PICTURE THEATRES

Evening Star, Issue 21723, 18 May 1934, Page 11

PICTURE THEATRES

GRAND Lilian Harvey, the charming Continental actress who made such a favourable impression in her first American film ‘My Lips Betray,’ adds to her reputation in ‘My Weakness,’ which opened a season at the Grand Theatre to-day. Sheer light-hearted comedy from beginning to end, tho film is excellent holiday entertainment. An invitation to take what follows in a spirit of pure fun is issued at the beginning by the appearance, out of a cloud, of an over-worked eupid, clad in a top hat, who proceeds to relate, with tho aid of the camera, the story of one of his most difficult tasks, it is a highly-diverting story concerning a quarrel between a rich manufacturer and his nephew on the subject of women, which ends in the nephew claiming that he could transform any woman, even tho maid cleaning tho office, into a young lady of fashion, and marry her to a man of wealth and position. The manufacturer takes him at his word, and threatens to stop his allowance until he has proved his claim, and the nephew is left in the awkward position of having to make the unattractive office maid into a lady. Me calls to his aid a number of his feminine acquaintances, and under their expert tuition his protege progresses surprisingly. Not only does she succeed, after several vain attempts, in infatuating the manufacturer’s unimpressionable son, but she draws-a proposal from the manufacturer himself. The film reaches a climax when tha nephew, too, begins to fall under her spell, and regrets the eagerness with which lie has introduced her to his relatives. Lilian Harvey is admirably cast in the principal role, and gives a fascinating performance, while Lew Ayres acts attractively opposite her, Charles Bnttenvorth, Sid Silvers, and Henry Travers make the most of some excellent comedy situations. Excellent supporting features give a balance to an enjoyable programme.

EMPIRE Dunedin tUmgoers will welcome the return of one of the screen's most talented comedy teams, the four Marx Brothers, who commenced a season at the Empire to-day in their latest comedy, ‘ Duck Soup.’ With an established reputation for amusement the Marx Brothers gave memorable performances in ‘Animal Crackers’ and ‘ Horsefedtbers,’ but their latest produ'etion undoubtedly surpasses all their previous successes. From beginning to end ‘ Duck Soup ’ keeps its nudietn'es in continual merriment by the amusing antics of the brothers and their rapid shafts of wit. The story deals with tbo adventures of the quartet in a mythical republic, Erecdonia, the laud of carefree dalliance and the home of the knave, which is threatened by revolution. Groncho Marx as Rufus T. Firefly becomes dictator of Freedoms, with his brother Zeppo ns his secretary. Events move quickly, the humorous situations caused by the actions of the Marx brothers leaving never a dull moment for the audience. War eventually breaks out between the two States, and Harpo and ,Chico desert to Groueho’s forces. By a mischance the four brothers and a wealthy Frcedonia widow, a Mrs Teasdale (Margaret Dumont), are besieged in an isolated bouse, from which they broadcast a plea for help to the whole world. While succour in the shape of regiments, tanks, lire brigades, and motor cycle detachments is rushing to their aid events reach a sudden climax when the Marx brothers capture Trentino, the Sylvaniau ambassador. The picture is undoubtedly p triumph for the Marx brothers, and it further enhances their reputation as a comedy combination. Splendid portrayals are also given by the strong supporting cast, notably Louis Calhern as the ambassador, and Margaret Dumopt and Vera Marcall.

