PICTURE THEATRES

Evening Star, Issue 21879, 16 November 1934, Page 8

PICTURE THEATRES

STATE Jack Hulbert is seen at his best in ‘ Jack Ahoy,’ the rollicking British farce which opened its local season at the State to-day. In fact, in ‘ Jack Ahoy ’ it is difficult to find a scene in which the comedian is not the dominating figure. Not that that circumstance is an argument against the quality of the production; on the contrary, there is a well-chosen cast of players into whose background of good acting Hulbert moulds his own efforts with extreme skill. There is a strong marine flavour to the story. Hulbert evidently joins the Navy as an able seaman for no other reason than that his ancestors were mariners and he is no sooner on board H.M.S. Stupendous than he is profoundly attracted by the admiral s daughter. Of the many entertaining incidents in the film, probably the most hilarious moments occur when Hulbert, in charge of a submarine which he has only the foggiest idea of manipulating, steers a zig-zag course both below and on the surface of the sea. He is chased by pirates in an armoured motor launch and the scene where the submarine rises to the surface and tips the occupants of the launch into the sea is unbelievably funny. Hulbert sings a tuneful number, ‘ My Hat’s on the Side of My Head,’ and also dances a screamingly funny hornpipe that will bring any “ house ” down. He has an amusing dream sequence in which pirates are changed into pretty girls, whilst another exceedingly funny episode _ is where he masquerades as the ship’s barber, with disastrous results to the admiral. A descendant of an old seafaring family, Jack joins the-Navy as an able seaman. He has been in the service only a short time when he is attracted by the admiral’s pretty daughter, Patricia. Jack is sent to China, and fortunately for his romance Patricia goes there. He is so persistent in paying attentions to her that finally both she and her father think he is insane. The admiral and Patricia are captured by Chinese pirates and Jack, realising his chance to prove himself a worthy son-in-law, sets out to rescue them in an old submarine. The- film, which is a British Ganmont production, sustains the sense of comedy in the atmosphere of realism with remarkable effect, and is excellent entertainment.

ST. JAMES Rural England, with the incomparable beauty of its rolling downs, studded with stock and drained by slowly flowing streams, is admirably depicted in ‘ Song of the Plough,’ which commenced to-day at the St. James. Scenes such as those of plough teams at work, harvesting, and threshing, the shepherd tending his flocks, and others serve as the foundation of a story which has as its purpose the illustration of the crushing burden, imposed upon the English fanner by the payment of church tithes. Stewart Rome, the central figure, is the occupier of a small but well-cared-for farm, but his happiness in his surroundings is marred by the approach of the time for the payment of the tithe. His difficulty is no secret, but even the cheering words of his daughter and his many friends in the neighbourhood fail to overcome his despondency. His one means of procuring money is by the sale of his clever sheep dog, Glen, for which he has been offered £SO by a conceited and unscrupulous neighbour. The dog, however, is as dear to him as a child, and he prefers the alternative of appearing before the county court to parting with him. _ ‘Song of the Plough,’ when shown in England, was hailed with enthusiasm by the public and Press, alike. The critic of the ‘ Morning Post ’ wrote: “ ‘ Song of the Plough ’ has really excellent photographic values. The scenes of rural England and the surroundings of* an English are not only lovely, but superbly ‘ shot.’* Neither Germany nor America could have produced better work.” Lovers of the English countryside, especially those who are exiled abroad,” wrote the ‘ News-Chronicle,’ “ will find- true delight in ‘ Song of the Plough.’ There is some of the photography I have ever seen, and it does present country life as it is.” There is an excellent supporting programme. BEGEHT With the British Navy as an interesting setting, a refreshing story is told in the entertaining English comedy romance, ‘ Freedom of the Seas,’ which will open a season at the Regent Theatre to-day. Since the production of ‘ Jack Ahoy,’ ‘ The Midshipmaid,’ and ‘The Middle Watch,’ there has been an insistent demand for this type of picture. The stern solemnity of the hugh warships acts as a foil to the innumerable gaieties which are indulged in on board. , There is also a good opportunity for some fine scenes of British naval strength. As with all pictures of the sea, there is an in vigoratiug air about ‘ Freedom of the Seas,’ and for audiences who appreciate a briskly-moving story _ with plenty of wholesome humour this film should have a strong appeal. The most hilarious incidents occur when a young sub-lieutenant finds himself on board an enemy ship with the girl he loves and a prospective father-in-law who hates him. The loading parts are taken by Clifford Mollison, who has previously appeared in ‘ A Southern Maid,’ and Wendy Barry, who was last seen in ‘ Wedding Rehearsal.’ More particularly _‘ Freedom of the Seas ’ is concerned with the triumph of one particular man—-George Smith, ivho, at the opening of the story is seen as a poor, despised law clerk, a nonentity with a violent inferiority complex, a craze for acrostics, and a devoted, hopeless love for his employer’s daughter. But fate decreed that the “ worm should turn, and after his dismissal from the clerk’s post for “ daring ” to tell his employer Harcourt that he loved his daughter, he was taken into the navy and actually given a commission. Fate further decided that ho should shortly afterwards be given his big opportunity in command of a tramp steamer which he 'learned the Germans were planning to torpedo. Passengers on the tramp, rescued from a big liner that had previously been sent to a watery grave by a “ U ” boat, were none other than Smith’s former employer, his lovely daughter, and a cheery chorus girl. The tide had now turned with a vengeance, and Smith once the object of their ridicule, was now in supreme command, and Ins scoffers must implicitly obey his orders. How the young naval lieutenant succeeds in ramming the German submarine and saving the steamer, makes the grand and thrill-packed climax to this highly entertaining comedy romance, which has been adapted from the play by Walter Hackett.

