PICTURE THEATRES

Evening Star, Issue 21493, 18 August 1933, Page 11

PICTURE THEATRES

GRAND “ This is the type of English film for Which one may safely prophesy a great reception from popular audiences ” (says the ‘Daily Telegraph ’ in criticising ‘The Shadow Between,’.the splendid British drama at the Grand). Adapted from Dion Titheradge’s play, the story has a strong holding interest, and is brilliantly interpreted by a fine cast of English theatrical stars. It is notable for the striking success of a comparative newcomer to the British screen in Kathleen O’Regan, who. in the role of a wife vainly seeking for happiness,, is remarkably effective. Opposite her is Godfrey Tearle, who is particularly convincing as the wronged husband. Excellent acting support is given by the other members of the cast. One feels oneself to be in the presence of human beings, and this is I attributed to the welcome absence of any of Hollywood’s glamorous stars. “ No secrets and no shadows between ” ■ —this is the ultimatum, or rather recipe, for happy marriage as expounded by Paul Hadden, the hero in ‘The\ Shadow Between.’ How his opinion impressed bis wife so vividly that she sacrificed her good name in order to keep his love, is a. story as interesting as it is powerful, while the acting, conversation, and scenery are such_ that one must realise the great dignity and beauty of British screen productions. It is a strong, virile, and withal charming picture. One or the many interesting scenes dealing with university life to be seen in ‘Men of To-morrow ’ which will also be shown, shows the holding of an examination in one of the panelled examination halls. Oxford students took part in this scene whilst the correct examination papers and the notices of procedure were used. The replica of one of the most famous examination halls shows the long row of desks presided over by the invigilators. The desks are lettered conspicuously, and a. similarly lettered rack was provided for tho completed examination forms. ‘ Men of To-mor-row ’ has an all-British cast, which includes Maurice Braddell, Joan Gardner, Merle Oberon, Emlyn Williams, Robert Donat, John Traynor, Esther Kiss, and Annie Esmond. EMPIRE The unwisdom of a marriage between a man of brawn, honest-natured and simple in his good-heartedness, and a woman with _ refined instincts who is infatuated with another man, an exdancer, is clearly illustrated in ‘ Flesh,’ a compelling and forceful drama of the wrestling ring, which opened at tho Empire Theatre to-day. This production, an original story by Edmund Goulding, shows up the crookedness of tho American wrestling trust, whose men are obliged to win or lose, according to its dictation. It is a picture that reveals the power of a handsome crook over a woman who loves him and who, because of that love is duped by him three times and betrays the man who offers genuine love. Wallace Beery, as a German waiter, Polakai, who ultimately wins the championship of Germany, dominates this picture both, by his splendid body and splendid acting. His great-heartedness, his comicality of face and actions, his absolute abandon to tho part be is playing, his versatility, and his grasp of expression of various shades of emotion provide a figure to admire in this picture. He wrestles with Wladek Zbyszko, former world’s champion, and during the bout, which is for the championship of tb© world, takes much punishment. It is a fitting sequel to his fine picture, ‘ The Champ.’ Karen Morley plays opposite him as Laura, who, although infatuated with Nicky (Riccardo Cortez), marries Polakai, who had sheltered her when she was released from detention and without a cent. She puts some fin© acting into this role, and never once fails to convince as the cynical woman crossed in love. REGENT “Discord, ’ a new Paramount British production, is now showing at the S" int Theatre. The picture reaches a pinnacle of screen entertainment and shows sophisticated English society in some of its most daring and intriguing moments. Tho English are noted throughout the world for their dramas and their comedies. But for sheer excellence of plot, for the charm of its execution, and for the beauty of its music few plays have come up to the Paramount British talkie ‘ Discord.’ It starts very simply i just a struggling composer and his wife seeking recognition and fame, hut instead of to him success comes to her. Like magic their station in life changes, and it , is when the wife. Phil Stonning, comes in contact with the better people that she begins to dovv»to a uttle from her former ideas. Owen Nares plays the part of Peter Stonning, the composer, a role that he fills exceedingly pleasingly, while Benita Hum© is his wife, fascinating to all, and particularly so to Lord Qniliampton, played by Harold Huth, who treats her to a spectacular riverside ’'ouseboat party. Tho incident shows ’ ondon society besporting itself in a 'elicious round of gaiety. The picture -mt»in,s much clever and .sophisticated 'inlogue and works very logically to o wholly satisfying finish. Supports are -if special merit. ST. JAMES One of the most discussed plays, ‘ The First Mrs Fraser,’ by St. John Ervine, the film version of which commenced a season at the St. James Theatre to-day, comes to the screen assured of success. The imposing oast is headed by Henry Ainley, a London stage player of wide experience, and Joan Barry, who will be remembered for her performances with Harold Hath in ‘ Sally Bishop ’ and ‘ The Outsider.’ Billy Cotton and his band •supply the incidental music in the colourful cabaret scenes. In describing the film tho London ‘ Times ’ says; “ One of the greatest of this year’s productions, a masterpiece of brilliant dialogue and characterisation, acted by one of the most notable casts yet assembled.” No effort has been spared by the producers in making a picture worthy of tho play and its author. ‘The First Mrs Fraser’ is one of the best British comedies to bo shown in Dunedin for some time. The story is a highly entertaining one, concerning a man who separates from his wife to marry a woman who is no older than his children. The attitude of his family and the serenely untroubled air of his first wife, make the unhappy bridegroom realise, almost at once, that ho has made an irretrievable mistake. There is an unexpected and entirely satisfying denouement to the film, which abounds in delightful situations and witty dialogue.

