PICTURE THEATRES

Evening Star, Issue 21845, 8 October 1934, Page 3

PICTURE THEATRES

EMPIRE All the ingredients of thrilling entertainment are contained in ‘ The Eagle and the Hawk,’ which is attracting large audiences to the Empire. It is a dashing and tragic story dealing with members of the Hoy a I Flying Corps during the Great War. The two principal characters, although thrown together as comrades in the one-fight-ing plane, retain their personal hatred of each other, although their dual .exploits are remarkably successful. There are many spectacular flying “ stunts,” including parachute jumping from high altitudes. Jerry Young (Fredric March) is an expert flyer, whose sensitive temperament revolts against the idea of incessant muvder in the air. Ho is “ the Eagle,” while Henry Crocker (Cary Grant) is ‘‘ the Hawk.” The latter revels in the vicious, death-deal-ing flights over the enemy’s lines and territory. He is a valiant airman, although possessing a different viewpoint from that of the “ Eagle.” The sense of action and speed which characterised ‘ Wings ’ —incidentally from the pen of the same author, John Monk Saunders —is felt throughout ‘ The Eagle and the Hawk, 1 while the romantic pox-tion, in which Carole Lombard displays remarkable dresses and styles, is actually subordinated to the sheer strength of the virile side. The powerful climax brings the two foemen-friends together in the grip of death, when the one gives the other an honourable burial in place of his shameful suicide. The outstanding feature of a good supporting programme is a comedy in which Leon Errol is the featured player, and in which every scene evokes hearty laughter. A novel item is that which presents in song the spirit of the “ new deal ” in America, and there is also a cartoon. BCTACON A gay romance, combining witty dialogue, catchy music, and delightful com- ! ody—such is ‘ Prince of Arcadia, at the Octagon. Musical comedies become more numerous in the film world every day, and producers are'doubtless liecoming taxed with the endeavour to find something that is different in this line. ‘ Prince- of Arcadia,’ however, in no way suffers from the surfeit of pictures with musical settings with which audiences have been served of late, and even although there is a mere fragment of a plot, its light and airy nonsense makes amusing entertainment. The story-writer’s imagination has played fast and loose with principalities “ somewhere ”, east of the Rhine, and the royalties and aristocrats of Arcadia behave as would be expected. One can confidently anticipate the conclusion of the film, and can consequently sit back in one’s seat and enjoy the breezy and sparkling amusement which the film offers. It is this sparkle which carries the .picture along from beginning to end, and the evidences of wholesome satisfaction which last night’s audience displayed are a tribute to itk entertainment value. -Carl Brisson. who is responsible for the role of the story’s prince, has a simple charm and a delightful personality which make him ideally suited to the part. He is well known ‘to Dunedin audiences, but, without a doubt, his reputation will be enhanced by his presentation of ‘ Prince of _ Arcadia.' He is an excellent singer, ivith an appealing smile that makes him a firm favourite. The feminine roles are in the hands of Margot Graham, a talented English actress, and Ida Lupino, who, as the princess, gives a capable and piquant performance. The minor roles are well handled.- The supporting programme included some interesting newsreels and a yachting novelty entitled ‘Our Friend the Wind.’ GRAND An air of mystery and excitement is skilfully blended in the screen version of John Vandercook’s novel, ‘ Murder In Trinidad,’ which continues its popular sway at the Grand. Set in the picturesque towns and treacherous quick-sand swamp of Trinidad, the film is a triumph for the fine acting of Nigel Bruce. Taking the part of the seemingly phlegmatic and somewhat uncouth detective, Bertram Lynch, who has been sent out from England to investigate the diamond smuggling which has baffled the Trinidad constabulary,, Bruce acts with a naturalness that is as clever as the touches of humour he introduces into the dialogue. Shortly after his arrival he is faced with a new problem, when first his assistant is murdered and then the Governor, Taking into his confidence the Governor’s nephew, Gregory Bronson, Lynch follows a trail into the Caroni Swamps, where, after braving the terrors of quick-sands, snakes, and crocodile-infested creeks, they finally come upon the smugglers’ lair, and it then appears that the murderer will soon be discovered. The air of mystery in which the picture is steeped, however, is particularly intriguing, and the suspicion is so cleverly lifted from one person to another that a complete surprise awaits the audience, when Lynch finally solves the case. The supporting subjects are noth varied and interesting. BT. JAMES The vivid personality of Kay Francis is seen at its best in ‘ Mandalay,’ the curr-ent attraction at the St. James. tVuss rancis has a flair for unusual parts, and in ‘ Mandalay ’ she makes the most of a role which calls for acting of the highest standard. A brilliant cast also includes Ricardo Cortez, Warner Gland, and Lyle Talbot. Burma with its proud and cultured people its ancient historical associations, and its romance, is the setting for the story, which is from the pen of PauLHervev I‘ox, and the action is swift and exciting. ‘ Mandalay ’ tells the storv of ianya, a Russian refugee, who is rescued from the Bolsheviks by an unscrupulous soldier ot fortune who sells her into virtual slavery to the keeper ot a notorious resort. There she becomes as notorious as the place itself, but she sickens of the life and finally leaves for Mandalay. Her flight and pursuit on a boat from Rangoon to Mandalay make the most exciting part of the picture. She meets and falls in love with a young doctor who is also striking out in a new life, and together they escape from the perils and tragedy of the voyage. As the picture closes they are setting out for the dreaded fever country to give their services to ■suffering humanity. Miss Francis lives the part of Tanya, and she rises to the heights of dramatic acting on many occasions as the story unfolds. Ricardo Cortez, as a reckless gun-runner, gives a polished performance, and Warner Gland, the central figure in many productions with an Oriental flavour, grips the imagination with his fine acting. The remaining principal part, that of the army surgeon with whom Tanya sets out on her great mission, is played by Lyle Talbot, a comparative newcomer to the screen, who promises to make a name for himself. There is an interesting and well-varied supporting programme.

