. There are also in the cast Alice Day, Rex Lease, and—a newcomer—Pert Kelton. STRAND In ‘ Surrender,’ at the Strand, Warner Baxter again proves himself the superb actor. It is easily one of the most interesting films in his more than interesting career. The romantic Baxter has always been a great favourite, and his performance of this difficult part, delightfully aided and abetted by Leila Hyams as his Prussian sweetheart, will gain him many notches in the estimation of picturegoers. C. Aubrey Smith makes an excellent contrast as the fiery old general. Alexander Kirkland, a newcomer to the screen, scores heavily as Baxter’s German rival who has learned both tolerance and fatalism in the grim school of war; while Ralph Bellamy, as the stem commander of the prison camp, gives a gripping performance that augurs well for his screen future. While tho period of ‘ Surrender ’ is that of 1917 and 1918, and the setting

is a desolate prison camp on the icy shores of the Baltic, the war itself is merely an unseen and unheard, but tremendously important, background for the unusual love between the principals. Out of the bitterness of conflict, the despair of a girl who sees her fiance off to a front from which she instinctively knows he will never return, and the baffled hopes and repressed emotions of half-starved prisoners, Director William K Howard has woven a brilliant, absorbing, and intensely human drama, and one that preserves to a notable degree the power of Pierre Benoit’s ‘ Axelle,’ on which it is based. KING EDWARD The fascinating little actress, Janet Gaynor, probably the first favourite today with picturegoers, heads a strong cast in f Daddy Long Legs,’ which opened at the King Edward Theatre on Saturday, Warner Baxter plays the principal jnalc roloj and tlio story itselr gives these two popular favourites unlimited opportunities for the display of their charm and talents, and offers the season’s treat to Gaynor and Baxter followers. Janet Gaynor is seen as a little slaving orphan, who mothers the small tots in the John Grier Home. Through an unexpected stroke of fate six© wins tho admiration and friendship of Baxter, who plays the title role, and he, without revealing his identity to her, adopts her and sends her to college From that point on the romance develops rapidly until it reaches its climax, a most unexpected one for Miss Gaynor. Alfred Santell directed the production, which is the screen version of Jean Webster’s famous stage play of the same name.