PICTURE THEATRES

Evening Star, Issue 22033, 20 May 1935, Page 3

PICTURE THEATRES

EMPIRE Real-life characterisations seem to suit Wallace Beery just as easily as do the fictional characters which he has brought to tho screen in scores. In his fourth real-life role he is to be seen at the Empire as Phineas T. Barnum, “ Prince of Humbugs,” showman ana publicity-monger extraordinary, greatest exploiter of the unusual and tne superlative the world has ever known. Fiimgoers have seen Wallace Beery as Chuck Conners of the gay ’nineties in ‘ The Bowery,’ and more recently as the blustering Mexican bandit leader Pancho Villa in .* Viva Villa. Now ho recreates a role which appears to give him even greater opportunity 101 displaying the amazing versatility of his acting talents. Barnum was the first showman to appreciate the full value of publicity, whether favourable or unfavourable. Barnum was transformed from showman to impresario when he imported Jenny Lino, whose glorious voice made the audiences forget they were listening to classical music. Ihe story opens with Barnum s entrance ui the sideshow business, and tolls of his exploits and “ stunts ” which pventuallv earned him the title of the world’s -greatest showman.” , ing in support, of Beery are Adolphe MenjoUj B-ochclle _ Hudson, Janet Beecher, and Virginia Bruce. STATE ‘ The Camels Are Coming ’ a Gau-moixt-British picture starring Jack Hulbelt, now in its second week at the State, must rank as one of the best English farce-comedies yet produced. It is refreshing, clever, and interesting, and provides Hulbert with full scope. Hulberfc is in the role of Squadronleader Campbell of a British airport, base in Egypt. In an endeavour to stop the drug trafficking m Egypt (the Arabs convey their illicit cargo across the desert) the air force is utilised The aeroplanes scout the desert ana search caravans. The caravan engaged in the traffic is located by Hulbert, and how ho is tricked after swooping down upon it is ■ a clever piece ot comedy. 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 artu and its commander, as well as pn himself, by arresting near the Sphinx and the Pyramids the girl (Anna Lee) with whom he has fallen in love. ihe climax of the comedy concerns the siege of a desert fort by Arabs and the defence of it by Hulbert, the girl, and a dozen camels mounted by dummy riders. ST. JAMES Gilbert K. Chesterton’s whimsical and shrewd character of fiction is brought to life on the screen with rare insight by Walter Connolly in ‘ Father Brown, Detective,’ which seems assured of a successful season at the St. James. With a selection of splendid shorter films it is delighting large audiences. As the genial priest, who relies on kindliness and human understanding to redeem an international criminal, Mr Connolly has a role which enables him to give his flair for character portrayal full scope. Paul Lukas cuts a dashing figure as Flambeau, the jewel thief, and Gertrude Michael gives an appealing study of a young woman—niece of the police commissioner—who assists in tho criminal’s reformation. All the minor parts are interpreted by accomplished artists. These are _ Halliwell Hobbes, as a police commissioner who reads mystery novels in his spare time, and Una O’Connor as Father Browns housekeeper. Whimsical comedy of the type that has made the novels of Mr Chesterton so popular pervades the film throughout. The scene in which the thief, having disguised himself as a priest at a Eucharistic congress, is taken on a tour of London by Father Brown, is one of the gems of the story. The supporting programme is of unusual interest, in that it includes a picture that deals with a day in the life of the Dionne quintuplets. REGENT That * The Lives of a Bengal Lancer ’ should run for two successive weeks at the Regent is adequate proof—if such wore necessary—that it is a picture which stands almost unequalled for thrills and excitement. The perils which constantly beset the soldier on tho Indian frontier run dramatically through the story, and the audience is kept on the tiptoe of excitement. With the grey mountains of the Indian frontier as its background, the patterned romance of India for its colour, the life of the 41st Regiment of the Bengal Lancers for its story, this remarkable picture is Kipling’s India alive again for the youth of to-day. No better cast could have been chosen. Gary Cooper and Franchot Tone have fitting roles as two officers seasoned in warfare, Richard Cromwell has a prominent part as tho young tyro who gets into trouble, and C. Aubrey Smith brightens the picture as the helpful major. From rapid-fire action the story comes to a dramatic climax when the Lancers charge the enemy against hopeless odds, and are saved by the heroic efforts of the three young officers. The picture ends on the parade ground, where the Victoria Cross is awarded to tho dead MacGregor, whose courage saved the Lancers, OCTAGON * Big Executive,’ with Ricardo Cortez as the principal, is the film on the programme which is attracting large audiences to the Octagon, The story succeeds in giving an intimate glimpse of the lives as lived by millionaires, and at the conclusion there is the definite idea that fabulous wealth and happiness are not always together. In one notable scene Cortez is shown sitting at his desk with eight telephones ringing incessantly, and many will feel a grim satisfaction that a moderate amount of money brings only a moderate amount of anxiety. Attempting to prove that most self-made men are the products of their wives’ brains and ambition, Paramount’s ‘ Elmer and Elsie ’ is the other picture, with robust George Bancroft and petite Frances Fuller in the title roles, and Roscoe Karus, George Barbier, Nella Walker, and Charles Sellon in the chief supporting roles. At the opening of the picture Bancroft is seen as a blustering, goodnatured, but shiftless truck driver, who shuns marriage as he would imprisonment, and for much the same reason. But he succumbs to the lure, and his

