NEW PICTURE PROGRAMMES

Evening Star, Issue 21636, 3 February 1934, Page 9

NEW PICTURE PROGRAMMES

DELICIOUS FOOLERY LESLIE HENSON FARCE AT GRAND * Joviality and fun of a type which one does not expect anywhere but in a film is presented in ‘ It’s a Boy,’ from the Gainsborough studio, which holds pride of place in the current programme at the Grand Theatre. Cast on musical comedy lines, the interpolation of song numbers may be on the sparse side to suit some tastes, but as . a picture of high-spirited jollity it leaves nothing to be desired. There |s never a dull moment. Frequently it rises to heights of brilliancy. The delicious foolery of the piece is carried out with a smartness and a gay spontaneity, with the result that one is always laughing, although the humour, less brightly done, would perhaps raise only a smile. A trio of popular and competent comedians heads the cast, and they really take the whole burden of the entertainment on their extremely capable shoulders. The film has been produced at a high tempo in keeping with its §wift incident and rapid, machine-gun type of nonsense. There is no time for a dull moment in it, and from beginning to end the audience is kept in the best of good humours by the extraordinary and cleverly humorous situations and complications into which the principals are plunged. Leslie Henson is actually the star performer; but he is so ably_ assisted by the rest of the cast that it will bo largely a matter of opinion to whom the laurels should go. Edward Everett Horton has a role of generous and varied opportunity, and e makes good use of it, and Albert Burdon does all that is required of him extremely well. Others in the cast who achieve special prominence are Robertson Hare, Wendy Barry, and. Joyce Kirby. The whole story has been built round an extraordinary series of misunderstandings, deceptions, and complications, and the situation becomes so involved sometimes that one wonders how the producer will extricate himself. Ho does it, however, and does it extremely cleverly, and the story finishes on as bright a note as the one on which it began. For all its farcical character, -It’s a .Boy ’ is clever and at times brilliant in its humour, and it has had the benefit of excellent direction, so that it comes to the screen as a strikingly meritorious example of British screen technique and direction. There is a good supporting programme to add to the evening’s entertainment, the short subjects which it comprises being characterised by the variety and interest which patrons of .the Grand Theatre now take for granted. The short items include two ritish news reels, an ‘ldeal Cinemagazine,’ and a Gaumont British Miniature, named ‘ Rye,’ depicting all the main historical associations of that charming little Sussex town. The news reels present vivid snapshots _ of a stranded merchant ship breaking her back in the Mersey River (England), scenes of the mighty station being completely _ and continuously renovated, an English “ mystery ” ship being launched at Sunderland, a charming silver fox exhibition at the Islington Exhibition, the Archbishop of Canterbury blessing the city of Bristol, the comedians Flanagan and Allen at the Mayor’s Show.v and the the return , of the imprisoned English jouynalist from Munich Gaol.

‘THE HAYSEEDS ’ ARE IN TOWN

. LAUGHTER AT THE EMPIRE •. The advance agents. for ‘ The Hay■seeds ■ have done their best in “ boosting Australia’s first modern comedy, and the picture is every bit as good as , it is made out to be, as the large audiences, which have already visited the Empire, will'readily testify. ■ To the Australian producer, Beaumont Smith, must go the greatest credit for this his latest and easily his best effort, for in addition to being far above anything that has yet come from across the Tasman, it is one of the most delightfully refreshing films Dunedin theatregoers have had the fortune •to see for a long time. _ ‘The Hay- . seeds ’ - introduces to audiences some- . thing entirely different in screen en- • tertainment. It is not only comedy of v. a high order, but musical entertain- : ,ment interwoven with colourful natural settings of rare beauty, in which Cecil Kellaway, who gives the greatest of his i'-lovable characterisations as “ Dad ” r Hayseed, makes his most outstanding hit. Romance also shows both its sides . in ‘ The Hayseeds.’ Screamingly funny : is the affair between Joe Hayseed (Tal Ordell) and the belle of Stony Creek ' (Molly Raynor), two cleverly-acted roles, and Joe’s proposal of marriage to Pansy provides one of the most amusing . situations seen on the screen. Drama ;is introduced by the love for Mary Townie igh (Shirley Dale) of the . father’s clerk (John Moore) and of a ■ ■ mysterious Englishman (Arthur v Clarke), whom she meets when she is '■ lost-in the bush. > V Dad ” takes an enthusiastic inV; terest in all these complications, as “ Dad ” Hayseed he shepherds his large . family, through Sydney’s pitfalls, gives food advice to his city friend, Mr 'ownleigh, and shows his contempt for ■ hikers who would venture _to disturb / his cows on Sundays. His is a lovable . and amusing piece of character work. The story, allows plenty of play for Kellaway, and he certainly makes the most of it. In the backblocks of Australia, where it opens, he is delightful enough, but in the city he is irresistible..

