PICTURE THEATRES

Evening Star, Issue 21825, 14 September 1934, Page 16

PICTURE THEATRES

THE IRREPRESSIBLE GRAGIE RIOTOUS SUCCESS IN ‘LOVE, LIFE, AND LAUGHTER ’ After several months’ absence from the screen, Graeie Fields makes a delightful return in ‘ Love, Life, and Laughter,’ which opened its local season before a large audience at the Empire last night. Singing and joking her way through a hopelessly improbable story, the irrepressible Graeie scores yet another triumph. It is a picture that lives up to its name, for it provides a continual round of merriment with Grade Fields, England’s queen of musical comedy, m what is her best role since she became a film star. It is a musical extravaganza with no pretensions to be anything but hilarious entertainment in which there is’ much singing and a boisterous romance between Graeie Fields and John Loder, a talented actor who has returned, to England after achieving a considerable amount of success in American Aims. Graeie Fields, of course, has most of the stage, and her exuberant personality and her delightful singing voice keep the audience in a merry mood from beginning to end. There is mostly comedy in the film, but occasionally the audience finds itself suddenly brought face to face with pathos, only to be back again in side-splitting laughter almost immediately afterwards. The popular Lancashire comedienne radiates happiness and she achieves groat success with' her now song hits, ‘ Love, Life, and Laughter,’ ‘ Cherie,’ ‘ Out in the Cold, Cold Snow,’ ‘ I’m a Failure,’ and ‘ Riding in the Clouds.’ As Nellie Gwynn, the daughter of a publican, Graeie Fields captures the heart of Prince Charles of Granau (John Loder) when she is taking part in a carnival in aid of charity and throws an orange which accidentally hits the King of Granau in the eye. By this means she makes an unconventional introduction to the Prnice, who invites her to a great ball at the Legation. Here the lass from Lancashire breaks through all the conventions and nearly stages a riot when she bursts into exuberant song. The young Prince is supposed to become engaged to Princess Grapfel, and thus assist his country In negotiations for a loan, but he cannot go through with his part and instead escapes with Nellie and becomes a film actor. The romance moves swiftly and boisterously until news conies to hand of the death of the King of Granau, and the young Prince is called upon to leave for his own country and succeed to the throne. Nellie and her father visit him at thetime- of • the coronation and cause a merry mix-up, which, fortunately, is straightened but in time for everyone to live happily ever after. The supporting players are well chosen to represent a medley of interesting characters, each of whom contributes in some measure to the merriment which the film provides. As lively 'entertainment ‘ Love, Life, and Laughter ’ is the best of good fare. ‘ Little Red Hen,’ a coloured cartoon, is a particularly enjoyable film in the supporting programme. GAYNOR AND FARRELL REUNITED AT STATE Winfield Sheehan, vice-president and general manager of production at Fox Film, is the man responsible for Janet and Charlie’s professional reunion in ‘ Change of Heart,’ which commenced to-day at the State. In the new offering which brings them back to the,screen, however, he has introduced two significant changes, ‘ Change of Heart ’, is the first picture definitely to present Janet in a grown-up role, and it is the first to reveal the two stars in a realistic setting. Ever since ‘ Seventh Heaven ’ the celebrated duo appeared in films of a purely idealistic type. But with the country cheerfully on its way back to prosperity and the public now in a mood to look back over the past four years with real relief. Janet and Charlie abandon idealism and present brand-new portrayals to their admirers. It is a new and more mature Janet who appears in ‘Change of Heart,’ a Janet who has laid aside the juvenile aspects of her former films in favour of a womanly characterisation. And the story, taken from Kathleen Norris’s vivid novel of romance during the depression, ‘ Manhattan Love Song,’ gives her a suitable vehicle in which to make his transition. Dealing in very human fashion with the joys and sorrows of four young people who after leaving college struggle against the trials and vicissitudes of a great city, the theme and its trenchant handling of common problems make the picture a unique® one in the Gayrior-Farrell annals, and one that promises to become an outstanding screen hit of the year. John Gi Blystone, whose long list of successes includes snob films as 1 My Lips Betray ’ and ‘ Tol’ablo David,! directed the production. Sonya Levien and James Gleason collaborated on the screen play, with Samuel Hoffenstein furnishing additional dialogue. Miss Gaynor and Farrell are supported by a good cast, which includes James Dunn and Ginger Rogers. REGENT A gay, inconsequential farce under the appropriate title ‘ Happy ’ is the attraction which commenced to-day at the Regent Theatre. Stanley Lupino is the leading light, and he has some able lieutenants in his laughter-making campaign in the persons of Will Fyffc, Gns APNaughton. Jimmie Godden, Harry Tate, Laddie Cliff, and Dorothy Hyson. ‘ Happy ’ is also the name of the theme song, a catchy air which for the purposes of the story proves sufficiently successful to lift its composers from penuriousness to comparative affluence as the leader and pianist respectively of a Parisian orchestra. Stanley Lupino as the man with a baton in • r \ jazz orchestra is sufficient to make any evening. a success, but when he has to pretend to be the owner of a chateau at which the orchestra has been engaged to provide the music for a oarty, and still keep his musicians going, he is what may he described as a positive riot. The deception is made necessary by the fact that Lupino is endeavouring to sell to an American insurance magnate a device to prevent motor oars being stolen, and is at the same time pressing his suit with the magnate’s daughter. Though the plot plays its part by enabling Lupino to he placed in the situations in which ho seems to revel, it is subordinate to the ever-flowing stream of merriment which is kept moving at a fast rate by an admirably-selected cast of English players. ST. JAMES The inimitable American comedian, Eddie Canor. who is known by all filmrroers for bis annual production of a musical extravaganza, is seen in perhaps the most popular of all his pic-

