NEW PICTURE PROGRAMMES

Evening Star, Issue 22026, 11 May 1935, Page 10

NEW PICTURE PROGRAMMES

HUMAN ‘ LIVES OF A BENGAL LANCER • Inspired by the book, ‘ Bengal Lancers,’ a volume of reminiscences by Captain Yeats-Brown, the film, ‘ The Lives of a Bengal Lancer,’ which opened before, packed houses at the Regent yesterday, has a stirring appeal. The picture has added interest to New Zealanders by reason of the fine acting of Colin T-apley, of,Dunedin, in the role of Lieutenant Barrett. Although he has a comparatively small part as an ingenious but ill-fated British border spy, lie plays his part well.

It is a tribute to the versatility of the Paramount studios that they have produced a convincing film dealing with a particular . and traditional aspect of British military life. In situations, which are essentially melodramatic the fault of over-emphasis never occurs, and there is no hiatus in a swiftlymoving plot; which carries the audience on a wave of breathless suspnese from ~the beginning to the end. There is a romance, in the soldiering of the Northwest Frontier which has been captured by several; skilled novelists and writers, a romance 1 is more colourful on the > screen, Especially when handled with the consummate cleverness revealed in ‘ The Liyes ,of a Bengal Lancer.’ It captures the: very spirit of . the thing, and is, a worthy dedication to the) handful of British', soldiers who police, a frontier which is, always simmering with unrest and intrigue. The human theme is the ‘ ordeal of a young “ cub ” recruit to ; the Lancers who happens to be the colonel’s .son. _ The old man is a stickler for discipline to an extraordinary degree ;• scared to death of favouritism, the boy suffers in silence for a while, then runs amok and'gets himself captured by, a native chieftain engaged in stirring up trouble. Disobeying orders, two senior officers go after him, and all. three are subjected to torture in a scene which comes nearer sheer horror than all the bloodcurdling exploits of screen monsters. The youngest gives way under the strain and betrays his regiment. But the Lancers' are saved frony annihilation in a spectacular attack on a fortress by the heroism of the three captives, one of whom dies in blowing up an ammunition, dump.' Incidental, humour has been skilfully inserted into the narrative without once appearing out of dace or uncalled for.- Most of it is handled by Franchot Tone, who sur prisingly establishes himself as a firstrate light comedian of the Robert Montgomery school. Competition for the acting honours is strong all the way. Richard Cromwell, as the colonel’s son. makes the best of a’ peculiarly difficult parti Sir Guy Standing, as the martinet colonel, manages to get some humanity into the most cold-blooded disciplinarian in screen history; and Douglas Dumbrille performs a similar miracle with the rather theatrical chieftain who fills ithe role of villain. But it is Garv Cooper who “'‘steals ”■ the piciure with the, best acting performance. of his entire career. . Others ■in the cast who contribute to the success of the film are C. Aubrey Smith and Kathleen Burke, who supplies the only feminine interest. Tho picture, which ends on the parade ground with the presentation of medals, shows the Bengal Lancers drawn up in formation, which make a most impressive climax —a fitting end to a memorable production. The supporting programme, consisting of two newsreels and a sportlight. ‘ Jungle Antics,’ is full of variety and interest.

‘DOWN OH THE FARM’

IN SECOND WEEK AT EMPIRE 1 1 Since New- Zealand’s first film venture, ‘ Down on the Farm,’ had its initial screening last week, at the Empire, curiosity as to the relative merits of the picture ’has resulted in large audiences attending _ each session. ‘ Down, on the Farm ’ is to be screened Ar a further week. The actual location of the film is the well-known property of Mr B. S. Irwin, at Woodside, which is one of the oldest homesteads in. Otago. A large cast was employed in the making ob the film, and, considering the fact that all were the veriest tyros, the standard of work before the camera is creditably high. Miss Daphne Murdoch has the leading role, and handles it excellently, and he pets full support ■ from the remainder of the cast. Mr Sidney Lock mquits himself well as an Englishman who takes up farming in New Zealand, and Mr Stuart Dick, as the Cockney, Grace ’Opkins, is the life and soul if the production, at least from the omedy point of view. Miss Gwenda Jurt has a part of generous opportunity which she uses to excellent advantage, and others who distinguish themselves are Angus Gorrie, Miss Elsie MTcak, Miss Horn a Gair, Miss Audrey Watson, Mr G. Claridge, Mr Joe Lee, Mr Bert Nelson, and a very accomplished. quartet of four juveniles —Ra Hould, Joy Gray, Eron Reid, and Leila Murdoch. The film was produced % Mr Stewart Pitt and Mr Lee Hill, with the expert supervision in the sound wbrk of Mr Jack. Welsh. The photography includes many very fine scenic views in the Taieri district, and the scenes dealing with farm life and agricultural, pursuits in Otago are instructive as well as interesting. There is au excellent supporting programme of short subjects, which, together with the main feature, makes up a wellbalanced and very pleasant evening’s entertainment.

