PICTURE THEATRES

Evening Star, Issue 21519, 18 September 1933, Page 2

PICTURE THEATRES

GRAND American producers have often set out to satirise the motion picture industry on the screen, and their efforts have certainly lacked nothing in energy. But ‘ What Price Hollywood?’ at the Grand Theatre, is not a satire. It seeks to transcribe the life the studios into a truthful reflection, and leaves the audience to draw its own conclusions. The moderation and the earnest conviction with which tho author, Adela Rogers Hyland (herself a resident of Hollywood), and the producer (George Cukor) have approached their task makes the indictment all the more telling. They do not passionately denounce Hollywood. They avoid the extremes of vulgarity and tawdriness, which, after all, are Hot typical of the motion picture colony. The contrast they draw between the world of filmmakers and that of the people outside is a much more subtle one. They show with merciless analysis the sacrifices in character ami personal dignity which devotion to a screen career demands. The star’s ’ife is not her own. Her public life, as represented by journalists and gossip-writers, allows her no privacy. In everything she must conform to the frivolous and standardised ideals of the mass of “ movie fans.” Glitter and ostentation surround her. Tho demands of the studio are paramount, and she dare not follow where her own individuality leads. In this part Constance Bennett is splendidly cast, and she gives the most mature performance of her career. Lowell Sherman and Gregory Ratoff, too, give splendid studies of character, the one as a director, whom the futility of a Hollywood career has reduced to a state of drink-sodden cynicism; the other, as a Jewish controller of the producing organisation, a man with _a splendid head for business, but in artistic matters no more sensitive than a brick wall. Neil Hamilton, in the part of the actress’s young husband, represents the normal, critical body of opinion outside Hollywood’s boundaries. The scenes in the studios are delightfully authentic in their detail. Just so do actors and directors behave when tho cameras are turning and the great floodlights pour forth their dazzling glare. The supports include a news reel, and two comedies. ST. JAMES * Her First Affair,’ at the St. James Theatre, introduces a new screen actress in Ida Lupino, another of the talented family of Lupinos. Miss Lupino upholds the reputation of the long line of performers laying claim to the surname, which must now be almost a household word. She is extremely attractive, and the story she helps to interpret is admirably suited to her type of performance. In the picture she is cast as a very modern girl, who after reading love stories by Kerry Merton, tho idol of tho fair sex, sets about defying convention, and in this connection she does it very thoroughly. Engaged to a young man, who does hot pretend to bo anything but just an ordinary fellow, she tolls him of the way in which she worships tho author,' hut .her jealous fiance cannot bo persuaded to see any virtues in “ that old fossil who writes trash.” So a bargain is struck that tho two should pay a visit to the scribe, and if he does not come up to expectations, tho girl must marry the man who loves her, “ and if ho is what you think, .you will marry me just tho same,” adds that young man. Together they journey to tho author’s country house, and after being chased into a pond by a bulldog, are found there by Merton and his wife. Once in the house the reckless and adoring girl finds an excuse to stay, and openly she shows a marked infatuation for the author even confiding in his wife that she has fallen in “ love ” with her husband. In this manner a rather awkward situation is created, but, of course, after a great deal of misunderstanding and argument tilings are satisfactorily straightened to the mutual delight of those concerned. From the beginning tho picture strikes a happy note, and comedy is liberally bespattered throughout. There is a splendid supporting programme. STRAND An excellent reception has been accorded the current programme at the Strand Theatre. Richard Barthelmess is seen to advantage in ‘ Tho Cabin in the Cotton.’ It is a stirring film of life in the Southern States of America, and unfolds a dramatic tale of the desperate struggle of white slaves to free themselves from bondage. It is magnificently done. Thrill follows thrill, and a climax is reached with a hunt for human quarry in tho mangrove swamps. All the atmosphere of the ‘ Old South ’ has been captured in tlie production, and there are some splendid scenes of the Mississippi houseboats. Members of the cast include Bette Davis, Dorothy Jordan, Hardie Albright, and David Landau. First National Studios were responsible for ‘ The Cabin in the Cotton.’ Barthelmess portrays a “ poor white ” boy of the district, educated and given a homo by a rich planter, who finds himself torn between love for his own kind —tho distressed tenant farmers—and loyalty to the planter who has been his benefactor. In the end be succeeds in helping both, biit not before a gripping and colourful tale has been unfolded. Reviews from elsewhere concerning this picture indicated that it was one of Bnrthelmcss’s best films in years, and local audiences have wholeheartedly agreed with this recommendation. 'EMPIRE ‘ The Crime of the Century,’ Paramount’s mystery drama done in reverse order, with the crime confessed before its actual commission, has won much favour since it opened at the Empire Theatre on Friday afternoon. Stuart Erwin, Wynne Gibson, and Frances Dee head the cast, with Jean Hcrsholt, Gordon Westcott, and David Landau in principal supporting roles. Tho story centres around Hersholt, a doctor, who walks into a police station one night and bogs the detectives on duty to lock him up. He has planned a perfect crime for that evening, lie explains, and if tho officers won’t take him into custody he’ll commit it. The policemen, impressed, accompany him to bis home. And there, while they look on, not only tho murder ho has planned, but a second one takes place. A few unim-portant-looking clues oiler the only solution to the mystery. Stuart Erwin, as a police reporter, and Miss Dee, as .the doctor’s daughter, combine to solve it. A unique feature is introduced in tho film. Halfway through there is a 60second intermission, during which the various chics are briefly reviewed, and tho audience is offered an opportunity to solve the crimes. Miss Gibson is cast as one of the victims, with Landau as one of tho policemen called in on tho case.

