NEW PICTURE PROGRAMMES

Evening Star, Issue 21718, 12 May 1934, Page 18

NEW PICTURE PROGRAMMES

A DRAMATIC TRIUMPH ' GEORGE ARLISS IN 1 VOLTAIRE ' The. admirers of that' incomparable English actor, George Arliss, are legion, and to all who remember his sterling performances in ‘Disraeli’ and other films his new production, ‘ Voltaire,’ which the Empire Theatre has been fortunate enough to secure for its new programme, will come as proof that the passing years have not lessened his artistry. . For ‘ Voltaire ’ is entertainment of the highest class. In it Mr '-Arliss does not merejy act the role of the “ great wit, the great mocker, the great humanitarian of the eighteenth century ” —he lives it!

There must be few theatregoers who a» not regard Mr Arliss as one of the greatest figures on the screen to-day, and, therefore, there is hardly a person who will not acolaim ‘ Voltaire 1 as one of the finest films of its kind ever shown. Mr Arliss’s magnetism lies in what may be described as his mastery of.the “eyebrow innuendo”—with a lift of his eyebrows he can express more th,an the average actor could with a multitude of words. Because his own personality is so vital and strong.it is usually impossible for him to submerge his own character completely in that which he is playing; but in the present case .that is an advantage rather than a fault, for between the Arliss that we have come to know on the screen and the Voltaire that the history books tell us about there are very decided points of similarity. • For the sake of the story the director has juggled a little" with historical facts and sequence, but this offence is a light one because of the dramatic intensity and definition that are thereby gained. In 1762 France was aroused by the persecution of Jean Galas, a rich mer- * chant of Toulouse, who, in the story, was charged with treason. Voltaire was actually in exile at the time, and had been so for several years, but he made strenuous efforts to save Galas from his fate; and when the latter was judicially murdered he continued his efforts, which were eventually successful, to rescue the daughter of Galas from a similar doom.

This, then, is the historical basis of the film, and it will be seen that it is one rich in dramatic possibilities. One sees Voltaire at first striving for the release of Galas, his failure because of the insidious influence of the King’s Minister, the Count Do Sarnac (who wants the Galas estates for himself), and his eventful victory because of the help given him by his good friend, Madame De Pompadour, the King's mistress. Plots are woven within plots, and for a long time the scales swing evenly between Voltaire and his enemy, thus keeping the interest of the audience at a high pitch. Finally, however, the ingenuity of Voltaire and the justice of his cause win the d?y, and his

arch-foo is led off in disgrace. Into tliis one dramatic chapter in the career of Voltaire—who, because of his wit and deadly repartee, might well be termed the “ George Bernard Shaw of the eighteenth century ” —is crammed all the magnificence and polished splendour of manners that distinguished the Court of Louis XV. of France.

The settings are on a lavish scale, and although the acting of the supporting cast is naturally eclipsed by the superb performance of the star, there is really no fault that can be found with it. Doris Kenyon brings beauty and talent to the role of Madame Pompadour, the woman who swayed the destiny of a great nation by her influence over the King; Reginald Owen makes Louis XV. the person that one has imagined him—proud, but stupid, and entirely under the domination of his strong-willed unstress, a domination that lasted till the day of her death ; and Alan Mowbray is suavely villainous as De Sarnac. Among the many other notable players in the production one can only sort out Margaret Lindsay for special mention. Here is a young actress who deserves watching. Her role as. Nanette Galas is comparatively small, but it is brilliantly handled. A very fine selection of shorter films precede ‘ Voltaire,’ one of them being ‘ The Heart of Paris,’; an excellent picture which shows the streets of the great French capital as they are today. The beauty of the boulevards and the spectacular effect of the night lights are certain to impress future audiences. A British Paramount newsreel has clearly secured a pictorial “ scoop ” in its presentation of views of the riots in Palestine, the “ shots ” making it apparent that the cameramen were risking life and limb when they obtained scenes of the street fighting. The sight of the world’s largest liner, Majestic, being warped into her docß at Southampton is another excellent item in this series. ‘ Hot from Petrograd ’ is the title of an entertaining. number featuring a collection of Russian string musical instruments, while still further catchy music, as well as dancing, is supplied in a clever production" entitled ‘ The Operator’s Opera.’ In keeping with the students’ capping carnival week Miss Iris Mason, at the Christie unit organ, uses her great talent in the interpretation, of some enjoyable carnival numbers. Altogether, the programme is of outstanding quality.