powerful mkm

OCTAGON'S GREAT DOUBLE DILL The diversity of motion picture fare represented by the Octagon Theatre’s double-feature programme should, prove a big attraction this week. The Warren Case,’ which no doubt must take pride of place, is a tense mystery drama in .which crime detection, newspaper life, and romance are skilfully blended. It is absorbing entertainment _ from start to finish. The other big picture on the programme is ‘ The Fortunate Fool,’ a delightful production which tells the story of a great-hearted man. Sufficient guarantee of the worth of ‘ The Warren _ Case ’ should be forthcoming when it is explained that it is a clever adaptation of ‘ The Last Chance,’ a stage thriller written by Arnold Uidley, author of ‘ The Ghost Train.’ The story concerns a famous crime reporter called Lewis Be van, who, owing to his drinking habits, is in danger of being thrown out of employment. After being warned by the owner of the paper that employs him, he makes up his mind to regain his old

form, and, with this end in view, sets out to secure the biggest “ scoop ” of the year. He seeks the assistance of Pauline Warren, the attractive hostess at u night club, and the story ultimately involves Hugh .Whadclon, who is engaged to the newspaper owner’s daughter. Bevan asks Pauline to try and persuade Whadclon to take her home, but Whadclon, who lias been drugged, does his best to get away from the place. The lights go out, and the girl is found to have been strangled. Bevan ivrites his story—a most sensational one.—hut there is a vital flaw in it. it is in the unravelling of the mystery that this aspect of the plat has a direct bearing. The author has provided theatregoers with something that must extract unstinted praise. If the advent of crime reporters into nn actual crime itself is nothing new, the plot (and the superb acting must not be left unpraisecl) is truly unusual. As with most English pictures, the diction is perfect and tho acting flawless—the whole production without doubt setting new standards for crime sensations. There are many thrilling incidents which move to a gripping climax. A strong cast is headed by Richard Bird, Nancy Burnc. and Diana Napier. ‘ Tho Fortunate Fool ’ is a wonderful film of its kind, tho author being Dion Titheradge, another name wellknown in Playland. The British comedian, Hugh Wakefield, a lovable character if. ever there was one, is seen in the part of John Falconer, an openhearted and broadminded author, who, in order to taste life as lived by people not happily endowed with worldly comforts and goods, associates freely with the class who frequent the Thames embankment. How romance comes to John Falconer in the course of his adventures maizes a very pleasing story.

‘THE CAMELS ARE GCMiHC'