Amongst the other topical material is a scene taken in Cornwall during a recent floral dance, as well as a glimpse of the M.C.C. team landing in Glasgow after going homo from Australia via Canada. There is also a unique Labour

demonstration in Hyde Park. Tho pictorial side of tho programme is completed with ‘Hollywood On Parade (introducing several well-known artists in a more informal way than usual), and an entertaining short film, ‘ The Fatal Glass of Beer.’ Mr Knight Barnett’s organ presentations constitute a groat musical treat. REGENT Adapted from one of the most widely-read and popular novels by that well-known author, Gilbert 1‘ rankau, ‘ Christopher Strong,’ R.K.O. production, which is being screened at the Regent, is a gripping drama that is most brilliantly acted. A specially chosen cast, almost entirely English, is headed by Katherine Hepburn, who is fast becoming one of the screen’s most polished and most-sought-after actresses, and it looks as if |hc pic-ture-going public of America, England, Australia', and Now Zealand will clamour for more and more of her films. She was last starred in ‘ A Bill of Divorcement,’ in which she scored an instantaneous hit. Brilliant as was her performance in that film, in ‘Christopher Strong’ the star rises to even greater heights. In this new film Miss Hepburn is seen as a titled English girl, whoso passion is aviation. She later falls in love with a married man, Sir Christopher Strong. And then the real story starts. No one could possibly see this picture and remain indifferent to the performance of the star or those who play with her. No less convincing a performance is given by Colin Clive, the English actor, who plays the title role. Miss Billie Burke repeats her phenomenal success in ‘Bill of Divorcement.’ Irene Brown, who appeared in New Zealand with Julius Knight, has a good part in the show. Helen Chandler, Ralph Forbes, and Jack la Rue, a new screen find, also have prominent parts. The settings and photography are excellent, and the direction faultless.

OCTAGON A whimsical romance between _ an aijimal-loving keeper and a timid orphan girl is framed against a background of zoo life in ‘ Zoo in Budapest,’ at the Octagon. Loretta Young is an ideal type for the leading role of an orphan child, Eve, whose escape from the control of an orphanage' is the beginning of a series of dramatic incidents. As the keeper, Zani, GeneRaymond discloses a wealth of understanding and knowledge of the many different types of animals, and it is his outspoken belief in the possibilities of Eve’s breaking of the orphanage bonds that leads to romantic episodes between them. A youthful lead is taken by Wally Albright in tli© role of Paul Vandor, whose enthusiasm for an elephant ride causes him to break away from his governess at closing time. These three together participate in moments of thrilling tension, when the escape of a lion brings pandemonium in its train, and Zani is called on to effect a sensational rescue of the child Paul from the very jaws of a ferocious tiger. The photography is unique in depicting excellent animal portrayals, both in the calm surroundings of their respective cages in the zoo, and particularly in the terrific animal encounters after the_ release of lions and tigers, when frightened elephants break up the cages. Situations which in an American him might need an accompaniment of pistol cracks are turned off with a glance or a smile of amusing impudence in ‘Taxi to Paradise.’ a Pox British picture, which is also showing. Joan Melhuish (Binnie, Barnes) provoked by and tired of her husband (Garry Marsh), goes away with Fanshawe, a minor poet, whose gallantries she finds ’■ mildly pleasing, and their adventures in fogbound London make fine entertainment. KINS EDWARD The film version of ‘ Madame Butterfly,’ one of the best-loved romances of all times, adheres closely to that of Puccini’s famous opera of the same name, but it is not the actual film version of the opera. It is a story that is universal in its appeal, telling of the romance between an American navi officer and a little geisha girl of Japan. The production has been deftly bandied with a anpreciation for ail jthe beauty and appeal in the original tale. Sylvia Sidney plays the role of Cho-Cho-San and ' Lieutenant Pinkerton, an American naval officer on shore leave, is the part played by Cary Grant. Charles Ruggles has an excellent comedy role as Pinkerton’s naval friend. Adapted from Fredrick Lonsdale’s witty comedy, ‘ Spring Cleaning,’ ‘ Women Who Play ’ is a bright supporting feature.