PICTURE THEATRES

Evening Star, Issue 21631, 29 January 1934, Page 5

PICTURE THEATRES

GRAND 1 Soldiers of the King,’ in its second week at the Grand Theatre, continues to demonstrate the general appeal which its delightful comedy and charming romance have for all classes of audience. It is excellent entertainment of a kind that ' captures the attention from the outset and holds until the last minute. The story has behind it the glamour of the theatre and its sentiment is attractive in the extreme. Moreover, in its presentation it has been handled with discernment and understanding, and the result is a production which may be expected to withstand easily the strain of a prolonged season. Cicely Courtneidge and Edward Everett Horton have the leading roles, and they make the fullest possible use of the numerous opportunities that come their way. Miss Courtneidge has the benefit of unusual talent aiid well developed comedy sense. Adding to these a personality _ that ‘is as "attractive as it is compelling, aiid she is admirably equipped’ for the task of presenting the part of Maisie Marvello, the leader of the Marvello entertainers, an exclusive troupe of' performers bound to each other by the strongest ties of tradition and blood, and wedded To the great task of entertaining the public. Into their midst is admitted a newcomer who immediately makes a place for herself in the troupe, but makes the very human and very youthful mistake of falling in love in the meantime. The leader of the troupe, mindful of a similar experience of her own which did not end happily, endeavours to spare the younger girl the heartache and disillusionment that had been hers. There is a delightful romantic climax to the ' film in which the ‘ sentimental Maisie Marvello takes a very prominent part. The supporting . pro-, gramme is excellently varied and forms an admirable complement to the main entertainment. It includes a Terry cartoon, a Cinemaagzine Newsreel, and a, comedy feature. EMPIRE The name part of ‘ Peg o’ My Heart ’ is taken by Marion Davies, that pretty and vivacious actress, whose ability to imitate the delightful Irish brogue, surely bespeaks a Hibernian ancestry. The story opens with scenes from the lives of the fisherfolk of the coast of Ireland—their simple habits _ and old-fashioned superstitions. .Peg is the happy daughter of an old salt, who ekes out a precarious living from fishing. They are quite happy until a lawyer brings news that Peg has inherited the sum of £2,000,000 from the estate of her uncle, an eccentric old man who hates Peg’s father. The will stipulates that she must never see her father again if she is to receive the, money. They are broken-f.iearted at the news. But her old_ father, thinking that the money will bring her happiness, insists that she go off to England to learn to be a lady and take her position as a woman cf wealth. Believing that the parting will be only temporary, Peg sets off. The gawky fisher girl soon becomes the lady of fashion, hut nil the time she is thinking of her father, the only true friend that she knows. She falls in love with a njan who does not return her love and becomes engaged to another girl. Peg returns to her old life and relinquishes > her right to the money. A dramatic climax is reached amid the surroundings of an Irish fisherfolk gathering, which must be seen to he appreciated. The part’ of heroine is alluringly portrayed, and the atmosphere of the humble lives of Ireland’s coastal inhabitants can be felt in many of the scenes. The play as a whole leaves tone with the feeling that riches are not after all the mam object in life—happiness cannot be bought, and often the humblest worker is more contented than those with unlimited wealth. An extremely funny comedy precedes 1 Peg o’ My Heart/ starring Zasu Pitts and Thelma Todd. There are also other excellent supporting features, whilst the organ programme by Miss Iris Mason is a special treat. RESENT In 1 The Masquerader,’ running for a second week at the Regent Theatre, Ronald dolman is excellent in the role of John Ghilcotc, M.P., bearer of a famous name, who has a political career at his feet. Living on his name and past reputation, however, and already a drug addict, ho lets himself sink to a level which puts him in