JACK HuLßjfcl'S* BRILLIANT COfc/EDY SUCCESS ‘ The Camels Are Coming ’ will undouocetliy enjoy a JiigJuy success! ul season at tne btate. ic is a most entertaining comedy that shows tne one and oniy jack iiuioert oil at his very best, j/reviousiy cast as a policeman in ‘ Jack’s tne jrfoy ’ and a sailor m * Jack Anoy,’ tluioeru is tins time seen as an English squadron leader in the Egyptian Air Force, wnoso particular mission is to track down Egyptian drug traffickers. Hulbert’s faculty for getting in and out of trouble is as , great as ever, and His performance must further enhance his claim to be regarded as the leading English film comedian. Hilarity is the keynote of the picture. Exciting situations are brilliantly burlesqued, and there are many episodes of glorious comedy. A scene between HulOert and a. camel that seemed capable of doing . anything except talk was greeted with hearty laughter by last night’s largo audience. The dialogue of the picture is extremely well written, allowing the fluent Hulbert greater opportunity than usual in a branch of comedy in which he excels. His interviews with a formidable superior officer form some of the most amusing scenes in the picture. Episodes at the beginning of the story are made in the “ newsreel ” style, with a humorous commentary, and the result is both novel and amusing. Apt use is also made of the air, ‘ The Campbells Are Coming,’ from which the film gains its most appropriate title. The role of Squadron-leader Campbell is suited excellently to Jack Hulbert, providing him with full scope. A story more connected than usual is threaded through the scenes, and its development is made highly entertaining rather than marred by the half-satirical, half-farci-cal sidelights. , Drug trafficking was prevalent in Egypt ; Arabs engaging in the conveyance of illicit cargoes across the desert. The scheme to stop the traffic is to con the desert from the air and conduct searches of caravans. How Jack Hulbert swoops upon the caravan engaged in, the traffic and is “ outwitted ” is a piece of very funny farce. The happy-go-lucky squadron leader is hindered in,his job by credulence, simple sympathies, and a keenness crossed by love. He brings derision and ridicule upon the air arm and its commander, as well as on himself, by arresting near the Sphinx and the Pyramids (which are pictured excellently from the air, close up and looming in the background of the picture) the girl (Anna Lee) with ■whom he has fallen ,in. love. It is revealed that the parcel held in suspicion contains a new brand of cigarettes the girl schemes spectacularly to advertise. Finally mode the means of convoying a parcel of drugs to its destination, Hulbert forgets to deliver the parcel, which later becomes real evidence against an “ archmoloffist ” who' is the head of the ganT. The climax of the comedy concerns tlm rienp of a tlrs'mt fort by Arabs and the tMcrme of it by Hulbert, the. girl, and a doxen camels mounted by “ dnmmv ” riders.

There is an excellent supporting programme. One of the "a.xettos has a particular 10-''-! interest in fh”+ if. records a nictorinl interview with the celebrated 'quadruplets and their parents.

GUTTERING ROiAKCE

‘ VIENNESE NIGHTS' AT ST. JAMES ‘Viennese Nights,’ which opened a season at the St. James Theatre yesterday, is well known to Huneuin audiences, 1 but the stor,y is to hauntingly beautiful that its revival in technicolour from title to fadeout will be welcomed since’ in its first appearance on the screen only about 25 per cent, of it was coloured. ‘ Viennese Nights ’ is the creation of Sigmund Romberg and Oscar Hammerstein 11., who have created many glamorous and melodious entertainments. The story is one of exquisite tenderness, the theme being tho deatblessness of beauty. _ The settings are ‘gorgeous, being all in natural colours. Tho glamour of old Vienna, told so often in story and song, is caught with stirring vitality. Marching troops, gay ladies, street gamins, stout burghers, ample fraus, all seen in the flickering golden light of leaves blowing, horses bearing ancient vehicles, crowded with gay pleasure-seekers—all are there. But this is but tho beginning of tho haunting story of love and renunciation. Its scenes, all in natural colours, are laid in Vienna and New York. The story is that of Elsa, daughter of a cobblei- to royalty, whoso selfish ambition for her changes the course of her whole life. He insists on her marriage to Franz, a wealthy and dashing young officer, while her heart goes out to Otto, a poor musician. Otto goes to America after Elsa’s marriage, and many years pass before they meet in New York, when he is playing second fiddle in an orchestra. Tho old love reblossoms, and they plan to go away together, but Elsa renounces

this hope when she finds that he has a young son who needs Ins care. She goes back to Vienna, and they never meet