. No less captivating are Tal Ordell and Molly Raynor, who share to a large degree in the success of the production, and Katie Towers as “ Mum ” Hayseed, gives an excellent performance. Her portrayal of the mother of a large family fighting for an existence on a small holding in the wilds on the rim of the bush country leaves nothing to be desired. Shirley Dale, Arthur Clarke, and John Moore all have good voices and .sing well, but they, appear a little stiff if anything, and do not possess the finish of the others. The hiking party, made up of a J. C. 'Williamson chorus, plays an important part in the picture, and adds something to its attraction. Supporting ‘ The Hayseeds ’ are several good “ shorts,” particularly interesting being a Walt Disney version of the ‘ Pied Piper of Hamelin * in colour, as beautiful as it is entertaining. There are also a Fox News, a ‘ Pathetone Pictorial,’ and ‘ Brevities,’ a _ vaudeville show. Miss Iris Mason presides at the Christie organ.

REGENT’S FINE PROGRAMME

DRAMATIC ACTING IN ‘ STRANGER’S RETURN ’ A wealth of fascinating portraiture in the presentation of the characters is the outstanding feature of ‘ Stranger’s Return,’ which commenced a season at the Regent Theatre yesterday. Phil. Strong, the author of the story on which the film is based, has emphasised the age-old contrast between town and country folk'. As in ‘ State Fair,’ one of his earlier productions, rural America forms a picturesque background for the author’s main theme, and on the old-established farm of his imagination ho presents a genuine story of genuine [cople. Lionel Barrymore is co-starred witli Miriam Hopkins in this splendidlyacted drama, which portrays these two screen favourites in roles which bring their acting to the acme of perfection, and all those who witness this film will long remember it as one of the most striking dramas yet to bo screened in Dunedin. -

The picture has an entirely pastoral background, with beautiful settings mingled around a picturesque farm, tho ancestral home of the Storr family, the head of which is Grandpa Storr (Lionel Barrymore), an octogenarian with a quaint sense of humour which marks him as a typical old farmer, shrewd and determined to have his own way. The story is based on the arrival of Louise (Miriam Hopkins), the granddaughter who threatens to take preference over Grandpa Storr’s relatives, who are just waiting for the old man to die so that they can inherit his possessions, and naturally the appearance of the “ stranger ” complicates matters and makes the nagging, predatory “ in-laws’ ” tasks much harder, so they endeavour to drive Louise back to the city whence she came. While the relatives are scheming Louise makes matters worse for herself by falling in love with Guy (Franohot Tone), a young married farmer who has been a friend and neighbour of Grandpa Storr for years, and this creates a scandal in the Storr household, but the old man remains firmly with his granddaughter, convinced that a happy ending between the lovers is impossible, and in a very clever scene he averts unhappiness into the only ending possible by seeing for himself that his granddaughter is the only relation who loves him, and therefore he changes his will so that she will inherit his estate instead of his other relations, whose only intentions are to get him out of tho way by a scheme which is foiled by Grandpa Storr himself. It is high-grade drama all through, and one can not but admire Grandpa Storr, as Lionel Barrymore interprets him. Probably as reaction against the Puritanism of the household, his moral outlook is so broad that it knows no boundary; but his wickedness is healthy and refreshing compared with the appalling piety of the “ in-laws.” _ Another pleasing feature of the picture is the Louise of Miriam Hopkins—a fine piece of well-restrained screen work. Other prominent parts are taken by Stuart Erwin, the drunken but faithful farm hand, and Beulah Bondi, the nagging, harmful relative who plays a big part in making the picture such a success. Minor roles are taken by Irene Hervey, who as the wife of the young farmer who falls in love with Louise, plays her part as a mother to perfection, and with her is Tad Alexander as the young son. Others in the cast are Grant Mitchell and Aileen Carlyle. Tho supporting programme is a good one, including a comedy interlude, a Silly Symphony cartoon, and the usual interesting topicals. The programme will be repeated to-night and during the week.

TRIUMPHANT ‘ ROME EXPRESS’

ST. JAMES THEATRE'S GREAT FEATURE

Undoubtedly ‘ Rome Express ’ is a triumphant motion picture production, a triumph which is all the more pleasing because it has been achieved_ in a British studio. The picture, which is the chief attraction at the St. James Theatre, greatly impressed the crowds that 'were present at its premiere screenings yesterday. The film has so many pleasing features that it is difficult to decide which to deal with first.

