PICTURE THEATRES

Evening Star, Issue 21091, 2 May 1932, Page 5

PICTURE THEATRES

EMPIRE We all Lave a “ bad self.” In most of us the “ good self ” is sufficiently powerful to dominate tLe baser side of our characters, yet always beneath the veneer lies what remains of our animal Instincts. 1 Thus did Robert _ Louis Louis Stevenson philosophise in his classic, ‘Dr Jekyll and Sir Hyde.’ It is an allegory pure and simple, and while in its talkie version at the'Empire Theatre it may not bear the light of common-sense analysis those who have read the work will appreciate the difficulties that have been overcome in such a production—a film that is a magnificent achievement. At its date of publication the book did not appeal to the reading public, but once attention was called to it it found favour, and within the first six months the sales had reached the 40,000 mark. Its presentation, both on stage and screen, was inevitable, and now, in its talkie form, it must be counted among the pictures of the day; the photography is little short of marvellous, Tor not only does it bring out the full horror of the tale, but it even weirdly investigates the jumbled thoughts and emotions _ that are coursing through a man’s mind_ as he begins a losing struggle with his brute self. Possibly the most uncanny effect, however, is the amplified and painful throb Of Jekyll’s heart when he tests his secret potion for the first time; the whole atmosphere becomes so charged with the thrill of the eerie change that it seems to be the disturbed beat of one’s own heart that is heard. There axe no transparent “ fakes ” or shifting of scenes to allow the handsome Jekyll to become the monstrous Hyde, the distortion and even the sprouting of the ugly whiskers is accomplished before the eyes of the audience. REGEHT • Such a picture as * The Rosary ’ promises well for the future of the British film industry. Excellently photographed, artistically produced, and faithfully acted, the talkie version of the story is charming large audiences at the Regent. An appropriate atmosphere is created for the picture by Miss Rita Holmes’s singing of ‘ The Rosary’, as part of a well-arranged stage prologue. Though the main theme of this striking picture is the portrayal of a woman’s sacrifice for the happiness of her younger sister, the story touches jnany lives and follows the play of many human emotions. As the elder sister, Margot Grahame has a role that calls for much dramatic acting, and shows great art in making the most of the part while still restraining it within the bounds of normal human behaviour. And if the virtue of the leading character is a little beyond the experience of ordinary people, they will find some sympathy for the varied types that are portrayed by Elizabeth Allen as the unscrupulous, selfish younger sister, Walter Piers as the impecunious father anjl self-confessed forger, Leslie Perrins as the employer who spends a week-end with his typiste but falls really in love with virtue, or Charles Groves as Hornett, butler in the Mannering household, and his master’s accomplice in forgery. The nobility of the theme and the haunting melody of ‘ The Rosary ’ song, faintly heard at intervals, seem to lift the whole story to a higher level than forgers, stenographers, and murderesses usually attain, and to lift the audience with them. The strange train of events which leads to the tragic shooting of a blackmailer ‘by the younger girl and her half-sister’s subsequent self-sacrifice on her behalf is deftly presented. Although the solace of the convent, which first the one and then the other girl seeks, is persuasively advanced, it is not allowed to obscure the main, trend of the plot. Indeed, for the mbst part, the film deals with the modern, workaday world. ST. JAMES Lawrence Tibbett is unquestionably one of the most brilliant of the operatic stars attracted to the. talkies. He has become an international favourite through his pictures, and audiences all over the world have the talkies to thank for being given an opportunity to appraise his remarkable qualifications. In ‘ The Rogue Song,’ ' The Prodigal/ and ‘ New Moon 1 he established himself as one of the brightest stars of the screen firmament, and this enviable reputation is being enhanced by his brilliant performance in ‘ Cuban Love Song,’ which Is now at the St. James Theatre. Tibbett’s arresting baritone voice and breezy personality command immediate respect and attention in this production. It is quite different from his previous vehicles, and gives him an opportunity to demonstrate his exceptional versatility and artistry to the fullest advantage. In this picture, too, he proves that he has ripened into an actor fit to rank with the screen’s best. He is more polished and he displays a remarkable versatility. His part in this picture must have been very difficult to portray. He is at once a great comedian and a great dramatic artist. Tibbett is not an actor of type, but an individualist, and it is here that theatregoers find his humour so refreshing and his mannerisms so amusing. OCTAGON Farce, drama, romance, _ and adventure all figure strongly in the new film now showing at the Octagon Theatre, ‘I Like Your Nerve,’ with Douglas Fairbanks, jun., in the main male post, is a pleasant example of that type of picture which combines a strong story with clever individual acting and direction. There is no need to state that Loretta Young is good—she always is, and in ‘ I Like Your Nerve ’ she portrays a really entertaining role in a fascinating manner. She is cast as jfche beautiful daughter of a Central American official to whom conies in love and fancy a handsome and wealthy young United States youth _ who is travelling through the States in search of just that little bit of life that she can give him —and does. Douglas is pursued by fierce bandits and revengeful suitors, to say nothing of grasping fathers-in-law, but he chicles the clutches of them all. ‘ I Like Your Nerve ’ is a clean and wholesome film, and one that any audience will appreciate. The other actors who leave their unmistakable mark upon the picture are Claude Allister, Andre Cheron, Henry Kolker, and Boris Karloff. . Matheson Lang, who has made a great name for himself, per medium of the screen, by virtue of his ability in executing roles flawlessly, is seen in ‘The Chinese Bungalow,’ a British alltalking feature, also at the Octagon. His portrayal of Yuan Sing, a Chinese mandarin who adopted westernised ways in hi* living, but showed his true, sinister, and sphinx-like revengeful nature when a white man tried to win his wife, elevates him to a liigh_ position amongst the screen luminaries of the world. Jill Esmond Moore, Derek ■Williams, and Anna Ncagle enact the roles of the wife, lover, and sister-in-law respectively.

