PICTURE THEATRES

Evening Star, Issue 21098, 10 May 1932, Page 5

PICTURE THEATRES

EMPIRE Charles Dickens’s ‘ Dombcy and Son ’ inspired * Rich Man’s Folly,’ the vital drama of the shipbuilding industry, heading the current programme at the Empire. George Bancroft (‘The Wolf of Wall Street’ and ‘Thunderbolt’) 'gives a magnificent study of Trumbull, a remorseless, hard-driving, shipbuilding magnate, whose immense wealth and power can do naught to check the tragic train of circumstances in his private life. Bancroft revels in the part of the forceful business man exulting in victory, but strangely bowed down by events beyond his control. The story is one of big enterprise, ship-building. Money, power, ambition are the only things the leading character values. Kindness, a fair chance for others, love, friendship, romance are all set aside, until luck turns against him. Then, at last, he realises the folly of piling up wealth and losing the love and friendship of those near and dear. There is an uncommonly fine cast of supporting artists. Francos Dee is the ideal choice for the role of the shipbuilder’s unloved and rebellious daughter; Robert Ames, seen in ‘Holiday-,’ acts with quiet sincerity as the girl's husband; and Juliette Compton is appropriately alluring as the glittering, but unscrupulous, woman whom the frustrated Trumbull marries after his wife’s death. . The film has been sensitively directed by John Cromwell, whose ‘ Scandal Sheet ’ and ‘ The Mighty ’ wore Such impelling screen plays. ST. JAMES Greta Garbo’s ‘ Susan Lennox, Her Rise and Fall ’ which further introduces the striking Clark Gable as a romantic hero, packs more action and visual entertainment than any other talking picture screened in Dunedin for many months. It moves at a swift pace, sweeps towards a rapid tempo with fast-changing transitions that keep the interest ever kindled with expectations. The novel was adapted for the screen by Wanda Tuchock, with dialogue by Zelda Sears and Edith Fitzgerald. Leonard has turned in a fine piece of work with his smooth direction splendid camera employment, and able judgment in handling the many difficult situations in the dramatic plot. The story- is one of regeneration from an entirely different angle. In it Garbo plays the part of a Swedish farm girl, hounded by cruel circumstances into the world, where she fights her battle with life in her own primitive way. The supporting east is particularly fine, including such players as Jean Hersholt, John Miljan, Alan Hale, Hale Hamilton, Hilda Vaughn, Russell Simpson, Cecil Cunningham, and lan Keith. Whatever you do, do not miss this fine show, which is rounded off with splendid “ shorts,” one being of particular interest —Bill Tilden, in ‘Tenuis Technique.’ REGENT Grandfather’s constant mention of the deplorable fact that the modern generation has no puppet plays may now be stilled, for one is in town. ‘ The Mad Genius,’ John Barrymore’s new starring vehicle, at the Regent Theatre, is the story of a weird ballet impressario who begins his professional career as the operator of a travelling puppet show. Since Barrymore is depicted as a genius in the manipulation of marionettes, it is necessary to produce a puppet show in keeping witli the logic of the story. On the Russian stage a puppet show is produced which was only fair—but the difference between a stage audience from 20yds to 200yds from the performers, and motion picture audience, which sees the marionettes in elose-up, or a dozen times as largo as they really are, demands a show that really is as astounding as the plot claims it to be. A most impressive presentation is effected, and local picture-goers will he delighted with the effort. ‘ The Mad Genius ’ is a story told against the colourful background of the Russian Imperial Ballet, and offers a stellar supporting cast, including Marian Marsh, Donald Cook, and Charles Bntterworth. Excellent supports complete this fine programme. OCTAGON Laughs are thicker than rice in China when the dynamic Winnie Liglitner goes into action", aided and abetted by those clowns of clowns, Olsen and Johnson, in ‘ Gold Dust Gertie ’ at the Octagon. The picture is the story of matrimonial tangles, bathing suits (new aud old), two men married to twin sisters, a bathing suit model who wants to marry her boss, who hates divorcees — and "there yon have it, entirely devoid of sense or reason—hut who wants sense or reason in a Winnie Liglitner picture? Needless to say there are many complications, a good old-fashioned comedy chase, some very beautiful girls clad in the newest bathing suits, a brand-new line of Liglitner comedy, and plenty of the humour that Olsen and Johnson have become famous for. Claude Gillingwater, Dorothy Christie. Vivienne Oakland, Charles Judds, Virginia. Sale, and others help along with clever characterisations. ‘ Borrowed Partners,’ the other film, is concerned with a legacy, and the whole plot is made possible because the young man who inherits the money has lied about being married. His grandfather left the money to his wife, and unless he produces a wife by midnight the fortune will go to the boy’s uncle. So the hoy borrows a wife, and then not only romantic complications ensue, hut a lot of mysterious things happen in the lonely mountain lodge that is the scene of most of the story. Rex Lease and Vera Reynolds portray the leading characters, and are assisted in the mystery and romance by other favourites. STRAND Warner Gland has so often been seen in this Oriental role that it is enough to say that lie is as good as ever in the title part of ‘ Charlie Chan’s Chance ’ at the Strand, and in some ways probably better, for he has now played the role so many times that each new film in the series finds him more completely at home in it than before. The lino supporting cast includes H. B. Warner. as Inspector Fife of Scotland Yard; Alexander Kirkland and Marian Nixon, who supply the love interest; and many other capable actors. The Oriental aphorisms of Charlie Chan are a constant source of delight to the audience. “ Nothing but the wind can pass the sun without leaving a shadow,” he says when his colleagues despair of finding a clue; and when he does discover one he remarks that it “ fits like a duck’s foot into a mud pond.” When there is a startling development to the mystery it is “ as unexpected as squirt from aggressive grapefruit.” and ho soon becomes a-. ” busy as a one-eyed cat watching six mouse holes.” There is no doubt that on Ihe whole better comedies are now coming Irom England than from America, and in the supporting programme there is a very good example of this. ‘ The Profes-

sional Guest,’ which indeed almost deserves the feature place on a programme, is a talkie made by Fox Films in England with a cast of well-known and popular English players. KING EDWARD No_ better value could be found than the faro offered at the King Edward, where John Galsworthy’s ‘ Skin Game ' and Laurel and Hardy in ‘ Pardon Us ’ are being shown. The former is perhaps the best drama to emanate from an English studio, and it tells a story which will be appreciated by all who enjoy really worth-while entertainment. The tale concerns a bitter feud existing between a landed aristocrat and a progressive farmer over the fate of a small estate. Edmund Given has a striking role, but though he is singled out the other players are just as well suited to their parts. Hany laughs are provided by Ihnso ridiculous funsters. Laurel and Hardy, who are prisoners iu 1 Pardon Us.’