NEW PICTURE PROGRAMMES

Evening Star, Issue 22086, 20 July 1935, Page 6

NEW PICTURE PROGRAMMES

MUSICAL ADVENTURE FILM BT. JAMES HAS ‘HAUGHTY MARIETTA ’ The first big musical adventure to come to the screen has been secured by the St. James Thetare, where it was shown yesterday tor the first time in New Zealand. Romance and adventure have been, built round __ the central figures in the story of ‘ Naughty -Marietta/ which serves to introduce several song numbers as extra measure. The picture is set in the days ot Louis XV. Those were the days when kings were kings and wielded the same authority as the gangsters of to-day, and when maids were maids and proud of it. Marietta is a princess who is ordered by the King to marry Don Carlos, a rather antiquated person. However, Marietta cannot bear the sight of him. Exporting girls to the American colony of Louisiana, was one of France’s enterprises at the time, so to escape Don Carlos Marietta has herself exported to Louisiana in a shipment of girls. On arrival she meets Dick .Warrington, a dashing young guide and trapper, who lias no-idea that the young lady is a princess. Not ta be outdone, Don Carlos follows to, America armed with a warrant from the King to bring her back to her own country, but rather than become a Spanish grandee Marietta goes off into the wilds with Dick. ThaC in brief, is the trend of the story. Some of the outstanding scenes are the departure of the shipload of girls from France, the capture of the ship by pirates, who are only .prevented from broaching the cargo by the arrival of Dick Warrington and his men and the march of Dick’s men through the jungle to the stirring strains of a rousing song. The role of Marietta is taken by that captivating artist, Jeanette MacDonald, whose personality is given full play in many sequences. Everyone knows how Jeanette can sing, and so everyone will be pleased to know that her singing voice is in good trim in this film. A new figure to the screen is Nelson Eddy. He' has a clear and powerful tenor voice, and when he and the leading feminine star are heard in duets the result is particularly pleasing. There is one scene toward the end of the film at a ball given by the Governor. where Marietta and Dick think they are parting for ever. In this they unite their voices in an excellent effort. An unusual detail is the bevy of 40 Casquette girls, picked from among the most beautiful of the younger players of Hollywood. Quaint and romantic costumes and other lavish detail are interspersed with comedy episodes, through which the central thread of romance runs. Altogether it is a firstclass film.. There is also a fine supporting bill. Laurel and Hardy are seen in one of their funniest pictures to date, ‘ Busybodies.’ A beautifully-coloured travel picture is another entertaining item on the bill. BRILLIANT SPECTACLE EDDIE CANTOR'S LATEST SHOW Though Eddie Cantor makes only due flint a i'ear lie is -perhaps the most popular as veil as one of the most highly paid screen comedians in the world. His. latest farce,. ' Kid Millions/ which opened its Dunedin season at the Regent Theatre yesterday, maintains the high level ot hilarity, wit, and gorgeous settings and ballets which have made his other productions such world-wide attractions. The play is delightfully impossible and uproariously funny. Eddie, a poor but lovable young-man, living in New York, inherits a fabulous fortune! of 70,000,000d0l from an uncle who was an Egyptian explorer. However, it is necessary'for him to go to the mummy room of a sheik’s stronghold in order to get it. So Eddie., the beautiful Goldwyn Girls,, and a host of other merrymakers leave New York in the good ship Luxor, bound for Egypt ami the treasure. But Eddie isn’t the only pebble on the beach, for on the same boat travels a farcical gangster and his “ girl friend,” who are also after the money. 'Their efforts to “ bump Eddie off” are unalloyed farce of the best type. After the party arrives in Egypt the fun becomes fast and furious. Eddie, by a stroke of good fortune, saves the sheik’s daughter from a mad dog, and for a time he is highly in. favour with the tur,banned potentate. The scene in which Eddie and the sheik sit together in the latter’s harem smoking a hookah is superb. However, when if is discovered that he is a'fortune hunter bis popularity rapidly wanes, and it is decided to boil him in oil. The sheik offers to forgive him if he will marry his daughter, but Eddie decides that the oil is the better of the two evils. The scene in which he is suspended over a seething cauldron, peppered, salted, and seasoned and ready to be plunged to bis fate is a priceless bit of humour. Ultimately Eddies gets the treasure and returns to America in an aeroplane which lie cannot fly.