danger of ruining his future. After a collapse in the House he walks into an Embankment fog, ‘trying to escape from acquaintances and himself. A casual incident puts him face to face with a distant cousin, whose resemblance to him is almost perfect, and whose interest in politics has led him to undertake a series of thoughtful articles for a leading newspaper. Striving to escape from his futile Pfe, Chilcote places his cousin, Loder, in such a position that he is forced to step into Chilcote’s shoes for a day. His arresting speech in the House creates a sensation, and 'Chilcote’s rapid disintegration leads the way for an amazing, but half-unwilling, impersonation by the young man whose political droamings have thus been realised. It is in resolving the.personal relationships involved by the impersonation that Loder finds the most perplexing problems. Chilcote’s wife finds all the bitter cruelty of the husband replaced by a consideratenesp and a sympathy she had forgotten to expect, while Loder on his part is attracted! by her devotion and tenderness. . Elissa Landi as the wife has one of her' most suitable and sympathetic roles. There is also a very able supporting cast, including the late Ernest Torrence and Juliette Compton, but acting honours are overwfae.mmgly captured by Column, whoso study of the tortured, and torturing, drug addict contrasts so vividly with that of the earnest young journalist, whose personality is relieved by many fashes of subtle and quiet humour. BT. JAMES The old adage “ Never judge a book by its cover ” may well bo transformed into “ Never judge a film by its title.” ‘ Handle Wakes,’ the title of the current attraction at the' St. James, does not convey much to the mind of a reader, but with such an outstanding cast and convincing story no finer drama has been produced by the Gaumont studios. The story opens in the amusement park at Blackpool. Jenny Hawthorn meet's Allan Jefcoate, sou of the proprietor of the mill where she works. Unable to persuade his fiancee to accompany him to the “ Wakes,” Allan.makes friends with Jenny, and later they decided to spend a holiday together. Oh her return Jenny', blissfully ignorant that the girl friend whom she had entrusted with a letter proving an alibi of her absence had been killed, endeavours to deceive her parents. Hawthorn is too fond of his daughter to be really angry, but his distress is aggravated when he learns that Jenny’s partner in social crime is the son of his friend Jefcoate, sen. Though after working side by side one had prospered and the other had made uo headway, there still existed between both men a friendship that social station could never alter. Eventually a conference is called' between all parties, and the story' continues to a climax which meets with the approval of all. The players of the cast are all of the highest reputation. Dame Sybil Thorndike will be. seen in the character of Mrs Hawthorn, a part she made famous on the stage. Edmund Gwenn, who, after his performance as the Town Mayor in ‘ Tell Me To-night,’ requires no introduction, is Chris Hawthorn, and that of their daughter Jenny has enabled Belle Chrystal to give of her best. Norman M‘Kinnell, always an artist, is credited 'with a great performance of the stern millowner Jefcoate, and the part of his handsome gad-about son Allan is a personal •triumph for John Stuart (last seen in 1 The Lost Chord ’). STRAND An intensely human story is told in ‘ The Mayor of Hell,’ at- the Strand. Although it is an unusual picture with many unusual features, it provides excellent entertainment. The story is in reality an indictment of a class of American reform school, in which tho boy inmates are subjected to almost unbelievable cruelties. The boys are held within barbed wire enclosures like wild animals, and half-starved so that' tho officials may fatten on “ graft.” At times the boys break out in revolt, but they know there is no opportunity to escape the tortures, as there are barbed wire fences, armed guards, and a deadly swamp in their path. The picture can be called a human document of pathos and tragedy intermingled with numerous thrilling incidents in the background of tho reformatory. Then into the picture steps a rising young politician to take over the supervision of the institution. Ho finds himself thrust into an unbelievable hell, but he loses no time in using tho “ strong arm ” to reform the place.. He lays bare tho

grim conditions with unsparing realism, and the film has its brighter side by showing how the boys develop into responsible and self-governing humans under a proper and brighter administration. James Cagney is the leading figure, and he plays a forceful role. The romantic interest is supplied by Madge Eyahs, who appears as a nurse. A feature of the supports is the reappearance of “ Fatty ” Arbuckle in an amusing _ comedy, while newsreels and a musical novelty add to the enjoyment of the programme'. OCTAGON ‘ Excess Baggage,’ at the Octagon, is one of the most diverting stories one could imagine. 1 The situations are at times most startling, but with Claude Allister in the leading part these are skilfully handled. Moreover, the versatile; Allister has the assistance in hi? vagaries of Frank Pettingell, and when these two comedians are seen together the audience can be fully assured of plenty of hearty laughs. (The feminine interest is supplied by Viola Compton, who has a fine idea of the comic possibilities of the play, and she also presents some excellent acting. When it is stated that the fun commences when two trunks get mixed up in transit and are sent to the wrong destination, and that one of them contains a man who is supposed to be dead and is mistaken for a ghost, the possibilities of hilarious situations eventually can be realised. The trouble really starts, however, when the colonel (Claude Allister) hits the general with an empty bottle and, thinking him dead, hides him in a trunk. Then follow all sorts of complications, and these are dealt with in a spirit of mock seriousness that actually exaggerates the humour and makes it even more diverting than it would otherwise be. The supporting feature is * Scarlet River,’ a dramatic story of adventure and romance dealing with life in the old days of the West. Tom Keene has the leading role. KINS EDWARD Comparisons, it is said, are odious, but the film ‘ Pell.Below,’ at the King ( Edward, will stand .its test with any picture to date for sheer breath-taking excitement. All the death-defying experiences of those who make war under the high seas are portrayed, with a realism which leaves the audience with the feeling of having seen something worth while. The whole picture is definitely something out of the ordinary, and one can only applaud the masterly fashion in which the acting and photography are executed. It is no exaggeration to say that the audience live with the men who narrowly escaped death in its many.forms while attacking the enemy ships from under the sea. They feel with the'crew the nerveracking dread of the depth bombs which were exploding close to the submarine as she lay lodged on the sandy floor of the sea, and they choke with them as they fight off the stifling fumes of the chlorine gas. The picture, however,'' is not a chapter of horrors, but is relieved by a tender love theme between Robert Montgomery and Madge Evans. This film is preceded by some excellent short subjects.