EMPIRE Red-blooded drama, with the glamour of New York night life as a kaleidoscopic background.; romance, excitement, and three great stars together for the first time—that’s ‘ Manhattan Melodrama,’ new Clark GableWilliam Powell-Myrna Loy, which began to-day at the Empire. To say that the picture is excellent entertainment is merely stating the mild truth. To say that it is a modern classic that could be expected from the producer and director who made ‘ Dinner at Eight,’ ‘ Dancing Lady,’ ‘ Little Women,’ ‘ Trader Horn,’ and many other hits, is hitting more nearly at an idea of this new picture’s entertaining qualities. Gable in * Manhattan Melodrama ’ at last returns to the type of role the fans have wanted since A Free Soul.’ He plays a big-shot gambler, lucky at cards ’and lucky at love, willing to bet a dollar or his life on the turn of a card —a powerful and dramatic figure of the metropolitan demi-monde. Pitted against him is William Powell as bis life-long friend, now district attorney and ambitious for further political advancement. Between them, loved by both, is Myrna Loy. It is she who fights for Gable s life- when his pal, Powell, is forced to prosecute him for murder. There is not a dull moment in ‘ Manhattan Melodrama ’ from the first scenes, in which are dramatically re-enacted the General Slocum horror of 1904, an excursion steamer fire in which more than 1,000 lost their lives. After that comes a_ recreation of the Harry Thaw-Stanford White killing of 1906. Then the Demp-sey-Firpo fight of 1923, and then into the present day for the body of the story. Gable has never done a finer piece of dramatic work than in this new picture. He plays a difficult role with a sangfroid that is at once believable and charming. Powell, too, is up to his usual standard of excellence, while Miss Loy contributes much to the entertainment values. OCTAGON Hollywood has provided its famous blonde star, Constance Bennett, with plenty of realistic atmosphere as well as a strong supporting cast headed by Gilbert Roland, in its new production, ‘After To-night,’ which heads, the Octagon’s double-feature programme that commenced to-day. Elaborate and colourful settings, including a large cafe in Vienna, a complete Austrian village, a field hospital, and the railway station of Luxembourg City provide the action background. The theme is the glorification of the wartime spy, hut the muck and mud and harrowing scenes of actual combat are, thanks to Director Arcliaiubaud, missing. It is a behind the scenes story, the war within a war. As one of the most dependable members of the Russian intelligence department. Miss Bennett is on the Austrian front to gather information about troop movements mid a new type of warfare, liquid fire. The action shifts from Luxembourg across Austria to Vienna, then to the danger zone behind the lines, and, at the close of war, to a peace-time railway coach crowded with troops and citizens returning to their homes. ‘ After Tonight ’ presents an unusual and striking dramatic climax, with the beautiful Russian spy trapped by her enemy none other than the man she loves, and the one assigned by his Government to put an end to her espionage activities. The Austrian captain has to choose between the arms of the spy and the arms of the firing squad, for the spy’s accomplice has already gone the way of all captured spies. . A charming love story is unfolded in ‘ Midshipman Jack,’ the other picture, featuring Bruce Cabot and Betty Furness. Cabot is seen as a young cadet who shuns rules and regulations to court his commander’s daughter. The climax of the production is an elaborate and thrilling spectacle, presenting a war manoeuvre with seaplanes and speedy submarine chasers making an attack upon enemy submersiblcs. The spectacle is topped with a daring “stunt,” a^,head-on crash between an aeroplane in full flight and an oncoming submarine chaser commanded by the film’s hero.