tures, 1 Whoopee,’ which commenced a return season at the St. James Theatre to-day. It is a new print of the film which received such enthusiastic support when shown in Dunedin three years ago. It is a musical comedy produced on a grand scale with a delicacy and correctness of natural colouring upon which it would be impossible to improve. With glimpses of r untain scenery and the celebrated New York chorus girls showing to what extent art and training can reach in their work, the film is elaborate in its variety. Like old wine this picture is the better through age. Its over-popular wit is once more presented in refreshing form. When Eddie and Mr Underwood are sprawled on the kitchen floor “ swapping ” operations, when the hero plays the blackface singing cook after being tangled up in an oven when a gas explosion occurs, when he plays the mountain bandit for a couple of gallons of petrol, and when lie is created a “ brave” of the Indian tribe, the audience is swept with laughter. Every now and then a roll of the eyes or some little twist of movement calls for further chuckles. One of Eddie's strong points is his “ Garden of Eden look ’'—nothing said, but a lot meant. There is a harmless spice to this picture which only Eddie could make such a success. For the last four years dance bands have been playing, housewives have been humming, aiid message boys have been whistling those happy tunes: ‘Whoopee,’ ‘The Girl Friend of a Boy Friend,’ ‘I Belong to You,’ and ‘My Baby Just Cares for Me.’ Sung and acted in Cantor’s distinctive manner, these hits have a particularly bright appeal, and the accompaniment is played in just that way to get everybody’s feet tapping. The production is right up to date in technical details, so the public is treated to what amounts to a recent picture. No trouble or expense was spared to round off the settings, and the scale on which they are done is another feature worth seeing again. The supporting programme is of the St. James usual high standard. 86TAG6N The story of a baffling murder always makes a film of gripping interest, and ‘ The Four Masked Men,’ which commenced at the Octagon today, is no exception to the rule. The plot is handled with subtle cleverness. Immediately followingj ai% intriguing murder several baffling clues <tre paraded and suspicion is allowed to rest on numerous players. One by one they are eliminated, the story working up to a totally unexpected climax. ‘ The Four Masked Men ’ is one of the finest examples of a film depending for its interest on the principle of suspencc. One of the largest and most beautiful sets seen in a British film was used for the final scenes, and occupied two-thirds of the floor space available at Twickenham Studio. It was constructed by James Carter, the art director and represents the presidential palace in Peruvia, on the occasion of a ball held by the President. During the activities masked men invade the ballroom and hold the company up, while others rob them of their jewels. The scene is the key scene to the picture, because it is during this daring hold-up that Sebastian Shaw (as Arthur Phillips) recognises one of the bandits—a discovery which is later to cause his own death. A well-dressed crowd of nearly 200 extras throng the dance floor, and later a specially-picked tango of dancers perform a graceful tango in this brilliant scene, which promises to be one of the most spectacular ever seen in a British production. Twickenham are determined to live up to their announcement that no expense would be spared in the production of their British pictures. Judy Kelly, who plays the leading feminine role, was born in Australia in 1913, and she is supported by players of the calibre of John Stuart and Athole Stewart. The supporting programme is in keeping with the merit of the main feature. GRAND Since its local premiere at the Grand