PICTURE THEATRES

Evening Star, Issue 21711, 4 May 1934, Page 6

PICTURE THEATRES

* HIPS, HIPS, HOORAY I ’ RIOTOUS WHEELER’WOOLSEY FARCE AT GRAND Unreeling their endless repartee against unusual backgrounds ranging from an ultra-chic beauty salon to a cross-country car race, Bert Wheeler and Robert Woolsey have made another riotous success in ‘ Hips, Hips, Hooray!’ which was shown for the first time at the Grand yesterday. Bert Wheeler and Robert Woolsey’s latest musical comedy for RKO-Radio Pictures, featuring Ruth Etting, Thelma Todd, and Dorothy Lee, ‘ Hips, Hips, Hooray!’ presents Wheeler and Woolsey as Andy and Bob, cosmeticians and super-salesmen of flavoured lipsticks. By hook and crook, song and dance they wend their way into Miss Frisby’s fashionable beauty salon and direct her business, while Andy manages romance with Daisy, Miss Frisby’a assistant, and Bob does likewise with the boss. This incenses Armand Beauchamp, the right and proper manager of the salon, who has designs on Daisy and who jilts Ruth, the establishment’s radio entertainer, and makes Andy and Bob the unwitting thieves of 10,000dol, To avoid embarrassment with the law’s minions the boys flee in an unoccupied racing automobile, and find themselves participants in a transcontinental race which ends among howls, laughs, melody, and beauty in a thrill-packed climax. ‘ Hips, Hips, Hopvay!’ is a gag-girl-and-dance combination of film entertainment. More than 100 beaxitiful girls dance and pose in eye-filling se•quences, and sing the current popular melodies ‘ Tired of It All,’ ‘ Keep Romance Alive,’ and ‘.Keep on Doin' What You’re Doin’.’ Ruth Etting renders her melodic interpretations of the first two numbers, which were written by Bert Kalmar and Harry Ruby, itekl to he the most spectacular and thrilling of all professional sports, automobile racing for the first time is accorded outstanding burlesque comedy treatment in some of the farce sequences of ‘ Hips, Hips, Hooray!’ In this rapid-fire musical Wheeler and Woolsey find it necessary to flee from the long arm of the law, and decide that the most effective way in which to flee is to join a cross-nation automobile race. Away they dash from home, from business, from Thelma Todd, Dorothy Lee, , and Ruth Etting as pilots of a super-fast racing car. The curves of mountain roads _ annoy them. The comedy pair settle this matter by racing down the sides of the mountains, eliminating the curves. Snow halts them. They carry on by providing the race car with skis. They find that they are having difficulty in passing other cars. Pumping buoyant helium gas into their tyres, they soar over any obstacles which obstruct their flight. Chickens, motorists, and pedestrians are frightened out of many years of life as the mad pair clash to the coast and eventually into an insane finish. Something new in the cosmetic field is introduced in ‘ Hips, Hips, Hooray!’ This fresh creation is a set of lipsticks flavoured to suit time, place, and gentlemen’s preference, and in flavours ranging from chocolate to vanilla, and are demonstrated in this musical comedy by Thelma Todd, Dorothy Lee, and Ruth Etting, and scores of Hollywood’s glamorous singing-danc-ing-posirig beauties. The supporting programme includes two Rathe Newsreels, ‘Pals’ (cartoon), ‘ The Count ’ (a brilliant old Chaplin comedy), and the latest Fox Australian News.

JACK HULBERT AS A REPORTER

PLENTY OF FUN IN STATE'S NEW FILM .In ‘ Falling For You,’ the British comedy that opened a season at the State Theatre ' yesterday, there is a laugh for everyone. There is amusement there for the sentimentalist, for the realist, for the old, and for tho young. Jack Hulbert, one of the foremost comedians in British pictures, is at his best in this picture, and audiences cannot help but laugh both at and with him. If those who have not seen ‘Falling For You ’ can imagine Jack Hulbert yodelling Swiss love songs from Alpine slopes, and endeavouring to make his prominent chin more prominent, they will have only a vague idea of the comedy that awaits them. Then there is Cicely Courtneidge, careering down snowy mountain sides on a cabin trunk, and she and Hulbert cavorting merrily to save a kidnapped heiress, and both fighting to “ scoop ” a story for their respective newspapers. ’ ‘ Falling For You ’ is a type of film which has proved particularly popular. It is a screamingly funny burlesque, and the Hulbert-Courtneidge combination make seventy-nine minutes seem like ten. These two are really funny, and as two burlesque journalists fighting to “ put it over ” each other, with Hulbert falling down mountains, and performing the most amazing feats on skis and ice skates, they certainly have scope in plenty. The story itself has nothing to it, but it is amazing what scrappy material is needed when such a really clever pair as this is heading the cast.