‘LADY FOR A DAY’ MAY ROBSON’S BRILLIANT SUCCESS Even with all its frank improbabilities, ‘ Lady for a Day ’ is, without doubt, one of the most engaging films seen in Dunedin for a considerable time. Opening at the Octagon yesterday, it scored an instantaneous success. It is a picture full of genuine humour, with just enough pathos to keep the humour from becoming too exuberant. If anyone stays

a wav from ‘ Lady dor a Day he is missing first-class entertainment. Dave the Dude (Warren William) is one of those products peculiar to the United States who, with a largo body of followers, makes a lucrative living by skating on the knife edge that separates the lawful from'the unlawful. The police have no means of checking Ins career, but they live, in hopes. Dave is afflicted by a superstition that to buy an apple from a wandering vendor known as Apple Annie is a certain precursor to good luck. Annie is a deElorable and inebriate . specimen. She owever, liifs a daughter whom she has sent to Spain to be educated, and to prevent Louise from knowing how far site bad fallen down the social scale, she writes flowing " accounts of her brilliant social activities. The story opens with Annie hearing that Louise is engaged to marry the son of a Spanish nobleman, and he and the father are travelling to New York with her to meet her mother before the marriage. Dave hears the story with disgust, but his superstition prompts him to provide Annie with a suite of rooms at a luxurious hotel, and with beauty specialists to work the necessary transformation in Annie, who, washed and permanently waved, makes an attractive society dame. After the first step Dave finds himself being swiftly. drawn towards the centre of a maelstrom of perilous complications. He learns that Annie has provided Louise with an imaginary stepfather. He fills the place with Judge Blake, a lawyer who finds his extraordinary proficiency at billiards more lucrative than his profession. Dave’s life becomes a nightmare from the unforeseen dangers that threaten Annie with exposure as an impostor to her daughter and the count and his son. The. worst -risk comes from social reporters, who have a burning desire to interview the mysterious Mrs E. Worth-ingtou-Manville alias Apple Annie. Dave can think of no other protection than to kidnap the reporters as they come, vfntil the United States are boiling with wrath at the outrages. Finally Dave has enlisted practically the entire underworld of Xew York to protect his protege, and as a result has the entire police force of the State at his heels. It is all utter nonsense, but nonsense that is utterly destructive of gravity. The denouncement is as crazy as the rest of the film, and as funny. There is a first-class cast to carry the extraordinary burden. Warren William is perfect as Dave, and May Robson is as good as Annie. Her utter devotion to Louise gives the film just the touch of pathos it requires to bring out the humour. Guy Kibbee, as Blake, is a thorough-paced, but likeable old rascal, and tire manner in which he provides Louise with a dowry should draw every billiard player in town to the Octagon. Dave’s lieutenant, Happy, by Ned Sparks, is another genial, but conscienceless, rascal. One seldom sees a film which so attracts the sympathy of the audience to the utterly unrighteous. The picture is unashamedly “ low brow,” hut it will be a lofty brow indeed that declines to appreciate the fun of it. There is an excellent variety of shorts.

