THE PICTURES—NEW PROGRAMMES

Evening Star, Issue 21216, 24 September 1932, Page 11

THE PICTURES—NEW PROGRAMMES

DRAMATIC MASTERPIECE EiPfflE SBBHEB WITH * THE MIRACLE MAH ' Just as the silent version of Frank h, Packard’s great story, ‘ The Miracle Man.’ impressed as being the outstanding film of that period, so does the new talking production, which commenced its Dunedin season at the Empire Theatre yesterday, lay claim to being a masterpiece—a contribution to the picture industry which marks another step forward in the perfecting of the screen as a successor to the stage. Such is the reputation of ‘ The Miracle Man ’ that the Empire Theatre is certain to draw large crowds during the current wefik’s programme, and it is equally certain that no patrons will be disappointed. For appealing dramatic value of an -uplifting nature the film is unsurpassed. It is difficult to compare the production of thirteen years ago with that of to-day. With the unbelievable progress that has been made in photography and projection, combined with the ability to spend more time and money on details, it is undeniable that the latest version has the advantage. Added to this is the fact that the characters are heard as well as seen.

There are still many who claim that the introduction of the talkies has robbed the screen of some value as a medium for making the most of drama, although it may have enhanced the value of Comedy. A visit to the Empire Theatre this week should demonstrate to all the fallacy of this belief. Instance the scene when the father, an unbeliever, sees the curing _of his crippled son and falls upon his knees to utter the first prayers that have ever passed his lips. The story of- ‘ The Miracle Man ’ is too well known, to need telling, and it will suffice to say that it takes on a new significance with this film. The acting of the entire cast is flawless, with Hobart Bosworth doing excellent work in the role of the aged patriarch. From the first scene to the last his acting has the mark of experience and ability, and he does his greatest work in the final scene when, in the hour of death, he reveals to the reformed criminals that all along he has known of their deceit. Chester Morris, as the hard and unscrupulous “ Doc ” Madison, earns no sympathy from the audience, and this is undoubtedly a tribute to the work of this young actor. His portrayal compares quite favourably with that of Thomas Meighan in the earlier film. Then there, is that young and promising actress, Sylvia Sydney, in the role of Helen; her portrayal is _ very good. The others include Irving Pichel, John Wray, Boris Karloff, Ned Sparkes, Lloyd Hughes, and that promising juvenile, Robert Coogan. A word of praise must be given to the directing. Norman M'Leod, the director, has paid that attention to detail which means the making or the marring of any picture. The supporting programme, which is of exceptional merit,, includes a very interesting short film entitled ‘ Screen Souvenirs.’ _ This picture, embracing as it does screen work since 1900, serves to emphasise the enormous strides which the industry has made. It includes some very interesting strips from films many years old. Also in the first part of the programme is a wonderfully illuminating Newman travelogue which takes one on a refreshing cruise through the Mediterranean, calling at Gibraltar, Morocco, Sardinia, Malta, Athens, and Palermo. The scenes at each port of call are beautifully reproduced, and, as far as is possible within the compass of the, film, the life and customs of the various peoples have been faithfully captured. Interesting British and 'American topical events are treated in the Paramount news gazettes, one of which finishes with a very fine colour picture showing how goldfish are bred in Japan. This is a most instructive Nature study. At the Christie unit organ, Mr Paul Cullen continues to delight his audiences with his nimble _ and tuneful manipulations of the magic keys. As an overture he plays selections from that old favourite, ‘ The Maid of the Mountains,’ while at his special session he sings and plays a series of charming Irish melodies. Picturegoers who place some value on screen fare that is clean and wholly entertaining from start to finish will find what they favour at the Empire. BRIGHT MYSTERY DRAMA * LIFE CUES ON ’ AT REGENT An intriguing story of the surprising experiences of a man who, after three years in Africa, returns to London to find himself nuddenly thrown into a whirl of exciting incidents, is told in * Life Goes On ’ at the Regent Theatre. Hardly has the traveller settled down in his hotel'than he is confronted with a corpse, and yet, when ho summons thp management of the hotel, no body can be found. This, however, is only an introduction to tho mysterious happenings that take place as the night wears on. An assault and a robbery for which no cause can be assigned follow hard on tho heels of the young man’s first discovery, and from this stage a bewildering set of circumstances gradually weave themselves into a connected story which provides a solution of the mystery. The story is cleverly constructed, and a rich vein of humour that runs through it enhances considerably its entertainment value. ‘ Life Goes On ’ illustrates most strikingly tho remarkable progress of the motion picture industry in Britain, and demonstrates a notable development in technique that now compares more than favourably with anything that Hollywood can offer. The improvement in British films has been particularly noteworthy lately, and ‘ Life Goes On ’ is a singularly attractive example.

