PICTURE THEATRES

Evening Star, Issue 22069, 1 July 1935, Page 2

PICTURE THEATRES

EMPIRE Jean Muir ami Ricardo Cortez make a very convincing story out of the thrilling melodrama 1 The White Cockatoo,’ which is how in the midst of a very popular season at the Empire Theatre. The story of this film is based on a novel by Mignon G. Eberhart, one of America’s leading writers of mystery stories, and is set in an eerie hotel on the French coast. Here two rival gangs of criminals endeavour to obtain a fortune bequeathed to the heroine. Their efforts make the film very exciting, and give a sense of weird mystery, an effect which is admirably sustained by the remarkably fine settings. - The identity of the arch villains is excellently disguised, and the solution of the; mystery ' should baffle even the sharpest audiences. The romance between Miss Muir and Cortez is pleasingly handled, and good relief is provided by the comedy of Ruth Donnelly. ' Other well-known players in the cast are Gordon Westcott, Addison Richards. Minna Gombell, and Walter Kingsford. There/is a generous programme of short subjects, which constitute an entertainment in themselves. They consist of a Cine?ound News, a novel musical number, another of the Movie Album series in which several of the “ gripping melodramas ” of 20 years ago are presented with caustic and amusing commentaries, an hilarious cartoon, and a colourful comedy. REGENT 1 The Private Life of Don Juan,’ now at the Regent, sees the appearance of one of the most colourful'figures in the film world, Douglas Fairbanks, in probably the most romantic role in history and fiction. Acting under th 6 direction of Alexander Korda, maker of ‘ Henry the VIJI.’ and ‘ Catherine the Great,’ Fairbanks makes his first appearance in an English picture. It is a most spectacular production. A film version of an _ adventurous and highly romantic period in the life of a world-famous lover, and, at the same time, a summarised fantasy of Spanish life and love as the world knows it, the picture offers free scope for the genius of the director and for the dashing personality of the central actor. Technically it is out-" standing. Richly costumed and staged, it has a whole series of magnificent scenes, while thq protography is superb. Fairbanks is his usual reckless self, and leaps from scene to scene in that unique and attractive manner that has made him so popular. The dialogue in the play, written by Frederick Lonsdale, is, as would be expected, swift, stimulating, and lively with wit. Outstanding among the many supporting players are Binnio Barnes, Owen Nares, and Merle Oberon. ST. JAMES High drama is the keystone of ‘ Evelyn Prentice,’ which is attracting large audiences, to the St. James. Those who had seen Myrna Loy and William Powell together in their first screen partnership, ‘ The Thin Man,’ which was shown at the same theatre not long ago, expected great things from this, their second picture, and they were not disappointed. ‘Evelyn Prentice ’ was more serious than the former. It dealt with a story of life which could easily have been a story of death. All the elements of deep drama were there—an American court scone where a woman was on trial former Jife, the wife of the defending lawyer Ivho ‘thought herself guilty of the crime for which her husband was defending the other woman, her final hysterical confession to the judge, and her final acquittal. ‘ Evelyn Prentice ’ is indeed a drama with all tho ingredients which are present in a story full of tense situations. There are all the elements of deep drama, and both Loy and Powell are responsible for some wonderful acting in the court scene where Powell is defending a woman charged with murder, when his own wife, present in court, becomes obsessed with the conviction that she herself has committed the crime. But there is one fact, and a vital one, that proves not only the falseness of her confession, but clears the other woman of tho charge. A strong series of supports is also shown. STATE Exceeding tho promise of its most enthusiastic advance reports and proving itself the most powerful of the war films yet released, a new film production entitled ‘ The First World War ’ is at present being shown to State audiences, that follow it with absorbed and breathless attention. ‘.The First World War ’ was inspired by tho sensational book of Laurence Stallings by the same title, one of tho feats of its day. Stallings, long known as one of America’s outstanding authorities and commentators on the World War, has edited the film —in the same spirit and with the same success that attended his authorship of the book. Here is the biggest story Fate ever wrote. Watching it unfold, one has the sense that its every scene is a living newspaper headline; for every incident is a drama which helped to write world history. The editorial skill employed in the creation of this amazing film has made it one of the .nest potent pleas for peace ever presented. _ Attended by Laurence Stalling’s biting and ironic comments, its sequences picture the World War step by step from its inception—and before —to its conclusion. Significant scenes of conflict on sea, on land, and in tho air arc incorporated in ‘The First World War,’ which reveals pictures of many monarclis and rulers, soldiers and leaders of those days. Despite all this, it is essentially the story of how the Great War affected tho common man. It is a film for masses and intelligentsia alike. The supporting programme is excellent. STRAND The main feature on tho new programme at the Strand Theatre is a comedy entitled ‘ What Happened to Harkness? ’ starring Robert Hale. This depicts in a humorous manner the excitement caused m a small English village when the unpopular occupier of a large house is found to bo missing,

