PICTURE THEATRES

Evening Star, Issue 22099, 20 April 1935, Page 25

PICTURE THEATRES

ST. JAMES The Metro-Goldwyn-Mayer film, ‘ The Barretts of Wimpole Street,’ which opened this afternoon at the St. James, will undoubtedly be classed as one of the most • notable screen offerings of 1935. It represents a personal _ triumph for each of the three principals, Norma Shearer, Charles Laughton, and Frederic March, but Laughton is given such wonderful opportunities by the playwright, Rudolph Besier, that his characterisation or the cruel, hypocritical, and half-insane Edward Moulton Barrett. dominates the film with an almost terrifying realism. The play deals with the romantic elopement of Elizabeth Barrett with her fellow-poet, Robert Browning, away from the unhealthy atmosphere of her home and the influence of the domineering father. There is the very essence' of drama and suspense in the way in which an invalid woman, subjected all her life to the mental cruelty of a domestic tyrant and imbued with Victorian submission, is able eventually to match her will against his and escape into a life: of freedom and happiness. One’s sympathies are so overwhelmingly against the father’s efforts to crush all individuality that the climax ot revolt is one of the most thrilling episodes seen on the screen for a long time. Charles Laughton, who never fails to excite admiration for his screen portrayals, will undoubtedly created wide discussion by his characterisation of Edward Moulton Barrett. If, perhaps, lie outlines his figure in almost unalieviated black, he, nevertheless, heightens the dramatic interest of the play by so doing. His every appearance produces as much chill and hatred among the audience almost as among the characters of the drama themselves. Miss Shearer acts with her customary ability as the courageous young poetess, while Frederic March makes a_ suitably impetuous Browning. As is usual with Metro-Goldwyn-Mayer films, the supporting cast contributes greatly to the general enjoyment of the film by the ■•consistently able acting level, and .Maureen O’Sullivan as the gay little Henrietta and Una O’Connor as Elizabeth Barrett’s maid are outstanding. Special mention should also be made ot Flush, the cocker spaniel, the invalid s constant companion, who shows an amazing sensitiveness and sagacity. REGENT In ‘ The Pursuit of Happiness,’ which bpehed at the Regent this afternoon, the audience was treated to a novel comedy that drew continuous chuckles of merriment punctuated by occasional outbursts of loud laughter. The plot of the film is laid in the earlv days of the American War of Independence, in a New England willagc to which comes a deserter from the British forces. The deserter is a Hessian professor of music and languages, who has been pressed into service as a foreign mercenary to fight against the rebel American colonists. He is captured, in more senses than one, by the daughter of a colonial, and it is the Hessian’s courtship of the daughter and his bewilderment at the many curious customs of the New Englahders that prove not only hilariously : funny, but fascinating to observe, i Francis Lederer, as the Hessian soldier, ! gives a convincing portrayal ot the I part, his comic dismay but goodi Matured acceptance of the curious ’ custom of ‘‘bundling (courtship in bed—with all due restnctions) being excellently done. Joan Bennett makes a lovely and piquantly provocative young Puritan, who fc-an enthusiastic upholder of ‘‘bundling’’-with restrictions. Her acting is flawless. As the mother and also a one-time bumller on her own account, Mary Boland scores a decided success, but it is to Charles Ruggles as the “ not treasonable ” New Englander, that the palm must he given for providing the most incidents in tne play. His “ sour stomach,” his twinkling eye (behind his wife’s back) apd hisdry humour—only a Charles Ruggles could raise a laugh the way he does.