EXCELLENT PROGRAMME AT ST. JAMES BIG DOUBLE BILL Two outstanding attractions comprise this week’s programme at the St. James Theatre, and last night’s audience showed by its applause that it voted each picture excellent entertainment. The lighter side is provided by ‘This is the Life,' an extravagant but blithesome comedy from the BritishLion Studios, which have recognised the value of Gordon Marker as a comedian by starring him in a full-length comedy. Both he and Binnie Hale kept last night’s audience in shrieks ol laughter, the delightful naturalness of this pair of comedians in hectic times following their sudden translation from wayside tea shop proprietors to the ranks of millionaires, and the impressions made upon and formed by society as a result being such that they carry everybody along, delighted and continually expectant, even allowing for the complete absurdity of it all. There is a good story running through the piece. Albert and Sarah Tuttle, played by Gordon Marker and Binnie Hale respectively, are making a thin living by keeping a roadside tea house. Without warning (here descends upon them Mr Diggs, of Diggs, Diggs, Diggs, and Diggs, who announces Sarah’s accession to vast wealth from an uncle who owns “ a sheep farm in Woollomoloo, a ranch in Sydney, and a gold mine in Bendigo." Complications ensue for a while when Albert labours under the impression that the solicitor is an escaped lunatic who has been going about informing people that they have come into fortunes. However, the position is ascertained in time, and the fun then becomes fast and furious, Albert and Sarah launching themselves into society in London, to the stunned amazement of society. They change the pronunciation of their name to Tn-tell, and entertain London in more senses than one. Their‘newfound bappiess is complicated with the arrival from Chicago of two gunmen whom the deceased uncle was supposed to have double-crossed. Very few funnier things have been perpetrated in films than the singing by the pair of the ‘ Miserere ’ duet to a party of titled guests at the lavish banquet, concerning which the host and hostess do not neglect to supply all the details. All through the picture carries the hallmark ot outstanding, clean British comedy, directed by Albert de Courville with a sense of restraint which enhances its entertainment value. Some of its dialogue is so subtly clover that it catches an audience completely by surprise. The story rollicks from simplicity to grandeur with startling suddenness, and there is an unexpected denouement which adds to the enjoyment of the film. Romantic interest is not lacking, and Betty Astell and Ray Milland provide it. The film is amusing from start to finish, and it is so well acted that it should attract large audiences during the week. The first half of the programme i|

occupied by a most graphic picturisation of the successful attack upon Kamet, mightiest of the Himalaya giants yet to be conquered by man. Preparations and the attempt itself are splendidly filmed, the story is modestly yet forcefully told by the leader of the expedition whose whimsical sense of humour is delightful. One cannot help but pay tribute to the endurance of the cinematographer who recorded this mountaineering triumph under such difficulties. The views of the mighty peak itself as the ascent progresses and of the unbelievable panorama unfolded from heights of over four miles are so fascinating that the outburst of applause at the conclusion of a long film was quite understandable. It is a thoroughly commendable bill at the St. James this week, each of the two big fdms being well above the usual in its own particular type. The programme will be repeated tonight and during the week.

GAY. ENTERTAINMENT AT STATE ‘FALLING FOR YOU' CONTINUES The humour of Jack .Huibert has been dispensed to theatre-goers through a variety of amusing channels. There were the janitor of ‘ Sunshine Susie,’’ the detective of ‘The Ghost Train,’ the policeman of ‘ Jack’s the Boy,’ and the shop-walker of f Love On Wheels ’ to provide their feast of farce and foolery. Mow there is the newspaperman of 1 Falling For You ’ to carry on the tradition. Now iu its second week at the State Theatre, this latest contribution of a famous comedian satisfies'"as completely as any of its forerunners.

The journalistic connection is merely incidental and, apart from explaining the presence of principals in the scenes, is of little importance to the story. The interest, indeed, is rarely concerned with plot or continuity. Halbert’s brilliant inanities, his clever posturing, and his comic ' contortions completely dispense with the necessity for any merit other than that which he himself bestows. His efforts to learn ski-ing at a resort iu the Swiss Alps start the film off with a laugh as hearty as any he has ever raised before. Shortly lie shows himself to be a skater of consummate skill, and then his old accomplishments of singing and dancing, done to a familiar accompaniment of brisk clowning, show that he is at the top of his form. But while most of the honours may be Hulbert’s, others in the cast add a quota of fine fun. Especially there is Cicely Courtneidge, concerning whose performance there can be no two opinions. .As Minnie Tucker, the .irrepressible newspaper representative who is endeavouring to beat Huibert to the “ story ” behind the intrigues of a certain crafty arch-duke, she achieves as distinct a screen triumph as does her opponent, and, as usual, manages to make herself ridiculously and delightfully foolish. Tamara Dcsni, as the heroine who is pursued by an unwelcome suitor, is demurely charming, and, in addition, displays an adept grace on skates. Garry Marsh and Alfred Drayton handle important rules with ability. The first half of the programme includes a well-chosen selection of newsreels by British producers, the commentator leading his audience from one subject to another by an ingenious play upon, words. Of absorbing interest is a picture called ‘ The Other Half ol the World,’ showing the daily life of people in India, Egypt, and other parts of the I'lasteru world, with, iu addition, a glimpse of Rotorua.