with all indications pointing to murder. There are many suspects, and the solving of the mystery is excellent entertainment. The comedy parts are well catered for by Robert Hale and James Finlayson v The other attraction is ‘ Fog Over ’Frisco,’ a fast-moving story with an intriguing plot, the leading players being Bette Davis and Donald Woods. The plot centres around the actions of Arlene Bradford (Bette Davis), an attractive society girl, who has been made the tool of a gang of crooks who do not stop at murder to obtain success in their undertakings. When she disappears and her body is eventually discovered in the rumble seat of her coupe events take a dramatic turn, and it takes a young newspaper reporter to clear up the mystery finally. The tragic sale of tthe picture is well presented in the opening scenes when Arlene and her stepfather disagree violently, but the comedy side is also well catered for. The plot is an unusual one with excellent continuity. OCTAGON 4 Crime Without Passion ’ is offered at the Octagon Theatre this week in conjunction with ‘ One Sunday Afternoon.’ The feature attraction, which is a brilliant production, does not conform to the conventions of Hollywood in any way, for the actors and actresses in it are almost unknown. Nearly all the action takes , place in one or two rooms, and the photography is new and exciting in the angles adopted. Yet, despite all these departures from the usual, 4 Crime Without Passion ’ is one of the most tense and gripping dramas ever to reach the screen. Claude Rains, who played the part of “ The Invisible Man,” gives a magnificent performance ns Lee Gentry, the egotistical lawyer. His acting is polished and convincing. The part of the Spanish dancer is taken by a girl named Margo, who seems destined to become a star. The supporting picture is an unusual comedy of American small-town life, entitled 4 One Sunday Afternoon,’ which, though it has a story no different in essence from thousands of others, and which uses tricks which have been familiar in the cinema since the cinema began, somehow succeeds in being a film worth seeing. GRAND Entertainment of a very attractive character is to be found at the Grand Theatre this week, where large audiences are seeing 4 D’ye Ken John Peel,’ a film in which delightful songs, colourful and spectacular settings, and fine acting are combined. There is a particularly good cast headed by John Garrick, Winifred Shotter, Stanley Holloway, and John Stuart. The action opens in Brussels, where Wellington’s men are awaiting their orders after the Battle of Waterloo. Major John Peel (John Garrick) plays a large part in bringing about the marriage of Poinette (Mary Lawson) and Mr Craven, a crooked civilian gambler, in order to save the girl’s reputation. Swiftly the scene changes to England, where Peel finds that Craven has been up to mischief again and has committed bigamy by marrying Lucy Merrall (Winifred Shotter). John'Stuart, as the celebrated highway man, Captain Moonlight, lends a romantic touch to the picture, and there is humour in plenty provided by Stanley Holloway, who, in addition to many other fine sketches, gives his almost world-famous monologue. 4 Sara, Pick Up Thy Musket.’ The film also boasts a number of picturesque hunting scones, which are really magnificent, and give an excellent impression of the celebrated English countryside, while the fine songs that are introduced into the story give it an additional attraction. There is a good supporting programme. MAYFAIR 4 Now and Forever ’ is the current feature at the Mayfair Theatre. The principal players are Gary Cooper and Carole Lombard, and the picture marks the first time that these two popular players have appeared together as leads. In addition, five-year-old Shirley Temple plays a starring role. Plainly a 'born adventure, Gary Cooper is seen as a carefree man who lives by his wits, and hoodwinks every man he meets. Madly in love with Carole Lombard, he even permits his cheating methods to cheat her away from him. His little daughter, Pennie, played by Shirley Temple, has been brought up by a guardian. Desperate for money, he even consents to accept cash for his right to his own daugnter. That is, until he sees Iver. Then he carries her away. Together with Carole Lombard, they lead a happy, carefree life until Cooper is again tempted to stray from the straight and narrow. At this point the child’s love and faith in him aro vindicated, when by a noble deed of self-sacrifice he removes himself from her life, and makes happiness possible for her.