OCTAGON Motion picture audiences bored almost to extinction with society dramas will see a picture with plenty of action, suspense, and excitement in ‘ Hotel Continental,’ which opened a firstrelease season at the Octagon Theatre to-day. A cross-section of life within a cosmopolitan hotel, with tragedy rubbing elbows with comedy, is seen in this screen drama from an original story by F, Hugh Herbert and Paul Perez, adapted by Warren B. Duff. The story is concerned with the events that take place on the last night of a famous hotel, a hotel intimately connected with the life of a great city. Hundreds of persons crowd its doors before the auctioneers take possession on the morrow, and numerous parties bid it adieu. A sinister plot, with a buried treasure as its theme, involves a group of characters in a novel story that is replete with action. Peggy Shannon and Theodore Von Eltz, in leading roles, are ably supported by J. Farrell MacDonald, Alan Mowbray, Henry B. Walthall, Rockcliffo Fellowes, Ethel Clayton, Bert Roach, and William Scott. A fine supporting programme is also offered, including ‘Worldly Goods,’ in which are featured James Kirkwood and Merna Kennedy. STRAND A thrill a minute ”is no exaggeration in ‘ East Life,’ the talkie which began at the Strand to-day with an exceptionally fine cast headed by William Haines. Hero is a film that has an appeal for every type of theatregoer. There is fast-moving action, romance, drama, and a generous portion of side-splitting comedy. Every effort has been made to keep the offering very light, but at the same time plenty of spectacular moments have been included. The plot concerns the adventures of a young motor-boat mechanic who is trying to obtain financial back.ng for his now racing engine. With the aid of his assistant, Bumpy, he manages to meet the daughter of a wealthy boat manufacturer who gets them jobs in her father’s company. The engine is built and put in a bo.il of now design, but fails on trial due to a fault in construction. In desperation the mechanic and Bumpy resort to amateur piracy to obtain money. Tho way in wnich they finally do get their boat in shape for tho big international race leads to a breath-taking climax. Cliff Edwards scores with his likeable portrayal of Bumpy, the assistant who keeps things in a continual uproar. Madge Evans is her own charming self m a sparkling role as Shirley, daughter of the boat-builder. KING EDWARD Harold Huth, who will bo remembered for his splendid characterisations in ‘ The Outsider ’ and (more recently) ‘Sally Bishop,’ plays the leading role in ‘ The World, the Flesh and the Devil,’ at the King Edward By tho dramatic finality of his acting ho held the andimeo threvghout, As an ‘unscrupulous, lawyer, who strangles the proprietress of a London tavern to further his designs on a fortune, the actor is admirably cast, and, although the supporting players are talented artists, bo easily dominates the film. Tho drama is played against the background of the London docks, with tho over-brooding menace of the Thames at peak flood. There is a _ thrilling climax when tho river breaks its banks, while in the tavern, below water level, two men fight desperately for a vital document. ‘ Come On, Danger ’ is also showing.