EMPIRE No less a personage than His Higliness the Sultan of Perak, I'.M.SSir Alang Iskadar Shah, co-operated .with Mr Harry Scbenck m the production of ‘Beyond Bengal,’ the film achievement Unbelievable, which opened this afternoon at the Empire. It is almost bi'overbial that every picture alleged to embrace authentic jungle thrills is “faked.” But there are exceptions to every rule, and unquestionably Beyond Bengal ’ is the exception to this one. Every foot was photographed, and every sound recorded in the Malavan Peninsula; the most treacherous garden spot in the world. For instance, the most ingenious and astute film director on aartn could not possibly have produced the sensational stampede of mad elephants, ‘ Beyond Bengal. Hundreds of these giants of the jungle are seen charging like fury down on a small party of natives, crushing the undergrowth and tearing up trees in their tracks. Neither Could anybody fake the shot of the huge pythjon wrapping ita terrible coils around its victims. And you actually see a band of daredevil natives battling with crocodiles in the treacherous Boya River, the “river alive with death. When Scheneck first went to the M 3 -]'*.' 5 ’ Peninsula to make a survey of the jungles for the purpose of filming a picture that would present primitive drama and life as it exists in this wild region, he found many obstacles to overcome. One that seemed unsurmount--1 able was the fact that* there were certain parts of the country over which the sign “ White man, keep out! had been posted. That was both a warning and ft threat. But Schenek put bis caids on the table with the Sultan, and the result was that Sir Alang Iskadar Shah net only gave his permission for thd expedition to go into the interior, but agreed to give every assistance in his power to make it a success. Needless to say. without such co-operation the hazardous expedition could not have achieved what it did. STRAND ‘ Friends of Mr Sweenev,’ the attraction that Opened at the Strand to-day, is a rollicking comedy based .on the hilarious novel by Elmer Davis, who ■has taken his principal character as a “ tiniid ” person who is inspired by love, liquor, and an old college pal to become a raging lion. Charlie Buggies, in the role, blossoms out in a night into the terror of a band of . crooks in some of the most humorous situations imaginable. It is a picture filled with thrills that is said to wind up in an exciting climax, in which Buggies not only catches the bad men but forces his employer, to whom he had alwiys been obsequious, to give him the run of his business. Ann Dvorak supplies the love interest in the leading feminine role as Ruggles’s secretary. Eugene Palette adds his share of mirth as the breezy Westerner who comes .to visit his old college pal. Dorothy Burgess and Dorothy Tree have the supporting , feminine roles. Robert Barrat

plays the part of Russian Red, who rails at everything and everybody while he sponges" on their hospitality. Bertou Churchill is the hypocritical editor of a magazine for ivhom Charlie Ruggles slaves. The cast also includes Harry Tyler, Harry Beresford, and William Davidson. The picture was directed by Edward Ludwig, from the screen play by Warren Duff and Sidney Sutherland. OCTAGON Joyous comedy, associated at the same time with a great deal of realism, abounds in ‘ Three-cornered Moon,’ whicli heads the Octagon’s new programme. It moves smoothly from folly to reality and back again, and the acting is unusually good. The story concerns the spectacular “ carryings-on ” of a wild madcap family—the HimpJegars—members of the idle rich, who suddenly become “ nouveau-poor.” Their antics when in their irresponsible way they try'to adapt themselves to a new way of living provide many hearty laughs. There is a delightfully ineffectual and easy-going mother (Mary Boland), who provides a foil_ for the family’s attempts to be practical, and there "is a charming daughter (Claudette Colbert), who puts up ivith the follies of her brothers, but reveals a weakness of her own in her refusal to see the emptiness of the posing “genius” slm is in love with. The brothers, played by Wallace Ford, Tom Brown, and William Bakewell, are amusingly contrasted. In the end. when the expensive furniture has been sold to buy food, and the members of the family have tried all sorts of jobs, they settle down to a saner life. ‘All of Me,’ the other feature, has a very wide appeal. It is the story of a society debutante who rejects the love of a man because he is unable to offer the easy position in life she has been brought up to except, and later learns tbat_ true love can blossom in the slums while it may be smothered in more fortunate circumstances. In the learning she follows the adventures of a couple who cross swords with the law, and are cast into prison. They escape, only to be trapped by the police once more. The story is capably produced, with plenty of action, good dramatic effect, a spice of humour, and numerous thrills. Frederic March, Miriam Hopkins, and George Raft have the leading roles.

STATE Capturing much of the epic quality of Lion Feuchtwanger’s world-famous novel, the film of ‘ Jew Suss,’ which was given its local first release at the State this afternoon, conveys a terrific sense of drama. It comes to life with sweeping power and grandeur, and is especially impressive in the final scenes, where tragedy and magnificence of conception commingle to form one strangely harmonious whole. It is claimed that £125,000 has been spent on this production, which was started in November, 1933. With settings that outshine in sheer magnificence all those in British film history, with costumes and period decorations alone costing £20,000, with research experts engaged for months prior to production, the film possesses the intangible and essential quality of inspiration. Judged solely from the point _of view of historical spectacle, showing the colour and robustness of a somewhat brutal age, ‘Jew Suss’ is a commendable achievement; it marks a milestone in British film production. Opinion over the merits of the film itself is likely < to be divided. There can bo no division of opinion, however, over the acting of Conrad Veidt as Suss. His impersonation is superb, and the final “shots” depicting his execution in an iron cage slung high above the gaping crowds in a snowstorm, are full of grim horror. Veidt has established himself as one of the three or four really outstanding screen actors of the day. His interpretation of Suss ranks high among the many notable portraits he has contributed both to the German and the British screen. Another finely robust piece of acting cornea from Frank Vesper as Karl Alexander, the gross, amorous duke whose destiny wasso strangely linked with that of Suss. Cedric Hardwicke’s portrayal of the Rabbi Gabriel is perfect in its austere dignity, and the role of Landauer, Suss’s fronds, is beautifully played by Paul Graetz.