again. The strange and unexpected denouement comes when the symphony inspired by Elsa so long before, is completed as if by miracle. Elsa meets the young composer, Lawrence Storm, and recognises her Otto in his features as in Ins music. She learns that Larry is Otto’s grandson, and the romance of her own youth is renewed between her granddaughter and Otto’s grandson. Once again in the old garden where she and Otto planned the happiness they never enjoyed, Elsa falls asleep and dreams that Otto comes and sings to her. “ A thing of beauty never dies,” Elsa tells her granddaughter. “ Beauty in love or beauty in music lives on—growing more beautiful as the years pass.” ‘ ‘ Viennese Nights ’ is famous alike for its glorious musical setting, the colour photography that adds so greatly to the beauty of the production, and the featured cast. Gifted with a fine voice, Vivienne Segal has been featured in New York in shows produced by the Schuberts, and, she was brought to the screen in ‘ Song of the West.’ In ‘ Viennese Nights ’ she has the greatest opportunity of her career, playing the part of Elsa, the heroine; from the age of 17 to 70. Alexander Gray plays the role of Otto, and the handsome young singer gives a most artistic performance. Walter Pidgeon enacts the role of the rich young officer, and, besides giving a convincing performance, is heard to advantage in several songs. The leading comedy role of Gretl is played by the famous character comedienne, Louise Fazenda, who has appeared in character and comedy roles in many important productions, and was at one time associated with Charlie Chaplin in his earlier comedies. Others in the cast include Jean Hersholt, June.Pursell, Bert Roach, and Lottie Loder. The delightful melodies of ‘ Viennese Nights ’ are, of course, one of the features of the production. The genius of Sigmund Romberg has had full play in the music of the production, jyhich is capped with the. haunting strains of ‘You Will Remember Vienna,’ ‘ I Bring a Love Song,’ and ‘Here Are We.' ‘ Viennese Nights ’ uses _ n symphony orchestra of a hundred pieces, a sixtypiece band, and a thirty-piece gypsy orchestra. Nothing'just like ‘ Viennese Nights ’ has been attempted on the screen before, and'its,revival in teclmicolour should attract large audiences. There is a short but interesting supporting programme. ‘ Viennese Nights ’ will be shown to-night and during the week. , :

DMA OF THE PRIZE RING ,

HEADS STRAND'S NEW OFFERINGS One of the essentials of a good picture is the story, and in • satisfying that demand ‘The Life of, Jimmy Dolan ’ offers entertainment that should satisfy all classes who attend the Strand this week. _ The theme of this unusually attractive drama revolves round the life of a prize fighter, played by,. Douglas Fairbanks, jnn.. who gives a performance that suits the role he takes to perfection. The opening scene is laid in the boxing ring, where Fairbanks wins unimportant championship after a particularly hard-fought contest. Some of the best photography in the film is provided here, the close-ups of Jimmy Dolan, a southpaw, offsetting his prowess to excellent advantage. The cross-currents which bring him to the final climax of the; picture follow unusual paths. As the result of a crime committeed when drunk, he is forced to leave the city with the police in hot pursuit; Then the inevitable woman appears on the scene. His ceaseless wanderings bring him to a farmhouse, and there, at least, he finds a haven from the clutches of the law. In entirely new surroundings he sobn discards the atmosphere of New York life, and, helped in his reformation by the care of a woman (Loretta Young), he settles down to a life of rural industry and eventually marries his protector. Loretta Young plays the feminine lead, and the no-less Attractive Aline MacMahon is seen in an entirely new and refreshing role, which is handled with all _ the finesse that marked her comparatively recent debut into important characterisations. The remainder of the cast lends these two excellent support. They are the papular Guy Kibbee, Lyle Talbot, Harold Huber, Fifi Donsay, and others. The less sober note struck in the supporting picture serves to add the finishing touch to an outstanding programme. This picture, ‘ The Lost Lady,’ combines sequences of gaiety and laughter with stark tragedy. The leading players could well grace any leading production. Barbara Stanwyck has the role of the woman who marries more on the basis of trusfand friendship than of love. As her husband, that fine character actor, Frank Morgan, gives a restrained performance. He is-seen as a great criminal lawyer—a role which is admirably suited to his characteristics; his is a faithful and enjoyable interpretation. How his unselfish love finally triumphs over that of his wife’s more volatile lovers, is worked into the story with dramatic intensity. Richard Cortez is a splendid debonair lover. He gives an outstanding portrayal, as also do the other two lovers of the woman. They are Lyle Talbot, the unsuccessful suitor, and Phillip Reed, the first suitor of Miss Stanwyck.

