PICTURE THEATRES

Evening Star, Issue 21639, 7 February 1934, Page 5

PICTURE THEATRES

GRAND Leslie Henson, Edward Everett Horton, and Albert Burdon have previously been seen in ■ highly successful screen productions, and the quality of their work there has assured for them a following which should be increased by the standard which they set in ‘ It's a Boy,’ now at the Grand Theatre. This picture is remarkable for the fact that practically all the important roles are for the male players, the feminine characters being loally more or less overshadowed by the trio of comedians. The story is, of course, one which gives the greatest opportunities for the display of those special qualities which have raised the principals to the front rank of their profession. Although a comedy in the true sense of the word, it never descends to the impossible or the utterly ludicrous and the audience is never forced to feel that after all the events which are described could not have happened in real life. The theme is built round the luckless experience of a man who, on the eve of his wedding, is confronted by a youth who claims him for his parent. As can be readily imagined, this affords the three comedians wonderful scope for the introduction of a whole wealth of amusing nonsense. The jokes which they throw from one to another and the witty linos with which the piece abounds keep the spectators in a riot of laughter. Henson and Horton have much in common in their style of acting, relying on the conventional methods of their profession for their appeal. But the acting of Burdon provides a distinct contrast. There is about his work a real distinction which should make his performance remembered after others are forgotten. The only feminine role of importance has been entrusted to Heather Thatcher, but her characterisation, like that of all the members of the supporting cast, is a convincing one. The supporting programme is of a high standard. EMPIRE To hear in a picture the homely colonial drawl and the slang of our own common speech is in itself a delight to the audiences which have seen ‘ The Hayseeds ’ at the Empire Theatre. There is so little difference between the poeple of the Commonwealth and those of the dominion that ‘ The Hayseeds ’ might just as well have lived in the King Country as in the Australian baekblocks, and the uproarious adventures of their visit to the city might nave happened as easily in one of our cities as in Sydney. As Dad, the patriarchal old “ cocky,” Cecil Koliaway captures all the most amusing characteristics of the type without letting his portrayal degenerate into parody, while Katie Towers, as Mum, is the model of a homely old farm wife. Their sawny son, Joe. is played by Tal Ordell, who keeps the audience in continual mirth. The story opens on the Hayseeds’ farm, which is suddenly disturbed by the arrival of a party of hikers from the city. These provide plenty of entertainment, with song and dance, but one of their number, Mary Townleigh, wandering away, becomes, lost in the bush. She is found with a sprained ankle by John Manners, who is prospecting, and taken to the farm, where she stays with the Hayseeds until she recovers. In return the Townleighs invite the family to spend a holiday in the city. Their adventures in, the streets of Sydney are amazing, especially when Dad and Joe sample rather too much of the local ale. The supporting programme is excellent'. including’ a colour ' cartoon of ‘ The Pied Piper of Hamelin.’ Miss Iris Mason’s organ selections are most acceptable, STRAND The virile acting of Spencer Tracy dominates the film ‘ Shanghai Madness,’ which is the current attraction at the Strand Theatre, and he is capably supported by charming and vivacious Fay Wray. Tracy is here cast as a. lieutenant in the United States navy who is dismissed from the. service in Shanghai and marooned there. Both he and Miss Wray give performances of unusual merit. Eugene Palette, as the typically bluff skipper of a river steamer, and Herbert Mundiu, as his third mate, provide the comedy relief. There is a definite Oriental flavour about the whole production, which tells a thrilling and appealing story. There are many graphic incidents, the film moving with plenty of action to reach a dramatic climax in a clash between a river steamer and a band of Communists on shore. There is a, good supporting programme, which includes a newsreel and a diverting British comedy. REGENT Lionel Barrymore is always good, but one of the best character parts he has taken is in ‘ Stranger’s Return.’ at the Regent. He is the owner of a valuable farm, on which he lives with a nasty group of “in-laws,” pretending affection for grandpa, and at the same time wondering why the old man will persist in living. Grandpa Storr is nobody’s fool, and understands the “ inlaws ” thoroughly. His principal hobby is making blistering innuendoes about their acidulated piety and hypocrisy. Into this happy home comes Louise, the only daughter or grandpa’s only son, deceased. She is a character after the old man’s heart. The “in-laws” despise the advent of Louise. More so because she wears becoming frocks, and is .separated from her husband. The story deals with the attempts of the “in-lav.” to incite grandpa’s animosity against Louise, and to drive her from the home; and the grim, coldblooded manner in which the old man turns the tables on them. It is highgrade drama all through, and far ahead of the average screen story. One cannot but admire the ruthless old devil that is 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 wellrestrained screen work. This unusually good film is worthily supported. OCTAGON Marion Davies is seen at her best in, ‘ Peg o’ My Heart,’ a delightful- fomauce, which will be showvfor the last time at the Octagon Theatre tomorrow. She is.cast-as a young Irish girl who is left £2,000,000 on condition that she never sees her father again and goes to England to be educated by an aristocratic family. . In spite of the fact that they are being paid a considerable sum to look after her, the family behaves snobbishly toward her. The plot is complicated by her shouldering the blame in a scandal in order to shield a man with whom she falls in love. Pride of place on the entertaining programme of supporting films is given to a comedy, in which Zasu Pitts and Thelma Todd are at' their best.

There is also a particularly interesting and instructive film in teohnicolour of many-hued fish from the waters of Hawaii. ■ Altogether it is an entertainment to meet with universal approval. St. JAMES . A transcontinental train, a, stolen masterpiece, rival crooks, an actress who had at one time been in league with thieves, a man in the company of another’s wife,, and an eccentric, though humorous, elderly English gentleman provide the background and the plot for the British production ‘ Home Express,’ showing at the St. James Theatre. All the action takes place on a train bound from Paris to Rome, and in contrast to the majority of films this one is without a hero. The effect that has been gained is remarkable, and is sufficient to convince the audience of the reality of the surroundings without the numerous glimpses of the huge locomotive wheels beating a thunderous note on the metal track. The cast is a particularly strong one. Joan Barry appears as the married woman in the company of Harold Huth, who is not her husband; Muriel Aked is the spinster who pesters Miss Barry on the train, and Gordon Harker the well-meaning but tiresome friend. Donald Calthrop is the crook fleeing from his associates, the chief of whom is Conrad Veidt, the famous German actor. Cedric Hardwicke takes, the part of the parsimonious ScotcE-millionaire, and Esther Ralston that of the film star. The supporting programme is excellent. There are some entertaining films, including one from ‘ The Stars Foretell ’ series dealing with people born in June and July, a travel film of the Stonehenge country, and a cinemagazine picture. KING EDWARD Katherine . Hepburn, the youngest star. who has forced her way to the front of the moving picture world by the sheer merit of her acting, has the leading role in ‘ Christopher Strong,’ ■which' will be shown at the King Edward Theatre to-night. She has been given the - role of Lady Cynthia, a famous airwoman who imagines that she has left love out of her life, only, to find that she has become madly infatuated with Sir Christopher Stronjg, a man . who hitherto has been noted in-London social life for his marital fidelity. The pair realise that they are not fitted by temperament to indulge in an ordinary intrigue, and after a series of complications, in which the man finds that he is the greater sufferer, the death of Lady Cynthia provides a way out of the impasse which has been reached. Colin Clive has' been cast in the part of Sir Christopher Strong, and other important roles are played by Billie Burke, Ralph Forbes, and Helen Chandler. An interesting supporting programme is also shown.