MAYFAIR The main feature on the doublefeature programme at the Mayfair Theatre is ‘ The Crosby Case,’ in which more than the usual number of Hollywood favourites appear. The story opens when a man is killed, supposedly through being knocked down by a taxicab. Later, it is discovered that the man has been shot, and a feverish search for the guilty person ensues, and suspicion is attached to several persons—to Wynne Gibson, the murdered man’s former mistress; to Onslow Stevens, an aviator listed as the owner of the revolver with which the crime was committed; to Edward Van Sloan, the murdered doctor’s last patient: and to John Wray, a known criminal, who emerges from the doctor’s apartment with 2,000d0l in his pockets. All are arrested, but each one thinks he has been arrested for something entirely different, and is unable or unwilling to establish an alibi. Warren Hymer, the cab driver, is held as a witness. The other attraction is ‘ Beloved,’ in which the beautiful Gloria Stuart is supported by John Boles, who,is heard in several excellent song numbers. It is a charming story*

GRAND A palatial ocean liner making a: pleasure cruise through the romantiol waters of the Mediterranean and carrying the precious burden of a very reckless, exceedingly pretty, over-rich, and 1 utterly spoilt American girl, provides the background _ for ‘ Three on a' Honeymoon,’ which, _ together with) ‘ Red Ensign,’ comprises the Grand’s current double-feature programme. The picture, which is novel, interesting, and packed full of good wholesome comedy, has three featured players, Sally Eilers as Joan Foster, the American girl, Zasu Pitts, who is just plainl Alice Mudge, and Charles Starrett, the handsome second officer of the linerJoan Foster makes the trip alone, huh it is not long before a mutual attraction makes itself apparent betweenl Dick Charlton, the officer, and herselfThe ship calls at Algiers, _ and soma highly novel glimpses are given of tha famous cabaret shows so characteristio of Northern Africa, and at the same time a nasty gentleman, one Phil Lang, joins the cruise to make trouble by blackmailing a honeymoon couple, fne bride being an old schoolmate of Joan Foster. The intriguing atmosphere of a luxury liner as- she makes her way from one romantic port ta another pervades the picture, and the presence of Zasu Pitts, who persists im getting herclf into all kinds of impossible situations, is one of the highlights of the show. The humour is sustained! throughout, though, in no sense overdone. ‘Three on a Honeymoon ’ is thoroughly enjoyable from end to end, and can. be recommended as one of the best of its kind. . STRAND - The plots of “thrillers.” arc becoming stereotyped, but a new one is offered in ‘ The Silk Express,’ the mystery drama which opened at the Strand to-day, and its development provides plenty of interest. The Silk Express itself is not a fiction. It is a’ real train running from New York to Seattle once a year, carrying hundreds of thousands of dollars’ worth of silk from Japan. Given a shortage of silk in New York, a group of unscrupulous speculators cornering the market, and the Silk Express due to arrive any, minute, and one lias a setting for ill thrilling drama. Will tho new silk arrive in time to save the situation,-*! The ruthless speculators lay their! plans to prevent it, and the legitimate manufacturers know they must circumvent any attempts to delay the trainThe film relates the efforts of the criminal agents to wreck the express or delay it, and the success of the manufacturers’ agent, Kilgore, in bringing the train through in time despite all setbacks. The trouble starts even before the train leaves Seattle, and throughout the Jong journey. Evei* when tho express reaches New York the difficulties are not ended. The final climax is totally unexpected. Neil Hamilton, as Kilgore, plays the leading role convincingly, and the supporting cast is wonderfully good, especially; Dudley Digges as the paralysed professor, Allen Jenkins as the educated tramp, Guy Kibbee as'the detective who had waited all his life for a murder, and Sheila Terry, the only girl la the cast.

LAURIER, PORT CHALMERS The talking screen version of ‘ Glut Chin Chow,’ which commenced to-day, at the Laurier Theatre, Port Chalmers,has been acclaimed by leading critics as one of the finest entertainments et produced in England. Acting,- dressing,staging, and photogi'apy are perfect,and the delightful music of hredenck Norton comes as fresh as if it had beeai Written yesterday. Such famous old numbers as Eissj ing Time,’ ‘Robbers of the woods,! ‘ The Cobbler’s Song,’ with their jilting melodies, are wholly . charming,while the astounding efforts of thatj remarkable bass, Mr M'Larcheni (“Jetsam” to listeners-m- and gramophone fans) result in the singing' of of the lowest note ever recorded front a human voice in any film. This when Mr M'Earchern reaches bottom; B flat in the song, ‘Behold,’ in that slave market scene. One of the striking features of tha Persian architecture which the pictura brings to the public notice is the direct relationship of Western Gothic to Persian architecture of the time. was the forerunner of Gothic architectura in France, and the ideas were brought to Europe by returning Crusaders.