PICTURE THEATRES

Evening Star, Issue 21315, 20 January 1933, Page 9

PICTURE THEATRES

GRAND A film that should make motion picture history in Dunedin, ‘ Michael and Mary,’ opened a season at the Grand Theatre to-day. This screen version of A. A. Milne’s play is so rich in unaffected 'sentiment and wholesome romance that it has been acclaimed by every critic as England’s masterpiece. Produced by Gainsborough, the company which was responsible for ' Sunshine Susie,’ and directed by the same genius of realistic film stories, Mr Victor Saville,_it is said to be flawless in every detail. The principals are Edna Best and Herbert Marshall, and the supporting cast is exceptionally Strong. Frank Lawton, of ‘ Young Woodley,’ Elizabeth Allen, who has played many fine parts in recent British films, and Ben Field, a comedian who makes his screen debut in the production, arb all reputed to give characterisations little short of perfect. “ It will reach every quarter of the Empire,” writes an English critic, “ and it will be assuredly smiled and-sighed and wept over wherever English people meet. It is directed with such devoted sincerity and interpreted with such moving appeal by Herbert Marshall and Edna Best that something that is not only life as we know it, but the soul of England itself, glows from the screen. ‘ Michael and Mary ’ is one of those fortunate films which make history as surely as day follows night. No happier husband and wife combination has ever been seen on stage or screen, and their ' love-making in this' picture has a superb quality. Best of all, however, ■is the skill with which Mr Victor Saville has knitted the continuity of thirty years.” EMPIRE Those who have read the novel by Steele Rudd are awaiting with special interest the screen version, ‘On Our Selection,’ which opened at the Empire Theatre to-day. The story of the hardships and humour of the life of a family in the Australian back blocks is full of Comedy, interspersed with touches of pathos. Phenomenal success has attended the screening of the production in Australia. _ In Sydney the film _ was shown for six weeks at the Capitol Theatre, and was subsequently transferred to another theatre, where its' success was continued. This modern story of Dad, Mum, Dave, and all the rest_ of the big-hearted Australian family, characteristic of the pioneer families of the “ outback,” is a triumph for Australian film production. There is an abundance of natural comedy, tfith a touch of pathos here and there, and the love story of a young couple who win through to happiness. The central figure of the story is “ Dad,” the hardy old settler who has been ruined by drought time and again, only to come up smiling, until at last fortune smiles on iiim.. Bert Bailey is in the principal role, and ho makes it sparkle from start to finish. ‘ The “ chips of the old block,” with the exception of a charming daughter, are nothing to write home about as an intellectual family, and the manner in which these artists play the simple country yokels is really clever, for they provide much of the humour—after old - Dad,” of course. “ Dad’s ’’ language is not always of the drawing room character, and upon occasion it lands him in some awkward situations. The daughter, who has been educated, makes a trip to Sydney, which does not turn out well, so she returns to the farm. She is pestered with attentions by a young man who is eventually found dead, and her real lover is accused of the crime. The real cause of his death transpires later. There are some lively incidents during an election campaign, for “ Dad ” has been persuaded to become a candidate. It is a picture every moment of which will be enjoyed, the more so because it is British. REGENT Marie Dressier may well be the female George Arliss of the screen." A more lovable character has rarely been seen in silent or speaking films, and tie portrayal ■' she gives in ‘ Emma,’ which began the second week of its Dunedin engagement at the Regent Theatre to-day, is certainly her finest and most human. She has her audience laughing or sad without any conscious effort; she has done this in all her films, but the many sides of her character still seem to be unending. Marie Dressier has no claim to beauty—in fact, she has more resemblance to a hippopotamus in appearance than she has to the slim, dainty star types. But in that huge head of hers Marie carries a tremendous understanding of human nature, and the brains to apply her understanding. In ‘ Emma ’ Marie Dressier has been given a part that enables her to make the fullest possible use of her ability, but which is, at the same time, a sympathetic one. The result is a film that by all the rules should be one of the greatest box office successes for a long while. There is in the film a certain saceharinity which may not please everyone, though it will make certain of the picture’s general success, but Marie Dressler’s acting is a thirig above that. All the supporting characters are dwarfed by her, but though their parts are of minor importance they fill them well. Such of them as are women form a highly decorative background. The story is a simple one. Emma is the housekeeper in the family of an inventor whose wife dies when her fourth child is born. She brings the children up while their father is becoming.,more and more successful; but she spoils them, and only the most spoiled of all, the one she has brought up from babyhood, repays her with gratitude. When they are both old she marries the inventor, and it is the complications that arise then and Ityter, when he dies, that form the real story ►of the picture. Emma, whether she is spoiling the children or honeymooning, or on trial for her life, is a convincing figure convincing because of her amazing ability. The singing of John M'Cormack on the _ supporting pr°programme is enough in itself to justify a visit to the Regefft, for it is not every day that world-famous_ singers are to be heard at the talkies. He sings some good songs in a travelogue of Ireland, and in addition to this feature there is a comedy that is well above the usual standard. ST. JAMES At the St. James Theatre to-day a new BJ.P. comedy, ‘ The ,Last Coupon,’ was shown. Here is the film you’ve been waiting for—a real honest-to-goodness English comedy directed by Thomas Bentley and starring that lovable comedian Leslie Fuller, who proves to bo as versatile as he is popular in this, his first' straiijit comedy role. We see him as Bill Carter working in the pit, cheering himself hoarse at a football match, urging on his own champion in the boxing ring, getting the entire populace gloriously drunk at his own expense,_ being presented with a set of fish knives, and posing with liis family for a photograph on the strength of having won £20,000 in a football coupon competition. A supporting cast of unbounded excellence includes Mary Jerrold, who makes a great personal hit in the foie of Bill’s

