PICTURE THEATRES

Evening Star, Issue 21638, 6 February 1934, Page 5

PICTURE THEATRES

EMPIRE Having, with ‘ The Squatter’s Daughter,’ shown what it can do in the way of drama and spectacle, the Australian talkie industry now demonstrates its ability in the held of comedy with ‘ The Hayseeds,’ which is convulsing Empire audiences this week. ‘ The Hayseeds ’ is a triumph for its producer, Mr Beaumont Smith (managing director of J. C. Williamson Picture Corporation), who not only took the helm in making the film, but also wrote the story. The picture had its premiere only a few weeks ago at the Civic Theatre, Sydney, and ever since then Mr Beaumont Smith has been deluged with congratulations on the great success he has achieved with his production. At its premiere release ‘ The Hayseeds ’ was received with the utmost enthusiasm from the packed audiences as well as from the Press. For instance, the 1 Daily Sun,’ one of Sydney’s leading newspapers, wrote: “ Seldom has any film had a better reception; and judging by last night’s enthusiasm it is in for a record run.” Robust and virile humour—of the type that has always appealed so much to Australians and New Zealanders—is the keynote of ‘ The Hayseeds.’ Reminiscent in some ways of ‘On Our Selection,’ it is even more hilarious and enjoyable than that record-breaking production. Its characters are human and readily understandable figures—they call a spade a spade and not an agricultural instrument, as do the characters of so many sophisticated drawing-room dramas. That is not meant to belittle sophisticated drama; but once in a while everyone does like to escape out of the drawing room and away from its conventions into freedom of the backyard. 1 hat is what ‘ The Hayseeds ’ does for picturegoers with its comical but lovable characters of Dad aud Mum, and its broad but wholesome humour. In addition to excellent supporting pictures, organ items are delightfully presented by Miss Iris Mason. GRAND ‘ It’s a Boy ’ is a film which, under almost any treatment, would arouse an audience to mirth, but in the hands of Leslie Henson, Edward Everett Horton, and Albert Burden it becomes one of the most amusing things which have been seen at the Grand Theatre for many a day. The picture, moreover, has the saving grace that it does not descend into the regions of pure farce. This is a temptation which is always present in comedy of this nature, and one into which so many producers with such material to their hand have fallen with more or less disastrous results. ‘ It’s a Boy,’ however, never becomes highly improbable in its humour, and the situations never strain the credulity of the audience too far. The theme has to do with the trials of a bridegroom who, on the eve. of his marriage, encounters a young man who appears to be willing and indeed eager to accept him as father. This is a situation which offers boundless possibilities for a clever cast, and it has to be admitted that full advantage of these are taken by the players who follow the lead of Leslie Henson. The jokes and witty lines are innumerable —Henson, Horton, and Burdon throw them back and forward with devastating effect, and the audience is kept in fits of laughter. It may appear strange that nothing has been said of the feminine stars, but the picture is emphatically one which offers greater opportunities for the men. The principal feminine member of the cast is Heather Thatcher, who contributes a fine piece of characterisation, while the subsidiary roles are also capably handled. To those in search of entertainment of the lighter type hardly any better advice can be given this week than to pay a visit to the Grand Theatre. This week’s supporting programme is a strong and the items have been suitably varied. The supporting programme includes a film dealing with Rye, that great old seaport town of the English Channel, while the Gaumont-British news gazettes are also thoroughly British in their genera] atmosphere. STRAND Set against the background of exotic Shanghai and the' broad, dangerous river on which it is situated, and having as its principal characters men of the American naval service and the lower ranks of Eastern seafaring, ‘ Shanghai Madness,’ at the Strand, is a stirring tale of Oriental adventure and romance. Not only does the picture provide exciting and dramatic entertainment, but there is a certain piquancy in much of its dry humour which adds to the strength of the story. The leading roles are taken by Spencer Tracy, who is responsible for a forceful characterisation, and Fay Wray, a spirited and charming heroine. Among the supporting cast Eugene Pallette makes a typically bluff skipper for a river steamer; Herbert Munclin, as the third officer, is always ready with his effervescent humour, while Ralph Morgan appears as a suave mandarin. The story concerns a lieutenant of the United States navy, who is dismissed from the service in Shanghai, where he is subsequently boycotted by the shipping companies. While wandering in the native quarter of the city he meets a charming young American girl and rescues her from a dangerous street riot in which she has become involved through her too great love of adventure. The event is the beginning of a romance sgainst which the embittered man, with seemingly little hope before him, tries hard to fight. When he finally obtains a position as gunner on a tramp steamer engaged in rifle smuggling on the river the girl stows away on the vessel. Some distance up the river the boat engages in a fight with Communists who have risen in rebellion, and in the thrilling encounter which follows the gunner succeeds in .nt.tuiguiihiiig himself. There is an unexpected climax, which it would bo unfair to reveal. The supporting programme includes a newsreel and a British Lion comedy, ‘ Great Stuff,’ which tells of the amusing adventures of a band of amateur burglars. REGENT Lionel Barrymore is co-starred with Miriam Hopkins in the splendidlyacted diama, ‘ The Stranger’s Return,’ at the Fegent. It portrays these screen favourites in roles which bring their acting to the highest peak of perfection. The picture has an entirely pastoral background, with beautiful settings mingled around a picturesque farm, the ancestnl home of the Storr family, the held 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 upon the arrival upon the farm of Louise (Mirian Hopkins), the granddaughter, who threatens to take preference over Grandja Storr’s relatives who are just waiting for the old man to die so that they can inherit his possessions, and nat'urdly the abearance of the “ straiger ” complicates matters and makes the nagging, predatory “ inlaws ” tasks niuch harder, so they en-