DRAMA OF PERMANENT WAY INTRIGUES ABOARD ORIENT EXPRESS Enacted to the accompaniment of a roaring express train, and taking stock of the unusual events likely to occur when a mixed freight of human beings is brought together in the confines of the cars that go to make up tho train, an intriguing 'drama is to be found in ‘ Orient Express,’ yesterday’s now release at the Grand Theatre. Comparing quite favourably with the recent films of its type— 1 Shanghai Express ’ and ‘ Rome Express ’ —it adds another success to the growing list of films having railway travel as a background. This film, may be criticised, as was done . with its predecessors, for being merely the exploitation of past successes, but such criticism is scarcely justified when one has to admit immediately that the background afforded by a railway journey is ideally suited to action dramas. The rapid movement of the train adds impetus to the development of the plot, and the interest of the audience is kept keyed up to concert pitch. How a group of people crossing Europe from Osteud to Constantinople became involved in the broil of political upheaval in the Balkans is the outline of the strongly developed story. An English girl sets out to fulfil a dancing engagement, but on the way meets a rich young American merchant who falls in love with her; a thief and murderer, fleeing from his crimes, finds a sudden and unexpected death; and a woman journalist joins the train on the track of a sensational story, sleuthing a Communist leader, who is returning to the Balkans in. the pose of a quiet English schoolmaster on holiday, but who has really laid plans for nib uprising. As the express thunders on, all these people arc brought into contact and become implicated to varying degrees in the Communist plot. The play is one which starts well and sustains interest to the finish. Ft is at all times artistic and thoroughly convincing. An attractive feature is that although there are several wellknown players in the cast, there is no undue insistence on any one of them. The play is in this respect exceptionally well balanced. The cast has been selected with a good deal more care than are most casts, probably because almost everyone who appears on the screen has some more or less important part to play. None of the actors, by virtue of the action taking place on a train, is obscured by extras. The charming dancer is faultlessly acted by Heather Angel. Of no less importance are Norman Foster as the young business man responsible for the romantic interest, Ralph Morgan ’3s the plotter against the Government of a small European State, Roy D’Arcy as an example of the cleverest type of Continental thief, and Herbert Mnndin and Una O’Connor as a bewildered Cockney man and wife. , Any suggestion of faltering in the ceaseless action, or weakness in the plot structure would be glaring flaws in a setting such as is provided in ‘ Orient Express.’ There is, however, no such weakness, except, perhaps, that Contral Europeans in the film speak with an American accent. Able direction by Paul Martin, reinforced by the splendid acting of the principals, has provided a drama which preserves unbroken unity and continuity from the start of the journey, which does not concern the audience after it has been about half-completed. When a bridal partv joins the train at Budapest it provides a splendid relief from tie

tense, atmosphere, which up to_ that time characterises the story. This entry permits the appropriate presentation of several beautiful Hungarian songs and melodies, charmingly performed by native singers and musicians.

Interest is added to the programme by the screening of the recent Walla Walla-Harold Logan race at Addington, a 11 short ” which every racing enthusiast will appreciate. Two other Fox Movietone Newsreels of overseas events are screened, in addition to the latest ‘ Magic Carpet of Movietone.’ this time dealing with and showing the activities of ‘ Flemish Folk.’ Another of those dives into the dim past of movies is presented, and the action which now appears hideous, together with the bristling wit of the narrator, provides excellent entertainment.