REGENT The theme of mistaken identities is given a clever twist in ‘ By Candlelight,’ the sparkling comedy with a Continental setting, which is the Regent’s attraction, in the leading role, as a butler who impersonates his master, Paul Lukas loses his moustache and the suave look which went with it in all his previous films. The result is a Lukas who is more human, more of a man, and less of a Don .hum. His characterisation 'throughout is very sound, and should do much to enhance his reputation as one of Hollywood’s most polished players. Opposite him is Elissa l.amli, who forsakes the intellectual type of role she is wont to play lor that of a maid who masquerades as her aristocratic mistress. Elissa Laiuli is very beautiful; but she is more than that, she is an aetress as well, and at all times she is completely at home in a part which is by no means as easy as it appears at first glance., She portrays with an easy grace every little mannerism of a girl who is attempting to coneeal the fact that she is of common birth. Another . good performance comes from Nils Asther, as the philandering prince who waits on his own butler. The producers showed great discrimination in filling those essentially European voles with European players. Other artists who appear are Esther Ralston, Dorothy Revicr, and Lawrence Grant. The crisp, well-chosen dialogue is a delight to the car, as is the incidental music. There is an unusually satisfying supporting programme. STATE Ann Harding scores a personal triumph in ‘The Life of Vergie Winters,’ at the State. In the past Miss Harding has scored a number of notable successes, perhaps the most memorable of which was' 1 East Lynn,’ and in some respects she is one of the most popular of actresses. With an audience. in British countries she has a strong claim to favour in the fact that her diction is almost faultless, and entirely devoid of the harsh American accent which does much to antagonise English people. Polish is the word to describe Miss Harding’s acting. She Ims poise, a rare sense of the requirements of the talking film, and an insight into the deeper meanings of the character she is portraying that are not by any means common, and that give to almost anything she does a charm of its own. In ‘ The Life of Vergie Winters ’ all these qualities are observed again. It is not the story which gives the picture its claim on audiences; it is neither more nor less than Ann Harding, and those people who appreciate the of acting which has come to he associated with her name will find in her portrayal something quite in keeping with the reputation of this fine actress. The story is one which gives chances Jo its star for considerable display of emotional acting, and it is to the credit of Ann Harding that there is not one occasion in which she yields to the temptation to overact and to harrow the feelings of her audience, as so many actresses appear to take pleasure in doing. John Boles is cast in the leading male role, and perhaps he cannot be decried if his performance is overshadowed by that of Ann Harding. Helen Vinson has a part wliich does not give her many opportunities,'but there is one scene in which she impresses herself upon the imagination. Varied supports of a distinctly pleasing type also are shown. STRAND , The screen has a variety of roles, such as younger brother to the stage and interpreter of the novel, which are well known to its wide public, but now and then medical and propaganda films like ‘ Damaged Lives ’ come along to point another use to which this universal medium may be put. In the present instance the screeji must serve a, useful purpose if it succeeds in focussing public attention, even for one week in the year, on matters of social hygiene and public health, and thereby arousing that sense of personal responsibility for public health without which all public or private effort must fall far short of its aims. In the handling of such problems as are dealt with in ‘ Damaged Lives ’ (showing at the Strand Theatre), the world has been to some extent confused by a multitude of counsellors who advocate variously the claims of notification of disease, intensive research, extension of clinics, and other expedients, but while it is doubtful whether the best instruction in such matters can lie -had from the screen, it has, nevertheless, to be admitted that everything depends on the inculcation of a proper understanding of the position with regard to social diseases, which in the view of eminent specialists are more readily Ereventable than almost any other liman ailments. There are certainly more effective enemies of enlightenment than the screen, but failing their proper utilisation the screen might just as well be made use of in spite of the obvious shortcomings of such propaganda. Included in the program me is an instructional picture giving specific information, and more of the same is obtainable from booklets prepared by the Racial Hygiene Association of New South Wales, which are offered for sale in the theatre lobby. Needless to say, the programme is not for children, and by the censor’s ordei* admission ,is barred to persons under sixteen, MAYFAIR There have been few more notable films than ‘ I Was a Spy,’ an impelling drama of war time intrigue, which is being screened at the Mayfair. Jt is portrayed by as impressive a cast of players as has ever been assembled lor' one film. 'There are Herbert Marshall, Madeline Carroll, Conrad Veidt, seen'recently as the sinister criminal in ‘ Rome Express,’ the late Sir Gerald du Marnier, Edmund Gwcnn, whose Jess Oakroyd in ‘ The Good Companions ’ was a brilliant piece of character drawing, and Nigel Bruce. Added interest is given to' the film by the fact that the story is based on the actual life of Martha MTKcnna, who did invaluable spying for the Allies in the war. ‘ I Was « Spy ’ has been enthusiastically received by critics throughout the world. Victor Seville lias handled with ease and skill the vast canvas against which the action of this drama is laid. He ' lias directed every individual scene with wonderful economy of dialogue and detail. The result is that the spectator is caught up by the drama unawares, to be completely carried away by its cumulative dramatic force.