PICTURE THEATRES

Evening Star, Issue 21637, 5 February 1934, Page 7

PICTURE THEATRES

EMPIRE The comedy inherent in the contrasts between country and city life fully exploited in - The Hayseeds,’ enjoying a successful season at the Empire Theatre. Cecil Kellaway, the veteran stage actor, strikes a rich vein of humour as Dad, the patriarchal, despotic, and golden-hearted old “cockle,” who is undoubtedly the outstanding figure of the whole picture. Without caricaturing the part, ho captures all the foibles of the harassed fanner who has to contend not only with droughts and falling wool prices, but also with an almost completely asinine son of fche type which will always go by the name of Dave, after the ‘ On Our Selection ’ series. Katie Towers, another old favourite of the stage, is excellent as Mura, while /Molly Rayner adds to the fun by her farcical portrayal of Dave’s sweetheart. Of particular interest is the appearance of Kenneth Brampton, former producer of the Auckland Little Treatre Society, whose characterisation as Mr Town ley acts as a foil to the broad humour of the Hayseeds. It is from the comedy aspect that ‘ The Hayseeds,’ is most successful, althrough Shirley Dale, Arthur Clark, and John Moore supply a romanticinterest and a touch of drama. The story opens when the peace of Dad’s Sunday afternoon is disturbed by a band of city hikers who proceeds to surprise everyone, including, to Dad’s annoyance, the farm stock. However, the episode provides an opportunity to introduce some clever ballet dancing and chorus work, in which the J. C. Williamson stage technique is fully maintained. One of the girl Hampers loses herself in the bush, and the rescue efforts produce an invitation to the Hayseeds to visit Sydney. The comedy becomes irresistible when the whole country family visits the city, and audiences are kept continuously amused by the ludicrous adventures of the large party in Sydney’s busy streets. The supporting items are first class, including a brilliant technicolour Silly Symphony of 1 The Pied Piper of Ala mo I in.’ Organ selections are provided by Miss Iris Mason. GRAND No happier combination has been seen on the comedy screen than Leslie Henson, Edward Everett Horton, and Albert Burdon, the trio who carry the main burden of entertainment in ‘lt's a Boy,’ the uproarious farce at the Grand Theatre. The film opens on a brightly vigorous note, and not for one' instant does its whirlwind humour abate its' vigour until the final line of the dialogue brings to an end the most curious and hilarious combination of complications that could possibly be imagined. Fashioned to a degree on tlie Charley's Aunt ’ plan, • It’s a Boy ’ excels that prim old favourite in many respects. Even in the most unashamed farce the audience does not like to see the author descending to the depths of absurdity in his attempts to extricate himself from the muddle into which his imagination as plunged him. ' In this respect ‘ It’s a Boy ’ makes an immediate appeal. True, at times the tale becomes so Involved, and the misfortunes of the harassed best man and even more embarrassed bridegroom become so tangled, that it seems almost impossible that the tale can be brought,to a reasonably logical ending, but, despite all appearances, the author and producer accomplish it. Leslie Henson will be generally regarded as the star. He seems always to be providing the cue for the next man, and easy confidence and thorough style appear to be the pivots around which the film revolves. Edward Everett Horton plays well in his company. This player depends to a large extent on the same tricks - and devices as Henson, but he lacks the facility of the other man. His ludicrously expressive eyes are his chief stock-in-trade, and in ‘ It’s a Boy ’ he finds plenty of use for them. The supporting programme is in keeping with the special merit of the featured attraction. ST. JAMES ‘ Rome Express,’ at the St. James, has the biggest star cast ever assembled for one British film. Players of the calibre of' Esther Ralston, Conrad Veidt,- Cedric Hardwicke, Joan Barry, Harold Huth, Gordon Marker, and Dohald Calthrop, to mention only the major players, are known to every pic-ture-goer the world over. Esther Ralston has an opportunity to be herself, for in this film she plays the part of. an American film star, Asta Marvelle. Everyone will remember Conrad Veidt’s portrayal of the wily Metternich, in ‘ Congress Dances.’ In Rome Express ’ he gives a marvellous performance as Zurta, the head of a gang of crooks intent on stealing a Van Dyck. Veidt was extremely popular with everyone during the production of the film, and on the day he left the studios to return to Berlin his fellow artists, the director, and the technicians assembled, cheered him, smothered him with confetti, and wished him bon voyage and a speedy return. Cedric Hardwicke plays the role of Alistair M'Bane, a Scottish millionaire, and, strangely enough, philanthropist for his self-glorification. Joan Barry played her. first,really big film in the the silent version of lan Hay’s ‘ The Happy Ending,’ made in the Gauniont-British Studios as Shepherd’s Bush in 1924. It is therefore appropriate that she should play a leading role in the first , production made in the . reconstructed Gaumont studios. Harold Huth started his stage career at the age of thirty-six, after Tiding eighteen years in the motor industry. 'Without previous experience he undertook a small role in ‘ The