Perhaps from the aspect of technique, it is more remarkable than from any other. The studio work gives amazing results. The part of the story is set in the interior of a moving railway train, and the illusion of motion is so complete that it is almost incredible that practically the entire picture was made in the studio. The attention to the details that go to make perfection has been unremitting from title to fade out. Not a point has been overlooked that might ]ar on the spell that the picture weaves over the audience. For example, on the one or two occasions on which the train comes to a halt one sees the standing passengers give just that little rock to retain their balance that is always noticeable in such circumstances. One of the most effective touches of this realism of detail is in the sequence after the murder has been committed; the dead man’s hand is seen dangling from under a rug, and in every motion completes the illusion of the rocking of. the carriage. The big things are as perfect and finished as the details. In no picture has the flying landscape seen through the windows been so perfectly portrayed; one even sees it blurred in the reflections of the mirrors in the carriages. The lighting of the train could not possibly be improved upon; even in such details as the swift rush of the train through a short tunnel the darkness and the roar that drowns the dialogue are reproduced with astonishing accuracy. The direction of Walter Forde is responsible for some screen artistry that touches high-water mark. For example, in the opening sequences at the railway station in Paris, before the train starts, among the crowd that throng the platform, he contrives, without any straining for effect, to indicate to the audience which among them are characters in the story. Then again in the course of the action he works in some delightful touches. In the dining saloon we catch sight of a voracious passenger literally stuffing himself with food, and almost immediately the scene flashes to the cab of the locomotive, where the fireman is seen shovelling fuel into the furnace. In another instance a noisy soup-eater’s efforts are reflected in the whistle of the engine. It is in dozens of small, but cleverly conceived details, such as these, that the picture excels. Another distinguishing feature of the film is the perfect control of the action throughout. The story unwinds itself without a jolt or hitch from beginning to end—no small achievement in view of its complexity, and the large cast involved. As with the rest, so with the cast. The selection of types is faultless, and each character fits into its appointed place as would the only possible fragment of a jig-saw puzzle. The main thread of the story is that of three crooks who have stolen a

famous Vandyke portrait. Poole (Donald Calthrop) has stolen the booty from the ruthless, cold-blooded Zurta (Conrad Veidt), and Tony, his partner. Poole is endeavouring to escape from their vengeance. Zurta and Tony board the express as it is moving, and in dramatic scenes hunt the terrified Poole to his compartment, where Zurta murders him. Their actions involve some eight or ten others among the passengers. There are an eloping married couple, who, however, arc not married to each other; there is tho film “star” Laura (Esther Ralston); a publicity-hunting Scottish millionaire, Allister M'Bain (Cedric Hardwioke) ; and, above all, there is the cheerful bore, Bishop (Gordon Harker), whoso “ life and soul of tho party ” idiocy ombarasses Lis friends ami makes his acquaintances rage. Bishop provides the light relief of the story, and Gordon Harkor has never been seen in a better character part. Conrad Veidt’s interpretation of Zurta is a remorseless piece of screenwork. Except for his eyes, which at times become diabolic, there is nothing of the crook in his smooth makeup, but his final interview with the unhappy Poole sets a standard for restrained cold-blooded ferocity. Donald Calthrop, as Poole, gives a pitiful figure of the terrified little traitor, who knows that every possible avenue of escape is closed. Neither Esther Ralston as the film star nor Joan Barry as the eloping wife could be improved upon. Between them, director, cast, and technicians have completed a memorable picture that stands as proof that the British studio has brought its technique up to the standard of its aesthetic judgment, and also up to tho high level of its acting. The big picture is supported by an entertaining programme of shorts, including another - of the * Glorious Britain ’ series. This time tho audience is taken to Salisbury, and the fascinating country where stands that great mystery in stone —Stonehenge. Then follow a Nature study film dealing with a swallow-tail butterfly, and a series of topical British pictures enlivened by breezy running comment.

