EXCELLENT COMEDY-DRAMA

Evening Star, Issue 21992, 30 March 1935, Page 21

EXCELLENT COMEDY-DRAMA

ST. JAMES FINE PROGRAMME ‘ Hide Out,’ which opened its Dunedin season at the St. James theatre yesterday, is a shining example of what good direction and an undemanding and sympathetic cast can make ot an ordinary story. There is not a questionable line or incident in it, but it is 6,000 ft or 7,000 ft of laughs—bright entertainment of the very best type. The opening scones are a bit misleading. Thov delude the audience into the belief that it is just another gangster film, which it is not. It is a refreshing production by reason of the fact that the simple life ot an American family engaged m larmia<r is contrasted with the artificial, riotous living of frequenters ot Broadwav and its night clubs. As-“ Lucky ” Wilson, Robert MontKomery is seen in a part in which h« is better probably than in anything he has done hitherto, and those who baie seen him in former successes will realise that this is high praise indeed, lie is seen first as first lieutenant to Aeu York’s worst racketeer. He is a carefree philanderer, whose business it is to compel successful night club pipprietors to give him a partnership in their business in return for piotection ” from his gang of “ racketeers. During his life “ Lucky has never been out of hearing of Broadway. His departure from New iork and nu adoption of new surroundings w not voluntary. After a long period of suecess he is forced from his usual haunts and the association of his notorious male and female friends by the unwelcome attentions of the police, the friction with the police necessitates “Lucky” leaving town, in a highpowered car at eighty miles per hour amid a storm of bullets, one of which ho carries as a souvenir. He drives the car well into the country before he colla[“ Lucky ” is discovered and sheltered by “ Pa ” Miller, a farmer, and the first honest man he has ever encountered He is nursed back to health by “ Ma ” Miller and the daughter Pauline. , , , Trees, cows, poultry, .honesty come as a bewildering revelation to “ Lucky,” but the most bewildering of all is Pauline. His extensive and comprehensive experience with girls included nothing like her. Successful as a crook, he rises to greater heights in the part he plays while living on a farm, his place of refuge. Much ot the humour is derived from the citybred man’s ignorance of bucolic matters. He still believes that milk takes its form in bottles, that fowls should be fed from the hand. The romance that regenerates “ Lucky ” has a beautiful rural setting, of which the cameras miss nothing. The romantic scones are delightfully interspersed with humorous action and dialogue, the story being full of humor arising mostly from “ Lucky’s ” profound ignorance of country life. Even when the inevitable time of settlement for “ Lucky’s ” former misdeeds arrives, the atmosphere of the story is maintained. Everv character is perfect, and opposite "Robert Montgomery, Maureen O’Sullivan gives a charming portrayal as the unsophisticated daughter of a farmer. Pauline’s young brother, Willie, by Mickey Rooney, is a priceless piece of juvenile acting. Others in the large cast are C. Henry Gordon. Muriel "Evans, Edward Brophy, Henry Arraotta, Herman Bing, Louise Henry, and Harold Huber. With the characteristic thoroughness of Americans in exposing an evil that is peculiar to them, no phase of the activities of the “ racketeers,” supercriminals, is glossed over in this picture For acting, scenery, and him technique this film is an outstanding effort. . . • r The programme m support is or a uniform!'’ high standard, a Charlie Phase remedy being particularly funny. ‘ Attention, Suckers ’ gives that

master of humorous dialogue, Pete Smith, an opportunity to explain to the audience something about the card manipulations of resourceful gamblers. Several other attractions complete an outstanding programme, which null be repeated to-night and during the week.