STRAND ‘ The Rainbow Trail,’ an exciting story by Zane Grey, which is nowshowing at the Strand Theatre, is one of the best of many fine outdoor pictures ’that have been • shown recently. _ Evidently Fox has the very wise conviction that it does not pay to put inferior work into a film, and the result is a rattling good story of excitement that, so far as direction, technique, and acting are concerned, can bear comparison with a good many of the society and sex “ specials ” that appear from time to time. So far as scenic beauty goes, ‘ The Rainbow Trail ’ is excellent. In all the important scenes the action is really set against the awe-inspiring splendour of the Grand Canyon of the Colorado, and if for no other reason ‘ The Rainbow Trail ’ should be seen for its eye-filling vistas of majestic cliffs, great chasms, narrow trails, and fantastic piles of queerly-shaped rocks. There are reasons why the picture should please. There is George O’Brien in the leading role of Shefford, and O’Brien is admitted to be the best portrayer oif Western characters on the screen to-day. His heroine is Cecilia Parker, who is well suited for the part of Fay Larkin. The fooling in the picture is in the capable hands of Rbscoe Ates and J. M. Kerrigan, while others appearing are Minna Gombell, James Kirkwood, and Robert Fraser—all names that prove the strength of the cast. , KING EDWARD A double-feature programme of the most entertaining type is being screened on the new programme at the King Edward Theatre. Robert Montgomery has the leading role in ‘ Shipmates.’ The picture has a tremendous sweep in the navy backgrounds, showing the plunging lines of battleships on the firing ranges, thundering salvos, the repelling of a tactical enemy in a mighty spectacle, terrifying to behold as it dashes on the screen with all the fury of the gun blasts pounding from th© loud speakers. In the shipboard scenes navy life is depicted in a fascinating intimacy. The blending of the shore romance with the navy interest is deftly interpolated. The other film on the programme, 1 The Girl Habit,’ provides Charles Ruggles with abundant opportunities for fun-making, ‘ The , Girl Habit ’ is Ruggles’s first starring picture. As such, it gives him a chance to display fully all his clever talents for making people laugh. Since he is the main personality in this picture, audiences can depend upon it that the performance will be even funnier than the earlier films in which Ruggles was a mere featured player. ‘ VIENNESE NIGHTS ’ AGAIN. The King Edward management announces the return of ‘ Viennese Nights,’ undoubtedly the finest musical film ever shown in Dunedin, on Wednesday. This film, which has just completed a most successful third return season, has broken all records for this city, and it will indeed he interesting to note its reception on the occasion of its fourth run.