MODERN ‘ TAMING OF THE SHREW ' HILARIOUS ACTION AT THE RECENT In one sense England and America have joined hands in the making of the Regent Theatre’s present picture, ‘ You Made Me Love You.’ Stanley Lupino, who has starred in several British comedies, and Thelma Todd, more particularly known for her work with Zasu Pitts in American comedies, arc cast together in this picture, which, if accepted as an extravagant farce, has considerable entertainment value. It tells the -modern story of ‘The Taming of the Shrew,’ but in this instance the shrew certainly outclasses Shakespeare’s Katharine. She is a spoiled beauty, and is judged by the hero solely by her facade. He lias never seen her in action, and has an ovadicablo desire to marry her.

Stanley Lupino again proves _ himself a comedian in every may. He is never still, and never a move is masted, and. in fact, lie is so funny and so clever that a better story than this one is not needed to show his worth. He falls in love at first sight in a traffic jam. pursues and loses his lady, writes and sings a song about her, ‘ Miss What’s-Her-Name,’ arid by a lucky chance finds •she is the sister of an old college chum. However, when he approaches her with his- proposal of marriage, she immediately rejects him by throwing him downstairs. When the suitor finds that both the girl’s father and brother of his idol manifest signs of extraordinary joy at the bare fact of anyone wanting to marry her; he should have been suspicious, one naturally thinks. But not this suitor, who returns with a suicidal tenacity of purpose to conspire with the father and brother to trick the human cyclone into marriage. He poses as the ruthless mortgagee, determined, unless the girl marries him, to ruin her father. So she marries him, but only goes on the honeymoon with him because she is handcuffed to him. The remainder of the story tolls how the young husband subjugates the earthquake be has married. ' He' relies on the principle that hard work and starvation will tame the most ferocious of wild animals, but this does not have very much eficct upon the wife, except to whet her insatiable appetite for violence. There have been manv war films showing less destruction “than the girl in this story when she attacks the harmless husband. The story is very ingenious, and well done. From the scene in which Lupino arrives late at the church (ho had waited to finish a game of golf, and had not bothered to change out of plus-fours), f:lio audience is kept continually laughing. ■ Lupiuo’s performance at every point is perfect, but perhaps he reaches the greatest height in the solo scene, when he serenades from the yard of the desolate country inn, where he has dumped the girl for the night. It is in the few minutes that this scene takes that he runs through the full range of his versatility—acrobat, clown, mime,: singer, and inspired lunatic. The part is one- that only Lupino could take. Despite her role as a bag of wild cats, Thelma Todd is a distinctively attractive figure. A review of ‘ Yon Made Me Love You’ would not be complete without mention of the musical interludes, which are catchy and altogether enjoyable. The novel serenade number is the gem, i The first half of the new programme contains several pictures of more than ordinary interest. The Ely Culbertson bridge game not only, gives a lesson to card lovers, but also provides entertainment for those who are otherwise uninterested in the game. A sporting film deals with all manner of craft riding the water under sail, and a Mickev Mouse cartoon is particularly full 'of detail. The other items are also enjoyable.

TWO MERRYMAKERS SLIM SUMMERVILLE AND ZASU PITTS What is described in the film as “America’s fifth largest industry ” the breach-of-promise business—-is used as the basis for ‘ Love, Honour, and Oh, Baby,’ the latest burst of merrymaking by Slim and Zasu.Pitts, which began yesterday at the Strand Theatre. In some ways it is the best of the popular scries of feature-length comedies in which this pair has appeared, for the situations contain genuine humour. Slim this time is a lawyer, very successful so far as the number of his clients is concerned, but not so successful when it is seen that' all his clients are behind bars 1 But Slim has a fiancee, the dolorous Zasu, and she has ideas about making money. Her best effort in this line is a positive inspiration, but it results in many comical complications. There is a rich banker in the town who has a reputation for amorous interludes with his fair employees, and Zasu decides that she will work up a breach-of-promise case against him, with herself as the wronged party and with Slim as her lawyer. The plot works well—and on most amusingly unorthodox lines—but the evidence against the banker proves to be of the frailest, especially when one of the plaintiff’s leading witnesses is bought over by the other side. However, Slim has to go ahead with it, for failure to win the case means an indictment against him of blackmail. The fun reaches its height in the court scene. The amorous banker is a strict vegetarian, and the most incriminating letters he has written to Zasu are simply instructions about her diet; but the extraordinary interpretations which the plaintiff and her lawyer, working in close collaboration, manage to place on such prosaic words as “spinach” and “carrots” swing the jury to their side, to the tune of several thousand dollars. And as their victim is really an old reprobate, their victory, though unethical, is quite justified.