OCTAGON Every now and again there comes to the talking screen a production which overshadows all others by virtue of its human story and the acting of its players. Such a picture is ‘ Emma,’ which began to-day at the Octagon Theatre, and which is the crowning achievement of .Marie Dressler’s triumphant career. This popular player has the faculty of being able to vary her acting to suit whatever stylo may be required, and in the innumerable characters she has represented it is always Marie Dressier who is subordinated with facile skill, and any particular character brought before the eyes and minds of the audience with consummate case. The story is full of quick .humour alongside subtle pathos, but the brusque manner of Emma never mixes the two, and the waves of laughter she creates at will are as easily stilled when she chooses to change to more serious vein. The picture is a triumph for Mario Dressler’s superb stagecraft and emotional technique. The director, Clarence Brown, can always be depended on for unusual touches, and the new Dressier vehicle is another instance in which clever direction helps in raising a picture far above the average. The work of the supporting cast leaves nothing to he desired, Richard Cromwell, as the youngest son, who remains loyal to his stepmother, gives a performance which is equal to Ins best. Jean Hersholt, as tile millionaire, is, as usual, sympathetic and convincing. Excellent work is also done by Myrna Eoy, John Miljan, Purnell Pratt, Leila Bennett, Barbara Kent, and Kathryn Crawford. ‘ Once to Every Woman,’ the other picture, is gripping, intelligent, and invariably interesting screen entertainment. Few motion pictures have ever moved in a manner akin to the sensations experienced while witnessing Hi is new Columbia film, which is a screen version pf A. J. Cronin’s ‘ Kaleidoscope in K.’ The story tells bow the lives of some dozen persons became fatefully enmeshed in the love affair of a beautiful and highly-talented young woman. This Mary Fansbawc, as strikingly portrayed by Fay Wray, becomes a vivid. living character, experiencing at first a romance that was predestined for failure, but revelling later in the consolation of a greater and stronger love.

STATE 'live respectable married couples, the missing of a train by the husband of one and the wile of another, the on‘orccd companionship of the two in a lonely country village, and the search of the other parties interested, form the circumstances of many humorous .Sequences in the Ben Travers farce, 1 A Cuckoo in the .Vest,’ which heads the current programme at the State Theatre. Tom Walls ami Ralph Lynn enact the leading roles, which suit their style of acting to perfection, just as did 1 Rookery Xook,’ by the same author. It almost seems as if the farco was written with them in mind, so perfectly do they fit into the foolery and so easily do they interpret the more subtle points of a Travers who is by no means invariably subtle. The plot is .slender, and what there is of it coni res; roiiin) a hedroojq scene, but

the predicament of the two who are thrown together for the night in a wayside inn, tho suspicions of a more than usually suspicious mother-in-law. tho burbhngs of her long-suffer-ing'husband, and the sustained indignation of the landlady, provide sufficient material for a comedy extraordinary. Ralph Lynn excels himself as tho constantly befuzzled and hen-pecked Major Bone, whoso worldly experience was gained “ during just an ordinary public school education,” whose taste in clothes is almost as unfortunate as his barber’s taste in hairdressing, but whoso eyes are just ns wicked under bushy brows as in his most sophisticated roles. Mary BrOugh plays the pouter-like inn-keeper whose inquisitive nature is only equalled by her strong sense of propriety—the “daily woman ” of ‘Rookery Nook’ come to life again. . Yvonne Arnaud loves malting trouble for Ralph Lynn to flounder in, and she lias plenty of chances to do this in ‘ A Cuckoo in the Nest.’ Robertson Hare is happy ns the Rev. Slolcy Jones, the curate with the motor cycle, and all the minor parts are well filled, even that of the “ local yokel ” and the village idots of Maiden Biottou. In fact, ‘A Cuckoo in tho Nest ’ is such a thoroughly wellbalanced and pleasing comedy that it cannot but please its Dunedin audiences. The supporting programme includes the second instalment of ‘ The Life of the Prince of Wales.’ REGENT For at least a week advertisements in the Press concerning ‘ Only Yesterday ’ led the public to expect a lot, and the publicity man at the Regent Theatre would have cut an unpopular figure if the picture had no.t been as good as he promised. But no words of his in the least exaggerated the quality of the film or the enjoyment it would afford patrons. The superlatives bestowed on it were thoroughly merited, as.testified by those who saw its initial screening to-day. It deals with a love that had its brth in New York about the time of America’s entry into the war, and when the armistice was signed a beautiful woman, who had loved well but not wisely, was the mother of a son of an Army officer. The man’s memory is short; he soon forgets; but tho woman, who loved her child as she did its father, carried her poignant memory through the years, hiding her secret from the man in fear that it might upset his life. Thai is but a glimpse of ‘ Only Yesterday,’ the title derived from the. fact that in spite of time the first love was only yesterday to her. Miss Margaret Sullavan, who has made an auspicious debut in the film world, is a delightful little lady, full of personality, favoured by pretty looks, charming mannerisms, and cultured voice. No one could have played the part better, and the same applies to John Boles, who has never given a more pleasing performance. All the supports are of an unusually high standard.