rise in the world starts from a rosecovered cottage, with chintz furniture and lace curtains. He is bitten by ambition. but lacking in wit. With the aid or his wife, he wins the foreman’s job and loses it when tho boss learns of her influence in his advance. But Miss Fuller knows that the boss is run by his wife, too, and through the latter she wins back Bancroft’s job and soothes his injured vanity. Gilbert Pratt, who directed, makes the most of the comedy scenes afforded by the rivalry between Bancroft and Karns. A thoroughly competent cast, a cleverly contrived story, and first-class direction make for a full hour of as pleasant and charming. light entertainment as one could wish for. STRAND ‘ Paris Interlude ’ is an apt title for the entertaining comedy-drama which heads the excellent double-feature bill at the Strand. It deals brightly with tho lives, in Paris, of a gay colony of Americans. There are numerous glimpses of the gay Parisian night life, there is plenty of humour, a charming love story, and, not least, a reproduction of the conclusion of Lindbergh s famous Atlantic flight. The story has its chief characters in Sam Colt, an aviation news correspondent, ms protege, Pat Wells, and Julie Bell all good Americans; thrown _ together in Paris. Julie, not too sophisticated, succumbs to Sam’s too-frequently-exerted charms. When Sam. leaves suddenly for America and China, Pat stands by. He helps Julio through, till_ she wins her own fame as a fashion writer. Loving Sam, now reported dead, Julie finally agrees to marry Pat. On their wedding eve Sam, now only a shell or a man, startlingly reappears. Happiness, however, is fairly well distributed in the final scenes. Otto Kruger gives another fine performance as the philandering newspaperman, and Madge Evans is a very feminine and attractive Julie. The other picture, like ‘ Paris Interlude,’ is a comedy entitled ihe Gay Bride,’ in which Zasu Pitts, Carole Lombard, and Chester Morris have the leading roles. GRAND The dramatic skill and bewitching charm of Miriam Hopkins pervades the bright comedy romance, ‘ The Richest Girl in the World,’ which is the main attraction at the Grand. This talented, young actress is seen in a role which is ideally suited to her ability, and she gives a performance which is even better than those in ‘ Dr Jekyll and Mr Hyde ’ and ‘ Design for Living.’ Playing opposite her is Joel M'Crca, whose breezy personality -brings a refreshing note to the picture. The story deals with the difficulties naturally experienced by an excessively wealthy woman in finding a man whose affections are likely to outweigh monetary considerations. The other picture, ‘The Best Man Wins,’ is an excellent drama, in which Jack Holt and Edmund Lowe have the leading male roles, and Miriam Hopkins the leading feminine part. A special feature, ‘ Pastry town Wedding, is included in the programme. MAYFAIR The current" attraction at the Mayfair, ‘ Stamboul Quest,’ deals with the story of the days when the Turks were fighting desperately to retain their hold on the Dardanelles. The film deals with tho life of the spies, who were carrying on a struggle behind the lines as desperate as that in which the actual fighting forces were engaged. ‘ Stamboul Quest ’ tells the story of Germany’s famous Fraulein Doktor, who became involved in a romance with a young American medical student when she should have been devoting ' all. her energies to discovering whether Ali Bey, who commands the Dardanelles defences, was a traitor. Tho climax of this picture is a really unusual one, which it would be unfair to reveal. Myrua Loy, George Brent, Lionel' Atwill, and C. Henry Gordon have the chief roles. Youngest of all the members of the cast of Paramount s ‘ Little Miss Marker ’ is tiny five-year-old Shirley Temple, who plays the title role. This little girl, who is featured with such seasoned players as Adolphe Menjou, Dorothy Dell, Charles Bickford, and Lynne Overman, plays the role of the child who is left with the bookmaker as collateral on a racing lOU.