There is an excellent cast in this picture to give the story authority and conviction. Among the well-known screen personalities featured in it are Hugh Wakefield (who scored such a brilliant success in ‘ Aren’t We All?’), Elsie Randolph, Betty Stockfield, Wallace Geoffreys, Warwick Ward, Jeanne Stuart, Dennis Hoey, Anthony Holley, and Robert Horton. The story is from the pe.i of Walter Ha'bkett, one of England’s most brilliant writers, who in this vehicle has excelled himself.

The first part of the programme contains the usual budget of good things and rounds off a most enjoyable programme.

HUMAN DRAMA AT ST. JAMES ' IKE EASIEST WAT' A FINE PICTURE With a plot that follows a well-trod-dou path ‘ The Easiest Way,’ which is the attraction at the St. James Theatre this week, is lifted from the rut of the commonplace by the superlative quality of the acting. It is a cast of types which are feelingly interpreted by five featured players who are in the forefront of talkie talent. Although it comes to the screen from the stage, the merits of the story lie not in ultar-sophisticated dialogue—that may not amuse, but does not convince—but in that “ human interest ” that is so often strived for and so rarely presented adequately. There is something in the poignancy of an everyday drama that must strike a sympathetic chord in the watcher—two fellow-coun-trymen meeting by accident in a foreign land will discuss matters of little importance to each of them singly, but which appeal because they link their interests. And so it is with ‘ The Easiest Way.’ Nothing outstanding in scope and no lavish technical effects—just vividly human, with a soul of its own. As indicated, the plot is a little worn, but a brilliant cast is ample entertainment no matter what the story. Constance Bennett, that sympathetic little blonde, is a revelation as the woman who nas slipped a little in her endeavours to make life just a little easier. One of a large family which lives in sordid poverty in a New York tenement, she has a father whose affection is measured by the amount of money he can get from his daughter and a mother from whom she gets little sympathy. Her # ingenuous beauty takes her from behind the counter of a department store to an agency, where she follows the more lucrative calling of a model for advertisements. Tritely enough, the head of the business is attracted also by her charm, and she does not repel his advances, but becomes what he euphemistically describes as his “ secretary.” The comforts she enjoys bring a measure of happiness until she experiences real love. Her mode of living brings a break with her relatives, who aro entirely out of sympathy with her, her father being an exception. But she is forgiven by a young journalist, and they become engaged, subject to her breaking away from the other man. This she does, and the newspaper man is sent away for some months to “ cover ” the current revolution. She waits and waits and starves and starves, until she is forced to return to her first “ benefactor ” —then her lover returns, and matters become rather tense. _ There is no “ made to measure ” happiness to close with, and that is where the human note is struck.

Adolphe Menjou, suave and capable, is the man who lifts her from the gutter, and while there are many things that one does not like about him in this particular part it is only further proof—if any were needed—of his ability as an actor. He is not quite so cynical as usual, and in some respects ho is very likeable; his acting throughout sets a standard. Robert Montgomery, boyish and'breezy, is Madison, the journalist, Anita Pago her sister, and Clark Gable tho brother-in-law who will have nothing to do with her, but who finally takes her into his homo when he realises that she has been the victim of circumstances. All the players act superbly, giving of their best in parts that at times are difficult. The supporting programme is of a most entertaining nature. Two interesting gazettes are screened, and also a technicolour film, ‘ Monteroy,’ in which John Boles is heard singing to advantage. A Charlie Chase comedy completes an excellent programme, which will be shown to-night and during the week. YOUTHFUL FANCY AND ROMANCE GOOD ENTERTAINMENT AT THE STRAND Representing a phase in youth’s eternal fancies, and, more especially, a phase of modern life, 1 Society Girl ’ 'is a very entertaining picture for patrons or the Strand Theatre. In short, it is the story of a wayward, highly-trained society girl, who, as a diversion, amuses herself with a professional boxer, and when the affair has gone too far—bathing at a fashion- . able resort, motoring in the moonlight, evening visits, and the like—she tries to pull out, but finds that she is too strongly held by his magnetic manner. Peggy Shannon makes her debut as a Fox leading lady, and does excellent work in her role in support of the leading man, James Dnnn. The latter appears as tho professional boxer, a role in which he invests a naturalness which enhances his already enviable reputation. The third most important member of the cast is Spencer Tracy, who, as a trainer, finds his pupil more than he can manage. The story is a simple one, and therein lies its charm. It concerns tho career of Johnny Malone, a boxer well in tho running for a world title. He is a very conscientious young man who takes his fighting and training very seriously. It is true that he indulges in a few flirtations—for who has a better opportunity than a noted prizefighter, especially one with the qualities of Johnny. But there is nothing serious in Johnny’s romances, much to the satisfaction of Briscoe, his unimaginative trainer. However, there comes a time when Johnny is asked to participate in an exhibition bout at a fashionable party given by Judy Gelett. He manages to dispose of bis opponent quite easily, to the disgust of Judy, as she is supporting tho other man. She chides him as he leaves the ring, and in a few well-chosen words he tells her what he thinks of her and alt others of her ilk. Strangely enough, this bit of outspokenness on Johnny’s part causes Judy to take more interest in him, and it is not long before the unsophisticated Johnny falls a victim to her charms. Despite the remonstrances of Briscoe, he goes on his own wilful way, neglecting bis training while his world championship fight is not far off. When Briscoe deserts Johnny in despair things go from bad to worse. But he loses none of his enthusiasm, and it seems that all might go well until a breach occurs between Judy and Johnny. The climax is not the sort that one comes to expect in this type of picture, but it is very satisfactory.