ST. JAMES Following the success of ‘ Cleaning Up,’ his first screen success in the realms of comedy, George Gee is starred once more in ‘ Strike it Rich,’ a British Lion, production, which began at the St. James Theatre to-day As in the other production, he takes the role of a penniless young man, Eddio Smart, who is the laughing stock of the firm for which he works. He represents hair tonic manufacturers, and apart from his clumsiness he has only two outstanding qualities—his inferiority complex and his craze for dancing. One morning he absent-mindedly dances right into the office of his terrifyingly’ stern employer, and there is trouble all round. Even Mary (Gina Malo), bis sweetheart, loses her patience with him, and refuses to go out with him to lunch. Eddie waiiders despondingly through the streets. His attention is attracted by the window of a phrenologist’s shop, and he goes in to Lave his bumps measured. Sankfey. tbo phrenologist, bewilders him on his entrance, complimenting him on the remarkable head and comparing the measurements with those ot a. bust, <.f Napoleon. He finally tells Eddie, that he must be Napoleon the second—a Napoleon of finance. Eddie leaves the shop a changed man, couvincecj that henceforth everything he touches will turn to gold. From that stage the plot resolves itself into a series of mirthful incidents, in which George Gee final I v emerges triumphant. This picture is preceded by excellent supporting subjects. ’ •

STRAND .Romance, comedy, melodrama, and pathos are cleverly mixed in ‘ Bureau of Missing Persons,’ which commenced a season at the Strand Theatre to-day. With a east headed by Bette Davis. Lewis Stone, and Pat O’Brien the production should please audiences. The real drama of the story centres round the mysterious and fascinating figure of Norma Phillips, played with feeling and conviction, by Bette Davis, who nearly turns the Missing Persons Bureau upside down and inside out in her efforts to locate the only man in the world who can clear her of a charge of, murder. Glenda Farrell, who has yet to give a bad performance, again carries off high honours with her pert role as a bigamous wife. Pat O’Brien, as Butch Saunders, is detailed to workon her (aiso, and falls in love with her almost from their first meeting. But mi true Jove’s course ever ran,rougher than does the experience of these two before Nonna and Butch finally get their man-—with the shrewd assistance ot Lewis Stone as Captain Webb. Good performances, besides those of the actors already mentioned, arc given bv Man Dinehart, Bath Donnelly, 'Marjorie Gatcson, Noel Francis, Charles bcl on. Helena Phillips, Wallace Clark, and lad Alexander. The supporting programme is of this theatre’s usual excellent standard, and includes the latest topical gazettes of interesting events throughout the world.

KIKC EDWARD ‘ There Goes the Bride,’ which is tho current attraction at tho King Kdward t heatre, is an outstanding example of the trend towards the removal of superfiuous dialogue. The idea is said to have been evolved by Albert Do Qour'.i. 0 ’ * le "ch-known stage director, who lias based his picture technique on the idea that when action can be told pictonally dialogue should bo omitted. “ Tho picture is like a man,” he declares. 11 A man of few words will always make his most effectivc. People who talk a great deal fad to obtain listeners.” Comparing stage and talkie technique, Mr Do Coumlle points out that audiences can watch real people on the stage conversing lor a quarter of an hour without becoming bored; on the .screen, on the other hand, the audience becomes restive alter the images talk for more than throe minutes.