The fact that he cannot keep an upright position on a pair of ordinary skis annoys Jack Hazeldein (Hulbert), but it is good fun, and his antics amuse the youngsters. When feeling serious, which is seldom, Jack endeavours to retain a position as a newspaper reporter, and the fact that Minny Tucker (Cicely Courtneidge), his rival, turns up at tile hotel in the Swiss Alps, where he is enjoying a doubtful rest in which skis and ice skates play an important part, does not improve his style, or his holiday. At the hotel arrives a young woman named Sondra Von Heydon, rich and pretty, who has escaped from a Central European country to avoid the marriage she dislikes. Her movements are “ news.” Jack, unaware of her identity, falls in love with her, while Minnie, ever observant, is soon in touch with her paper ringing through hot news. At this stage the action shifts to a cross-channel steamer, and then to England, whither goes Sondra with two “ news hounds ” and the unwelcome man, Karl, hot. on her heels. There is some fun in another hotel, a kidnapping, another chase to Switzerland, and a wild ride over miles of snow in a sledge, and a fight which ends with the unwanted Karl going over a precipice, Minnie getting her “scoop,” and Jack his girl. A newcomer to the screen is Tamara Desni, who plays the role of the lovely foreign lady pursued by an unwelcome fiance. Besides being attractive, she does some very clever dancing on ice skates. Other important roles are taken by • Garry Marsh and Alfred Drayton. _ Everyone will find something to his liking in the supporting programme, which includes a British news, another of the series of Ideal Cinemagazincs. and a most interesting film dealing with ‘ How the Other Side Lives.’-

OCTAGON To tell the story in pictures of the intimate life, the love, and the work of camera newshawks the action must be swift and changing. There can be no hesitation and no dull periods. The life of these newsreel men is fast and frequently furious. One thrilling episode follows another with the rhythm of a machine gun. And this describes the rapid fire picture ‘ Above the Clouds,’ which is currently showing at the Octagon Theatre. There is not an idle moment in the entire story, and the locations are here, there, and everywhere. Actually above the clouds, on the sea, at the ringside, in the midst of traffic, at the gangster’s bedside. This kaleidoscope of locations is necessary to tell this story—and it is the first time it has ever been attempted. There are street scenes, hospital scenes, and traffic jams. There are very few peaceful situations, because the man who makes the pictures strives to outdo Ids competitors in getting thrills. If it is a scene on the top girder of a tall building your newsreel cameraman was right up there, too. If it is an explosion, a fire, an automobile race, a gangsters’ battle, a flight by plane or dirigible, the man who made tire picture was nearby. The cast assembled to bring this melodrama to the screen includes Robert Armstrong, Richard Cromwell, and Dorothy Wilson in the main parts. Dick Cromwell went into extensive training for ‘ Above the Clouds.’ Ho actually performs the stunts ho is seen doing, and had to be in tip-top shape before the studio permitted production to begin. EMPIRE Warner Baxter and Myrna Loy are the featured players in ‘ Penthouse,’ which opened to-day at the Empire. It is based upon the novel from the pen of Arthur Somers Roche, published serially in ‘ Cosmopolitan Magazine.’ As a scion of an aristocratic Now York family, and a society lawyer who chooses to defend notorious racketeers, Warner Baxter is said to give one of tho finest performances of his long motion picture career. As Gertie Waxted, a beautiful night club girl, Myrna Loy is reported by preview critics to have far surpassed any of her triumphs in previous picture productions. With exotic roles now a part of her brilliant past, in ‘ Penthouse ’ she has taken command of one of the strongest and most lovable characterisations of her career, and her romantic scenes with Warner Baxter will long be remembered. W. S.' Van Dyke, an ace director, was in charge of the production. He will be remembered for his exceptional supervision of ‘ White Shadows in the South Seas ’ and ‘ Trader Horn.’ Mae Clarke, Broadway stage favourite and who has appeared in such screen successes as ‘ Turn Back the Clock ’ and ‘ Fast Workers,’ fills a featured role as Mimi, the gorgeous night club hostess who meets a mysterious death. Phillips Holmes heads the supporting cast as Siddall, the young man-about-town who is accused of the murder of Mimi, a former sweetheart, and whose life is saved through the efforts of his friend, Warner Baxter, who conducts a secret investigation of the crime and proves that Mimi’s death was the climax of an underworld frame-up. REGENT One of the most intriguing pictures since the introduction of the talkies opened a season at the Regent Theatre to-day. Noel Coward’s interpretation of the eternal triangle with the sexes reversed is, to begin with, completely novel to screen audiences. Whether the idea will create a now vogue is doubtful, but the novelty of a plot wherein a woman is sincerely in love with two men has a unique appeal. Every situation is exploited thoroughly, and the logic of the unfolding plot gains in value by its very daring. Coward’s script is unquestionably clever, and the degree _ of entertainment derived from the picture depends upon the nimbleness of wit and broadness of mind of the spectator. Four well-known players head tho cast. Fredrio March and Gary Cooper are tho old friends—one an expert in writing “unproduced plays” and the other a painter of unhung portraits. Miriam Hopkins is the chance-met friend who makes their careers and periodically mars their friendship by falling genuinely in love with both simultaneously. All three strive valiantly to keep the friendship platonic, however, and the girl helps both of them to succeed in their arts. When tho playwright goes to London, however, she becomes the “ secretary ” of the now successful portrait painter. After a year the other returns to Paris, and the fun begins all over again. After an nnplatonic contretemps in the absence of the painter the men both decide to forswear their—well, they leave for a long tour together, But even then the plot is not all unfolded. Miriam Hopkins plays a most difficult part with the correct balance of coquetry and sincerity. Altogether, the film is a well-made version of the stage play which was a London and New York sensation for weeks. ST. JAMES British Dominions’ presentation of the first Windsor-Sterling production marks an occasion of especial importance in British film production, for it is the first picture of a new production unit which sot out on an original policy embracing a number of new ideas. Primarily the idea was to create a series of comedies to introduce to the screens of the world a new typo ot English comedy witli international settings. Tho subject matter of each film was evolved directly for tho talking motion picture, and it visualised a team of British comedians, contrasted in typo and style of humour, who could be combined into definite forms of comedy musical romance. Tho success of such a series was greatly dependent upon the director, and, fortunately, Carmine Gallonc was available. The choice of the two comedians whoso stylo of humour was distinctly British and in accord with the characters as they were conceived fell on Arthur Riscoe and Nauntou Wayne, each of whom was working in entirely different spheres. They responded to Gallonc’s understanding direction, and have each given performances which it is confidently believed will place them in the front rank of screen comedians. Famous English humorists are responsible for the stories. ‘ Going Gay ’ —the first, which camo to tho St. James Theatre today—was written into final scenario form by Selwyn Jepson, who was engaged to be present daily on the floor, ami collaborated in the dialogue throughout the whole of active production. The locale of the story of ‘ Going Gay ’ is Vienna, where authentic exteriors were shot, with the two comedians supported by Magda Schneider.