Embracing an entertaining and amusing range of short subjects, the supporting programme is well up to standard. The comedy offering is modelled after the Gilbert and Sullivan curtain-raiser, ‘ Trial by Jury,’ and is a very clever piece of work, while the Fox Movietone News presents another series of interesting events, including a spectacular display by the famous Royal Marines. A scenic gem and a travel picture are also included on the bill.

OCTAGON'S ENTERTAINING FARE

‘MURDER OH THE SECOND FLOW AND ‘ WAYWARD ’ Two films with stories widely diversified in character are being presented at the Octagon Theatre. ‘ Murder on the Second Floor,’ a British film which has triumphed in America, in addition to proving one of the outstanding successes of the London theatrical season, was strong enough to call for a revival in London, when its initial success was eclipsed. The cast of the screen Version includes John Longden, who made his talking debut in ‘ Blackmail,’ and is without doubt one of the best known of British film actors; Sydney Fairbrother, Pat Paterson. Amy Venoss, whoso sixteen years of theatrical experience has seen her in many parts, and whose screen performances include the role of mother-in-law in the film version of the successful play, ‘My Wife’s Family,’ ami also prominent roles in | Hobson’s Choice,’ ‘ Money For Nothing,’ and ‘Pyjamas Preferred.’ Ben Field, the English actor who has won great success on the American stagehand on the screen has played big roles in ‘ Michael and Mary,’ 1 Sally in Our Alley,’ and ‘Faces at the Window.’ Frank Bellamy, whose screen roles include brilliant characterisations in ‘ Up For the Cup’ and ‘The Chance of a Night Time,’ and John Turnbull, who is playing the role of the police inspector, a role which ho created on the speaking •stage when the play was produced in Now York.

The film is rich in suspense, intrigue, action, and drama, and throughout humour is _ deftly dovetailed with tragedy, ■which makes for the best of entertainment. The story deals with the sudden shattering of the quietude of a London suburb by murder, tho victim of which is a boarder in a Bloomsbury house. The investigations of the police are hampered by the absence or the maid, who is subsequently also found murdered. The conclusion of the police is proved to be false by a young playwright. ‘ Murder on the Second Floor ’ makes a strong challenge to American screen productions. ‘ Wayward,’ the other attraction, cofeatures Nancy Carroll, Richard Arlen, and Pauline Frederick, three cinema stars of notable achievement and popularity. It presents the theme of a persecuting mother-in-law, the part portrayed by Pauline Frederick, who thinks her son’s wife (Nancy Carroll) is quite unworthy of the affection of “her darling boy” (Richard Arlen), and certainly quite beneath the social prominence and dignity of the Brown-best-Frost families, the most aristocratic in Cloughbarrie. Of course, she would be fair to the girl—who was pretty—and try to make her worthy of her new position, but it was all a terrible mistake. GRETA GARBO AS FAMOUS SPY * MATA HARI ’ BOOHED FOR KING EDWARD Probably Greta Garbo is alone among present-day actresses of the screen in possessing power to show a fresh glimpse of genius in every role that she portrays. In ‘ Mata Hari,’ which will bo released at the King Edward Theatre to-night, she is still tho Garbo of a thousand arts, whom audiences have come to regard as an almost legendary figure, and yet such is her genius that she appears as a new and living person, distinct from all past Garbos,

Unlike anything she lias previously attempted, the role Greta Garbo plays is that of a Javanese dancer who treats all men as playthings in her quest for adventure and information for her espionage agents. The events of Mata ITari's life make such well-nigh unbelievable fiction that it is a wonder Hollywood directors have not used them before. There is no variation from the theme of the beautiful woman spy falling in love at last with a brilliant young officer and paying the inevitable price. But though this is the story of Mata Hari, it is told so dramatically and garnished with so many side issues that it assumes new importance.

Ramon Navarro is a. most satisfying romantic lead, Lewis Stone is excellent as the crafty and ruthless espionage agent, who controls Mata Hari, but the best supporting player is Lionel Barrymore, who ns tho Russian general, slave to the brandy bottle and the charms of the spy, sketches a sinister figure with the broad, sweeping strokes of the true artist that he is. Also to ho shown to-night will ho Clara Row’s ‘ Her Wedding Night,’ in which she is a.soLted by Ralph Forbes and Charles Ruggles.