1 SHANGHAI MADNESS ’

INTERESTING FILM AT STRAND, Laid amid the intrigue, the adventure. the thrills, and the excitement of Shanghai, the new Fox production, ‘ Shanghai Madness,’ which opened at the Strand Theatre yesterday, must on its merits have a large measure of appeal. With the city as a background, the picture depicts the wanderings of a young man who has been discharged from the United States navy for having destroyed a Chinese Communist fort without orders. Attempts to secure work on ships are fruitless, as his disgrace has preceded him. While tramping the streets of Shanghai ho encounters an unruly mob, and is able to rescue a charming girl, a visitor from America, who has ventured into the native quarter. He also befriends a young native, and is rewarded by the Chinese father by being given a job on a gun-runner about to sail. From an outcast he is retrieved from complete ruin by the young girl whom he had 'befriended. The settings of the picture are many and varied, from the aristicratic foreign clubs in Shanghai to tha dismal hovels of the poorest natives, from fashionable places of entertainment to questionable resorts, and from the turmoil of a bqsy city tp firstly the peace and then a skirmish in the vicinity of a medical mission down the river. The leading role is taten by Spencer Tracy, and with Fay Wray playing the part of the American visitor, he is given every opportunity to display his feting ability. Others in the cast are Ralph Morgan, Eugene Pallette, Herbert Mundin, Reginald Mason, Arthur Hoyt, Albert Conti, Maude Eburne, and William Von Brincken.

The' supports consist of a British comedy, ‘ Great Stuff,’ which is the story of how an attractive but poor young man wins _ an equally attractive young girl from her new-rich parents; and a gazette which includes views o£ the youth movement in Italy and also the scenes at the dedication of the new mission vessel Southern Cross.

THE THREE BARRYMORES

MAGNIFICENT ACTING IN 'RASPUTIN' History has few episodes to relate more dramatic than the fall of the Russian dynasty, the Romanoffs. Imagine, then, a film telling of that event and featuring the three Barrymores—Lionel, John, and Ethel—and you may have some idea of the dramatic splendour of ‘ Rasputin and The Empress,’ which is now at the King Edward Theatre. The magnificent acting of the Barrymores sets the seal upon a talkie that is genuinely outstanding. ‘ Rasputin ’ throughout is intensely dramatic, with very little humour and that grim, but the players themselves rescue the film from any suggestion of morbidity. _ Nowhere is there the slightest hint of melodrama. An atmosphere of expectancy, created in the first scene, grows as the picture moves on, and one is irresistibly caught up in the mad whirlgig of happenings. Lionel Barrymore makes live again for us Rasputin, the rascally monk, horrible and revolting, beyond words. He portrays with absolute realism the coarseness, cunning, and inordinate lust of _ this inhuman monster, whose evil spirit dominates the whole story. Though his part as Prince Chegodieff is less exacting, John Barrymore acts just as finely, while Ethel Barrymore, by her admirably restrained acting as the empress, shows that hers is no reflected glory. Ralph Morgan as the Tsar is splendid also.

STILL DRAWING CROWDS

' PEG O' MY HEART' NOW AT OCTAGON

So successful was the season of ‘ Peg o’ My Heart ’ at a local theatre this week, that it has been transferred to the Octagon Theatre, where it remains for a further week. ‘ Peg o’ My Heart ’ is an instance in which the camera play defeats the stage version in the matter of technique. There _ are few theatregoers who are not familiar with the story of Peg, whose charm has held English-speaking audiences all over the world whenever she has appeared. In the screen production the director has widened the scope of the play, and has introduced incidents not provided for in the stage play. He has also interpolated a considerable amount of song and music, which is all to the good of the entertainment. In the opening scenes in a little fishing village one sees the villagers indulging in a primitive evening party,

with Peg obliging with a jig. Then the story proper begins. Marion Davies makes Peg a very winning figure, and her introduction to the world of society is saturated with delightful humour. She displays plenty of spirit as the Irish colleen who inherits a fortune, and is taken into an English family of ancient lineage to be made into a lady. Such a part as this really requires a born Irish rirl; but it is hard to know who m Hollywood could have made a better synthetic jo'b of it than Marion Davies, tier brogue must have taken weeks ot study; but the effort was worth the final result, and she maintains it successfully all through the film. «I. Farrell Macdonald gives reality to his role of Peg’s old father, who has to make the terrible sacrifice of cutting himself off completely from his only child in order that she may inherit two millions under the will of her grandfather. The others in the cast are very satisfactory, special mention being due to Onslow" Stevens for his performance as the handsome English lawyer who first takes Peg from home, steers her diplomatically into high English society, and finally after many heart-storms and complications, realises that he loves her. By this time Peg has cast the soil of England from her shoes, and is back in Old Erin with her f ather; so that when the hero marries her it is not for her money. There is much whimsical humour in the production, as well as comedy of a more vigorous type. The atmosphere of both the Irish and English scenes is excellent.

A particularly interesting list of short subjects makes up a very acceptable first half.