GRAND The story of Kell Gwyn, written for the stage m the play, ‘ Sweet Nell of Old Drury,’ has been .delightfully presented to the screen in ‘Nell Gwyn, which is the Grand’s current picture. In dramatic unity and grace of movement ‘ Nell Gwyn ’ may be considered one of the best films of its kind ever serened here. The romance of Charles and Nell has, of course, been idealised —that is the whole argument of the play but at the same time the King as acted by Sir Cedric Hardwicke and Nell as acted by Anna Neagle are just as any generous imagination might picture them. Anna Neagle, though at times perhaps a little more boisterous than necessary, has made her part live. She is, as Nell must have been, an impudent cockney with a qnick cockney wit, first attracting the King by her impudence as much as by her beauty; and yet, seen more intimately, she has the natural grace and kindliness which touched the King’s heart as well as his fancy and made Nell Gwyn something more than a king’s mistress. In her dances, to Sir Edward German’s dainty incidental music, Anna Neagle shows that the costume of Caroline days can be made to move gracefully; her dance before the King at Whitehall is something to be remembered.

MAYFAIR

An ingenious crime mystery film, boasting a maximum of thrills, tension, and incident, opened to-day together with ‘The Thundering Herd’ at the Mayfair. Entitled ‘ The Scotland Yard Mystery.’ it presents a very capable cast, headed by the popular Sir Gerold Du Maurier as detective and George Curzon ns a sinister villain. Walter Patch provides the comedv, whilst Crete Natzler. Belle Chrystall. Leslie Perrins. Henry Victor. Herbert /Cameron, and Frederick Peisloy all give excellent performances in the supporting roles. A large insurance company finds itself paying out heavily On people who have died immediately after taking out policies, and in view of the fact that the company’s own doctor had previously certified these people ns being finite well, the directors suspect him of complicity in a criminal act. Suspense is well to the fore, one dramatic incident following closely on another until the closing passages, which bring the excitement to an end in a manner which can leave nothing to be desired on the score of sensationalism. Packed with thrills and romance, Zane Grey’s ‘ The Thundering Herd is the second film. In the amazing portrayal of Znne Grey’s outstanding epic of the great outdoors, an all-star cast lives through every gripping sequence of the drama. Randolph Scott, Judith Allen. Monte Blue, Harry Carey, Noah Beery, Buster Crabbe, Raymond Hatton, and Blanche rreclcrici have the principal roles.

GREEN ISLAND CINEMA The plot of ‘ (Jliu Chiu Chow,’ which commenced at the Green Island Cinema, is the immortal legend of Aii Baba and the 40 thieves. A story of universal appeal, i-counting how the murderous bandit, Abu Hassan, plotted to despoil the richest merchant of the East and how this plan is wrecked, while drunken and worldly, but withal lovable, Ali Baba and his family, after thrilling adventures are finally assured of liappiness and wealth. Revelling in his part as Ali Baba, George Robey, classic comedian of 40 years of stardom, is said to score a great triumph. Ho enters upon his scenes with that pure, joyous abandon which marks the true comedian completely at his ease in a characterisation that appeals _to him. The other picture is ‘ Looking for Trouble,’ a story about the men, known in their own trade as “ trouble shooters,” who seek out and repair all the various kinds of “ trouble ” that can develop over miles and miles of telephone wires, and—because everyone has at sonic time or other seen “ trouble shooters ” at work, and because such dangerous work lias never been used fully as a motion picture background—tliis background makes ‘ Looking for Trouble ’ one of the most interesting pictures of the year. Spencer Tracy and Jack Oakie are starred as the “ trouble shooters,” while Constance Cummings and Arline Judge play their respective telephone operator sweethearts. Judith Wood. Morgan Conway. Paul Harvey, and others complete the oast.