Theatre on Wednesday, the double-featured programme, comprising ‘ Handy Andy ’ and ‘ Wild Gold,’ has been acclaimed as the best entertainment of its nature that this theatre has secured for some weeks. ‘ Wiki Gold,’ featuring John Boles and Claire Trevor, is the first 'attraction. The film recaptures the gaiety, drama, laughs, and romance of the roaring ’forties in a modern gold rush, lu it is told the, story of a woman who leaves her unstable husband and finds romance in a small mining town in the American west. Claire Trevor is the woman who leaves the city in one direction while he goes in another. When her car breaks down on the outskirts of a small town which is experiencing something of a revival of the days when the gold diggers' had thronged there in . thousands, she meets a young engineer with whom she has already -had a rather unfortunate acquaintance, but despite the unpropitious beginning romance springs up between the two, and they agree that she shall secure her divorce. Just at the wrong minute the husband appears on the scene. He resorts to his old way of living, this time with more disastrous results for himself, and the film concludes with the true lovers united and everything as it should be. It is not difficult to imagine what happens when Will Rogers, as a druggist whose main desire is to, work in peace, ultimately gives in to a nagging wife, disposes of his business, and learns to play, not a musical instrument, but with all sorts of hobbies. This he does in the other feature, ‘ Handy Andy.’ The results are excruciatingly funny. However, the climax comes when his wife persuades him to take a trip to the Mardi Gras in New Orleans, and the peace-loving husband is moved to violent rebellion when his better half suggests that he should don some sort, of fancy dress to attend the Comus ball. 01 all the costumes one could think of, he chooses a Tarzan rig, which creates quite a sensation in the ballroom, where by his rough and tumble methods of dancing lie finishes up in gaol. This completely cures his wife of her ideas of making anything out of him Amt a druggist, and she even pleads with him to go back to their quiet home, but there is a surprising finish that rounds the comedy off iu a most satisfactory manner. STRAND lu ‘ Tlie Countess of Monte Cristo,’ which commenced to-day at the Strand Theatre, Fay Wray is depicted as a most modern young person—a foil indeed for her deceptive Jeykll and Hyde existence. Every ingredient for the subtle thrusts of a good comedydrama arc contained in this film, which, besides being most unusual in theme, has the added quality of polished acting bv a uniformly strong cast. The story tells of the adventures of a film studio employee, whose part of a. countess in a film brings her to a realisation of the sordid side of life. Relinquishing her position, she departs for new surroundings—a luxurious hotel, the habitat of the idle rich. By mischance, she is welcomed in an ostentatious manner as the Countess of Monte Cristo, Meanwhile

the police are looking for the young women, who made a hurried departure from her work in company with a stolen motor car. While at the hotel she meets a notorious baron, who provides her with apparel in keeping with the person whom she is impersonating. A newspaper man after a “scoop,” and an international criminal with an unsavoury reputation here step into the story. The latter forces his attentions on her, but is repulsed. With the ever-closing police net encircling her, the bogus existence is in danger of being exposed. Here, the criminal comes to her aid, and by surrendering himself to the police allows her to make her escape. Eventually, the mo-tion-picture people give the woman hack her employment, and the film works up to a pleasing and entirely satisfactory conclusion for all concerned. There is a good supporting programme.