The story gives opportunity for many shrewd thrusts at ,the legal profession,' and taken in the spirit m which they are made they are the cause ot much laughter. The dialogue has more wit than is usual in a film of this nature, and all the comedy characterisations are well handled. Of Zasu and Slim

is enough to say that they are at the top of their form—more than ever a look at their faces is enough to cause chuckles—while George Barbier is almost as funny as the podgy banker, who has more than a proper interest in his filing clerks. Lucillo Gleason, Donald Meek, and Verce Teasdale also fit in well with the general pattern of comedy. Laughter is also to the fore in the supporting programme, with a Louise Fazenda comedy and a musical revue. In addition there are some interesting news films.

MEMORABLE ROLE WILL ROGERS AS " OR BULL " An example of acting so accomplished and spontaneous as never to seem anything else but tho reality it is represented to be ,is given by the famous and popular Will Rogers, in his latest film, ‘ Dr Bull,’ which will be screened at the King .Edward Theatre to-night. Associated with him are several .screen notabilities—namely, Marian Nixon, Louise Dresser, Ralph Morgan, and Vera Allen. Dr Bull, from whom the picture takes its name, is the central and dominating figure, and is a medico in a small American town. The time of the action is winter, and begins on Christmas Day, when the doctor, a man a little above middle age, happens to be wanted in two or three places at once. Through his aged mother’s having left a telephone receiver off he gets no messages, and so goes off’ to church, where a comprehensive idea of the town’s state of thought is given. Much of it is very comic, but there are naturally serious elements, through all of which Dr Bull goes, kindly and solicitous for those in sorrow and suffering, ministering not only to those in physical distress, but also to those afflicted in any way at all. By his cheerfulness and dry wit he has endeared himself to almost everybody, but his truthful outspokenness has on occasions earned dislike for himself in some quarters, and his indifference to certain conventions has given malicious gossips excellent opportunities for scan-dal-mongering. Another impressive drama, entitled ‘ Storm At Daybreak,’ will also he shown, in it arc featured Kay Francis, Walter Huston, and Nils Asther.

ARRESTIHQ’.-DRAMA THREE BARRYMORES IH 'RASPUTIN' ‘ Rasputin and the Empress,’ probably the most discussed motion picture of many years, is screening to-day and to-night at the Green Island Cinema. Added interest was given the screening of tins film by reason of the fact that it caused a sensation .in England recently when Princess llina Youssoupoff was awarded £25,000 against the producers. She claimed £IOO,OOO from the M.G.M. Film Corporation, 'alleging that the character of Princess Natascha m the picture, was so thinly veiled that people throughout the world recognised it as herself. John, Ethel, and Lionel Barrymore starred in the principal roles, appear together for the first time on the screen during their respective careers. Ethel Barrymore makes her first appearance in' a dialogue picture, and has her first film role in a number of years. The film presents the personal details of the career of Russia s “Holy Devil,” from Jiis -birth m. a peasant community .in Siberia through his rise to power, his association with the Tsarina and Ins mysterious control of the Romanoff Court. John' Barry--more has the part of Prince Chegodicft, intimate friend of the Tsar and Tsarina. Ethel Barrymore plays the Tsarina, while Lionel Barymore js seen as Rasputin. Diana Wynyard is cast as Princess Natascha, the romantic lead opposite John Barrymore. The role of the Tsar is filled by Ralph Morgan, and that of the little Tsarevitch-by Tad Alexander Other important roles are played by C. Henry Gordon and Edward Arnold.