HUMAN AND POIGNANT

‘ THE FOUNTAIN ' A POWERFUL DRAMA Although in the past Ann Harding has appeared in many fine pictures, it is probable that she has never previously been associated with a film of the quality of ‘ The Fountain,’ which is now showing to large audiences at the Grand. The story is an unusual one for the screen, in that the theme has to do witli the spiritual struggle of _ three people caught in the toils of circumstance. It has been handled with rare restraint and understanding by the producers, and the three principal members of the cast give splendid •performances. Chief honours must go to Paul Lukas, who is cast in the role of a German officer, who returns badly wounded from the war. _ He arrives at a stage when his wife is slowly succumbing-” to the fascination of an English officer, who is interned in Holland, and whom she had known in the days before the war. The plight of her husband immediately makes its appeal to the woman, a part played by Ann Harding, and she sacrifices her love for the Englishman (Brian Aherne). An interesting climax is reached and one thoroughly in keeping with the tenor of the story. The supporting programme is suitably varied and entertaining.

TWO COMEDY DRAMAS

MAYFAIR’S FINE PROGRAMME Lilian Harvey dances, sings, and acts to perfection in the leading role of ‘ I Am Suzanne,’ which heads the fare that commenced to-day at the Mayfair Theatre. The other feature is another producton of the same type, ‘ Come on, Marines,’ and with its novel settings it even rivals the other picture in popularity. . . . With its background of Parisian night life and the Podrecca Piocoli Marionettes, ‘ I Am Suzanne ’ offers Miss Harvey a splendid opportunity to display her versatility, and she takes full advantage of it. The story of this gay production concerns itsejlf with the love of a young dancer and 1 a young member of a declining family of puppeteers. ‘ Come on, Marines ’ is the second film. Richard Arlen, Ida Lupino, lloscoe Earns, Grace Bradley, Monte Blue, and Toby Wing form die major part of the cast. ‘ Come on, Marines ’ is a picture revealing the adventures of a company of marines which has been sent into the Philippine jungle to rescue a number of marooned children,' When the marines find that the children are fully grown debutantes they take a different mtlook on their work and provide the audience with enjoyable entertainment.

NOVEL MURDER MYSTERY

SHOWING AT LAURIER Two crimes solved in ‘ The Penguin Pool Murder ’ add to the flow of enjoyment that is the predominating characteristic of this exciting melodrama, which will be shown at the Laurier, Port Chalmers, to-night. Edna May Oliver portrays a tall, angular, outmoded schoolmistress in this comedy-thriller. With Gleason, as a police inspector, Miss Oliver makes ‘ The Penguin Pool Murder ’ a laughpacked comedy-mystery. The mystery of ‘ The Penguin Pool Murder ’ is enacted against a highly original background. Virtually, the mystery of a body discovered in the penguin’s tank at the Aquarium is solved by sheer laughs. From the moment James Gleason, as Inspector Oscar Piper, enters upon the scene the film blossoms forth into keen repartee between Gleason and Miss Oliver, every word of which advances the story breathlessly to the final climax.

JOAN CRAWFORD IN ‘ DANCING LADY 1

MUSICAL RMCE AT GREEN ISLAND Dance ensembles of dazzling brilliance, delightful music, a fascinating story, and perfect acting by a distinguished cast, including Joan Crawford, Clark Gable, Franchot Tone, Winnie Lightner, May Hobson, and Fred Astaire, the leading adagio dancer in New York, combine to make ‘ Dancing Lady,’ which will be shown at the Green Island Cinema to-night, in conjunction with ‘ Renegade Riders,’ a brilliant success. ‘ Dancing Lady ’ is distinct among

musical romances; it has a touching human story that makes a strong appeal, and the theme is never departed from, even when spectacular efforts are introduced. It is doubtful if scenes of such magnificence as the dance ensembles have ever before been seen in Dunedin, and a wonderful kaleidoscopic effect is produced by means of an array of mirrors. Joan Crawford, as the girl who sacrifices a life of ease and luxury rather than give qp dancing, which is a passion with her, reveals that in addition to being a brilliant actress she is a capable dancer. In several sequences she dances with Astaire. Gable, who ulays opposite Joan Crawford for the fourth time, has a fine role as a “ hardboiled ” theatrical producer.