wife; Molly Lament, who as Bill’s daughter Betty falls in love with Jack Hobbs, the local doctor; Harry Carr, the only member of the original West End cast, who is badly knocked about by . the doctor in a boxing match ostensibly for £25, put up by Bill and his pal-Geordie, but actually for the hand of Molly; and Marion Dawson, whose , antics as the neighbour who is always borrowing something will provoke yells of merriment from all filmgoers._ Even if you are not a football or boxing enthusiast—and who does not take some interest in these fine old games—you’ll enjoy ‘The Last Coupon.’ An excellent suppbrting programme is shown. OCTAGON Quite one of the most 1 intensely, interesting newspaper dramas that have come to the screen this season is- ‘ Graft,’ which started at the Octagon to-day. The story deals with crooked' politics in an American city, and a; newspaper’s fight against the sinister; forces on the eve of an important election, and with the paper’s efforts to get the news and to print it before it is too late. The adventures of a cub reporter in running down a murderer; are filled with excitement and dramatic suspense, and the picture reaches its climax in situations of the most thrilling description. Regis Toomey and Sue Carol play the leading roles and supply the love interest, as well as forming the centre of the major part of the picture’s stirring events. Both are excellent in their roles, and their pleasing personalities are well known. Also especially good are Dorothy Revier as the discarded sweetheart of a crooked politician, and Boris Karloff as one of his henchmep. Others who do 'ond work are Richard Tucker, Willard Robertson, William Davidson, Oarmelita Geraghtyj Harold Goodwin, and George Irving. A fine job of casting, which bespeaks excellent entertainment, is evident in! the list of players in ‘ Stranger in Town,’ with “ Chic ” Sale, Ann: Dvorak, David Manners, Noah Beery,; and Raymond Hatton in the leading roles, aslo ( at the Octagon. _ The story of competition between “ Chic’s ” country store and a chain store which opens in his town affords him an excellent opportunity to deliver the finest characterisation he has yet done on the His is a fighting role—a fight of a i pioneer against two irresistible forces.; STRAND Joe E. Brown, affectionately regarded as one of the current kings of comedy,; follows up his ‘ Fireman, ; Save My, Child ’ success with ‘ The Tenderfoot,’* which commenced at the Strand Theatre to-day. In his latest, widemouthed Joe portrays a Texas - rancher ‘ who comes to New, York with the last _of his money, which he intends to invest profitably so he can lift the mortgage on' his ranch. Armed with his money and his six-shooters, Joe becomes involved with a theatrical producer, fails m l ove, ; buys a show which is a failure, miraculously and unwittingly turns the show, into a howling success, gets mixed up with lawyers, and ladies, eventually; overcoming all obstacles, lifting the mortgage, and winning the gal. In ‘The Tenderfoot’ Joe is supported by an especially selected cast, with Ginger Rogers in the feminine lead. Lew Cody, and Robert Greig appear as theatrical producers. Vivian Oakland is seen as a temperamental star. Others in the exceptionally. large cast are Wilfred Lucas, Spencer Charters, Ralph Tnce,. Mae Madison, Marion Byron, Harry Seymour, Jill Dennett, and Alan Lane* The producers have given ' The Tenderfoot ’ a more elaborate setting than any previous Joe E. Brown picture, with the result that the combination of story, cast, direction, and settings brings to the screen what has been hailed hy metropolitan critics as one of the funniest films of all time, bringing new laurels to Brown’s successful record of hit after hit. Included on the same programme are pictures of the first England v. Australia cricket test* KING EDWARD The screen version of Frank L. Packard’s famous novel, ‘ The Miracle Man,' . is the current attraction at the King Edward Theatre. The role of “ The Patriarch ” is played by Hobart Bosworth, whose characteristic strength (f delineation makes this one of the moss striking parts seen in films, and tha excellent support lent him by. the remainder of the cast serves to lift tha production far above the ranks of tha ordinary film entertainments. Sylvia Sidney’s work in the difficult part of the young actress who is under the sway of a ruthless gang leader, played by Chester Morris, is of the highest order,and her redemption by “ The Patriarch ” is portrayed in a,charming manner., "