deavour to drive Louise back *to the city whence she came. While the x'elatives are scheming Louise makes matters worse for herself by falling in love with Guy (Franchot 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 clover scene he adverts unhappiness into the only ending possible oy 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 the way bv a scheme which is foiled by Grandpa 'Storr himself. Interesting supporting features are presented. ST. JAMES Coupled with realistic direction, the atmosphere that is so enjoyed by the man in the street—the human side of life without strain or artifice—is easily created by a superlative cast in ‘ Rome Express,’ at the St. James. Picturegoers are on speaking terms with each and every one of the characters. J.hey know them, and the sincerity of their presentation holds the audience and sends it away satisfied. The plan is laid entirely in the Paris-Home express. A double-crossing weakling has stalled the gang and is heading Homewards with a stolen Rembrandt. The gang are out for revenge and the recovery of the masterpiece. The chief of police is oil vacation, yet not one jot less efficient when duty calls. There is the illicit love affair and the gossiping bore who discovers his old friend, Georgeone of the principals in the affair. In the complications that follow quickly the double-crosser is murdered, the wrong man blamed for the murder, the picture recovered—in fact, the usual circle of the orthodox, not forgetting the happy ending. For good measure a movie star and her publicity-promot-ing manager assist the plot while supplying a little humour, and a soltrighteous hypocritical philanthropist and his grovelling secretary are among the less important links. You know them each and all, and that is why you will like ‘ Rome Express.’ Bracing humour is supplied by the bore who regales willing and unwilling listeners with golf tales of the “ seventeenth ” or with stories that hobble to their conclusion. Naturally ho laughs heartily at his own creations, and you laugh heartily with him. Why not? The portrayal of each character is masterly, but the work of Gordon Harker as the gossiper and Frank Vosper as the chief of police will be remembered. The atmosphere of the express is never forced. The harmonious coupling of train noises with train sway and motion, especially when the express slows' up nearing a stop, is very clever. The shots of the whirling landscape at night are ingenious. ‘ Rome Express ’ is satisfying entertainment well presented. UTAHN Excellent entertainment is provided in ‘ Peg o’ My Heart,’ a delightful film which is attracting large audiences to the Octagon Theatre. Marion Davies gives a fine performance as an Irish colleen who is left £2,000,000 on condition that she leaves her humble home and goes to England to be educated as a “ lady ” by an aristocratic family. In spite‘of the fact that the family is receiving a substantial sum for educating her, they behave snobbishly, and the Irish girl wishes to return homo. However, the plot is complicated by her falling' in love with the fiance of her guardian’s daughter. The supporting cast includes J. Farrell MacDonald, who is excellent as a bluff Irish fisherman, and Onslow Stevens. There is a good selection of shorter films. KING EDWARD The three Barrymores—John, Ethel, and Lionel—appear together in the famous film ‘ Rasputin and the Empress, which is enjoying a return season in Dunedin at the King Edward Theatre at the present time. Here in pictorial form is shown the fall of the Romanoffs and some of the horrible happenings of that terrible time. Diana Wynyard is also in the cast, but the bulk of the entertainment falls on the very capable shoulders of the Barrymore family, with most of the honours going to Lionel in the role of the mad monk. The picture is full of colour, and is excellently produced with a minimum of the usual film fictionising. It is a film that will well repay a visit.