Truth Game ’ with Ivor Novello. His best film work has been done in conjunction with Joan Barry, forming a combination that may in the near future be as popular as any of the American “ teams.” Huth is a nephew of the famous Eva Moore. Gordon Marker needs no introduction to picturegoers. He is the son of Joseph Harkei', the well-known scenic artist. Recent film roles which have brought him into the limelight are those he played in ‘ Whiteface ’ and 1 Love on Wheels.’ In ‘ Rome Express ’ he has the role of Bishop, a bore and gossip, with a fund of interminable stories. This is probably his finest characterisation to date. Donald Calthrop is a nephew of the famous dramatist, Dion Boucicault. With a distinguished stage career, he has also scored many successes in films. The blackmailer in 1 Blackmail,’ the tragic comedian in ‘ Shooting Stars ’ are two roles whicli rise readily to the mind in this connection. In ‘ Rome Express ’ he plays the part of a doublecrossing crook, evading his former associates. Tragedy follows their discovery that he is on the Rome Express. This strangely different picture is very well supported by shorter features. STRAND Silencer Tracy, with Fay Wray cast in leading feminine role oposite him, is now at the Strand in ‘ Shanghai /Madness.’ With the city of Shanghai and its spell of intrigue as the picture’s background, the story of the film runs through the entire gamut of screen expression. It has drama, romance, comedy, action, adventure, and intrigue. It traces the adventures of a young American naval officer from the time he is dishonourably discharged from his post, through an era of spiritual despair, to the recapture of honour and courage. It shows him alone and an outcast, but retrieved from utter ruin by the presence of a young, headstrong girl. The locale of the picture is most picturesque. It moves from aristocratic foreign clubs in Shanghai to the dismal hovels of the poorest natives, from fashionable entertainments to questionable resorts, and from the-turmoil of a busy city to the peace of a medical mission up the river. ‘ Shanghai Madness ’ gives Spencer Tracy a remarkable opportunity for the display of his acting abilities, and Fay Wray was selected from among dozens of prospective players for the leading feminine part. Others in a cast notable for its careful selection are Ralph Morgan, Eugene Pallette, Herbert Mundin, Reginald Mason. Arthur Hoyt, Albert Conti, Maude Eburne, and William Von Brincken. REGENT Stealth and greed usually go hand in hand, and they lurk as skeletons in many a family cupboard. On the simple, domestic life, ‘ The Stranger’s Return,’ at the Regent, builds up a most attractive and enjoyable theme with a pleasing background in American farm scenes. It is ,an intensely human document; a straightforward story of family intrigue for the favours and fortune of a sturdy old settler, who proves to be much more sophisticated than some of his near x-elatives think. A granddaughter, city bred and—worst of all—separated from her husband, invades the smug complacency and propriety of the country settlement, and at once is the object of whispering and gossipings of those who are likely to be adversely affected should she become a favourite of the wealthy pioneer. In the end he carefully conspires to test the genuineness of all around him for his welfare, the result being as he expected. Those who appear to be most solicitous for bis welfare and careful for his comfort fail to conceal their ulterior motives, and are tragically incensed when the blow falls and their desserts are justly distributed. It ,is an everyday story, but is a triumph in the telling. The character portrayals are far above the ordinary. Lionel Barrymore, as “ Grandpa ” Storr, gives a most skilful delineation of the oldtime American settler, downright in his honesty and embarrassingly candid in all his remarks, while with him Miriam Hopkins, as the stranger, plays the part of the city girl come to the country, revealing rare artistry. Stuart Erwin, as a simple rouseabout whose hobby is whisky and as little work as possible, adds a pleasing strain of humour throughout the piece, while Beulah Bondi and Aileen Carlyle, as tho scheming relatives, are also responsible for splendid characterisation. The picture is a clever admixture of comedy, romance, and drama. The supports are bright and varied. OCTAGON There is a universal appeal about a picture such as ‘ Peg o’ My Heart,’ now at the Octagon. It has an interesting story, the parts are more than capably played, and there is just the right admixture of humour and pathos. It is doubtful if Marion Davies has ever had a better part, or one that suited her better, than that of Peg. She is first seen as the simple, unsophisticated fisher girl happily engaged in helping her lather in the boat, but soon the even tenor of their existence is disturbed by the arrival of a lawyer, who brings news that Peg has fallen heiress to a great fortune. To this unexpected legacy, however, there are conditions, and one of these is that if Peg takes the money she must never see her father again. She does not know of this, but the old man decided that it will be in her best interests if she goes away to England to take advantage of 'all the opportunities that wealth will bring her. There is a touching scene where Peg leaves home with her dog, and on arrival in her now home in England she finds everything so strange that she' has a good deal of difficulty in adapting herself to the new conditions of life. She . makes many mistakes, and finally, sick of it all, she renounces her claim to the fortune, and goes back to her friends—the honest, simple-hearted people of the Irish fishing village. Marion Davies receives excellent support from a large cast, including Onslow Stevens, J. Farrell MacDonald, and many others. Included in the bill is a fine selection of short subjects, including several newsreels, a cartoon, and a further episode of the thrilling serial, ‘ The Lost Speciah’ KINS EDWARD The tragic story of Rasputin, the Russian mystic, whose evil influence brought about the fall of the 300-year-old Romanoff dynasty, is vividly told at the King Edward Theatre in the remarkable Metro-Goldwyn-Mayer production. The film is outstanding for several reasons, chief among them being the fact that it presents the Barrymore family—John, Ethel, and Lioneltogether for the first time. That alone is sufficient to ensure the success of the show, for the acting of each member of this noted family reaches perfection. Lionel Barrymore is almost revolting!}’ realistic as the infamous monk Rasputin, and John Barrymore is amazinglv well cast as the Grand Duke Paul. Rasputin’s enemy and ultimate destroyer. Ethel Barrymore is wonderful as the Tsarina, who was completely dominated by the scheming Rasputin.