PICTURE THEATRES

Evening Star, Issue 21319, 25 January 1933, Page 5

PICTURE THEATRES

ST. JAMES Leslie Fuller leads is audience into convulsions in ‘ The Jjast Coupon,’ at the St. James. This‘rollicking story of a coal miner who wins, a £20,000 football competition makes a direct appeal to rich and poor, old and young alike, and the genius of Thomas Bentley, the director, for bringing to the screen real live characters' that have their being among uis is more than ever pronounced in ‘The Last Coupon,’ which boasts a sterling cast, headed by : that inimitable comedian, Leslie Fuller, as the North Country collier, Bill Carter. Bill and Geordie, his pal, are busy training their respective boxing champions, for whom they are putting up £25 apiece, when Bill’s good fortune comes to light. The entire village repair to the “local,” where they regale themselves “ putting it down to Bill Carter,” but Bill’s wife succumbs to unknown fears, which are in no way allayed' by her husband’s “ high-falufin’ ” talk of “ goin’ to Lunnon.” Her subsequent dreams prove both “ rich, and, strange’—but the reality is even stranger. How Bill loses the 'fight but'wins the money, and what happens to the £20,000 and Mrs Bill’s peace of mind provides something genuinely: hilarious and unique in film entertainment. REGENT ‘Emma,’ the fine production starring Marie Dressier, is stdl proving a popular attraction at the Regent Theatre. Mario Dressier has a charm all her own, and her particular appeal has never been demonstrated to better advantage than it is in ‘Emma.’ In this picture Marie Dressier combines the pathos of her performance in ‘Min and Bill ’ with the irresistible humour of her characterisation in ‘ Reducing,’ in which she appeared with Polly Moran. As Emma, the unselfish ancf lovable housekeeper, she immediately strikes a responsive note of sympathy in the audience, and her periods of absence from the screen only serve to intensify her welcome appearances. ‘ Emma ’ is a simple story of family life, and is full of quick humour alongside subtle pathos. The stagecraft of Marie Dressier is always superb,, and the producer lias done bis part to perfection in ensuring that the story moves along smoothly to a climax that is intensely human. Supporting Marie Dressier is a notable cast, including Joan Hersholt, Richard Cromwell, Myrna Loy, John Miljan. Purnell B. Pratt, Leila Bennett, Barbara Kent, and Kathryn Crawford. The supporting programme is well up to the standard set by the main picture, and includes a film in which John Mac Cormack sings four old favourites. GRAND ‘Michael and Mary.' at the Grand, is of a type quite different from the record-breaking ‘Susie.’ It does not make laughter its keynote, but there are character gems in ‘ Michael and Mary ’ which are screams of delight. A. A. Milne’s play, adapted to the screen, takes one through a period of thirty years, to follow the lives of a couple who have met through chance after disillusionment over a previous marriage has come to one of them. At the outset of their lives together, the shadow of bigamy looms ahead, but not till more than twenty years later does the shadow take substance, bring tragedy, and eventually. happiness. The working out of the simple domestic story is a triumph, artistic and dramatic, The main roles of Michael and •Mary ’ are difficult in their simplicity. As interpreted by Herbert Marshall and Edna Best, who created them in the stage version, they rise to heights possible only where British acting interprets British' character in British surroundings. Magnificent craftsmanship aids characteristic ■ Milne dialogue to produce a dramatic masterpiece, fresh and all-absorbing ■ throughout. The “ Mafeking night,” so realistically depicted, will carry the memories of the older generation hack over thirty years to that wild outburst of jingoism. It is so well done that they will live that occasion again, and experience a thrill when the young boy is hoisted to the table to sing, in a glorious soprano, ‘ The ’ Boers. Have Got My Daddy .’ In ludicrous contrast.' is' another long British film. ‘ Flat No.. 9,’ a shrieking story of two .neighbouring.' couples in flats, with their disagreements leading to a temporary break in the domestic affairs of each, through the decision of the male'partner in one and the female in another to seek, a new abode. This film is in itself worthy of being a main programme feature. • . ' . EMPIRE Dunedin people, children and adults, are being intensely amused with ‘On Our Selection,’ at the Empire, It-is the filmed version of Steele Rudd’s novel, and most of ns are familiar with this descriptive yarn of the hardships and humour of family life in the Australian backblocks. There is an abundance of’natural comedy, with a touch of pathos liere 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 him. Bert Bailey is in the principal role, and bo 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 tile simple country yokels is renlly clever. for they provide mud) of the humour—after old “ Dad.” of course. 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. The supports are excellent. OCTAGON ‘ Stranger in Town.’ the Warner Bros, comedy dealing with real folks and featuring “ Chic ” Sale, which is at the Octagon, deals with a grocery war in a small town. Ann Dvorak, David Manners, Lylo Talbot, and Noah Been- are in the supporting cast. The picture is easily the finest that “ Chic ” Sale has made. Action and excitement abound in ‘ Graft.’ which is also shown. The chief stars in the film are Regis Toomey, Boris Karloff, Sue Carrol, and Dorothy Revier. Atmospherically, ‘ Graft ’ is remarkable, and gives a realistic picture of the inner workings of a great newspaper.- There are also interesting scenes aboard a yacht at sea. STRAND A really funny picture. ‘ The Tenderfoot,’ with the clever comedian Joe E. Brown, is the main attraction at the Strand this week. He makes bis appearance as a cowboy who goes to New York with a vast quantity of money to invest, and he is inveigled into putting it into a. theatrical concern. How he

eventually succeeds in making .the show a great ’ success instead of a failure forms the basis of the film. It is sheer comedy 7 until the end. Brown is accorded admirable support by a large cast, the female lead being taken by the capivating Ginger Rogers, while Lew Cody, Robert Grieg, and Vivien Oakland also fill prominent parts. The supporting programme is an unusually interesting one. The box plans are at the theatre and The Bristol. KING EDWARD Constance Bennett, Bon Lyon, Richard Bennett, and Dorothy Peterson fill the principal roles in ‘ Bought,’ the latest attraction at the King Edward Theatre. An excellent supporting programme is also shown.