STRAND Romance is not usually emphasised strongly in the ordinary murder mystery drama, but it plays a vital part in 1 From Headquarters,’ the new attraction at tho Strand Theatre, featuring George Brent and Margaret Lindsey in the leading roles. While tho secret love affairs of a millionaire Broadway “ playboy ” aro the causes of his being murdered, romance comes in through the love of a police lieutenant for a beautiful and popular show girl whose name has been linked with tliat of the dead man. Georg© Brent, as the young and intelligent police officer, has been the sweetheart of the show girl played by Miss Lindsey, until she suddenly scenis to grow cold to him and is seen in public places with the man afterwards murdered. The murder places the lieutenant in a strained position, for the woman he loves had been in the dead man's apartment on tho night of tho crime, and is one of the suspects. Despite that fact, the officer follows his lino of duty, and investigates every phase of the case relentlessly, and the love of tho young couple is rekindled into a beautiful romance. How this dream of love returns is unfolded in the unravelling of tho mystery which surrounds not only the millionaire, but also an innocent person at police headquarters. Others in the cast in addition to the two leads include Eugene Balletic, Hugh Herbert, Dorothy Burgess, Theodore Newton, Hobart Cavanaugh, Robert Barrat, and Henry O’Neill., KING EDWARD Charles Farrell, Joan Bennett, and Ralph Bellamy have tho leading roles in ‘ Salomy Jane,’ a stirring tale of the Californian mining camps, now at the King Edward Theatre. The story hinges on the tempestuous romance between a madcap mountain girl and a Virginian youth who has trailed his sister’s betrayer to the Californian Sierras soon after the Civil War. Taken from Bret Hartc’s tale. ‘ Salomy Jane’s Kiss,’ the film is full of the most colourful episodes, and the interest of the audience is gripped by a series of exciting incidents—tho efforts of the girl’s other admirers to attract her, the meeting with the stranger, his shooting of his enemy, the hold-up of the stage coach, the search for, and capture of, the stranger, his escape, and the rapid series of crises that forms the climax. Never does the film lack action, and it is guaranteed to provide entertainment that will be acceptable to all tastes. In addition to the principal feature there is an interesting supporting programme.