' The filial scenes are splendidly executed in teclmicolour, and represent Eddie, the multi-millionaire, gratifying one of the ambitions of his poverty. He runs a free ice-cream factory for the children, a splendid touch to the gorgeous revels being given by the gangster who fires cherries from a machine gun on to the tops of huge ice creams. Cantor is well supported throughout by Ann Sothern, Warren Bymer, and George Murphy. Kid Millions ’ is supported by the latest Walt Disney cartoon triumph. Not since the days when 1 The Three Little Pigs' squealed their way to world-wide fame last year has a Silly Symphony received such hysterical acclaim as greeted the premiere of ‘ The Tortoise and the Hare ’ at the Radio City Music Hall in New York. It was the general opinion that Walt Disney had once again given evidence of that originality and creative ability which has made’him unixpie. The cartoon was awarded the gold medal for the best short of the year by the Academy of Motion Picture Arts and Sciences. BEAUTIFULLY MOUNTED DRAMA EMPIRE’S EXCELLENT PROGRAMME A brilliant cast is seen in a powerful drama, • ‘ Living on Velvet,’ which pleased a large audience at. the Empire Theatre last night on its initial production. Kay Francis, Warren William, and George Brent, are the three stars, and their work raises the picture far above the ordinary. ‘ Living on Velvet ’ also has a great appeal for the feminine section; it is a modiste a “ parade, with Miss Francis wearing the most charming of frocks. Tn addition to the beautiful frockfug mid the gorgeous mounting, Liv

ing on Velvet ’ is alive with sophist! - rated dialogue. The story is simple. Terry Parker (George Brent) scion of an aristocratic Philadelphia family, is flying his parents and sister to Newport when his plane crashes in a fog. All arc killed except Terry, who, believing, he also should have been killed, considers the rest of his life just “ velvet.” Embittered by the tragedy, he gels into scrape after scrape from which he is extricated by his one remaining friend, Walter Gibraltar ” Pritcham (Warren William), a business man. One evening Gibraltar takes Terry to a party where he meets Amy Prentiss (Kay Francis); They are immediately infatuated with one another, but when Terry discovers that Gibraltar loves her, be goes on a terrible drunk and lands in gaol. Ainv tells Gibraltar she loves Terry. Gibraltar not only provides the home in which the couple live after their marriage, hut concocts a scheme that enables him to hand Terry several thousand dollars, which that young man uses to buy an airplane for a mad scheme to carry suburban passengers to New York. _ Amy, seeing, that life with Terry is hopeless, leaves him. Terry again turns to drink, but finding it useless to try and forget Amy, he goes to her apartment to ask her to return to him, Amy, however, still sees the same old irresponsible Terry, and is afraid to risk their love by going back to him. He leaves her, but she calls after him, believing she cannot live without him, hut he drives off in Gibraltar’s car. That night Gibraltar is informed his ear has been wrecked and that Terry is critically injured. Ho takes Amy to the scene of ’the accident and Amy whispers to the semiconscious Terry that she will never leave him again. When Terry recovers he has lost his irresponsible outlook on life and he and Amy make plans for their future life together. It is excellent entertainment, with the acting always at a high standard. The supporting programme is well balanced and varied. The Empire’s management can be depended on to always select shorts of merit. EXCELLENT ENGLISH FILM ‘ LEST WE FORGET ’ AT OCTAGON Comradeship constructed around the theme that “ the sooner the last war is forgotten the sooner wo shall have another ” is the dramatic motif of -the English-'film, ‘Lest We Forget/ which will be admired by Octagon Theatre audiences during the current week. From whichever angle one judges it the production is worthy of commendation. Principally there is a sound play, though its slow action is typical of the British producer, who nevertheless has patterned it into a polished picture. Then there is the acting, of which one must expect the very best, with Stewart Horne at the top of the cast. In this department there is not a fault, and lastly there is the photography, which, with little scope for brilliance, is an advance on many present-day films. Four fighters for their King and country are driven to a shell hole in No Man’s Land, where they realise what a strange coincidence it is that they—an Englishman, a Scotsman, • a Welshman, and an Irishman—should thus be drawn together by fate on Empire Day. Having a presentiment that they will escape unscathed, the Englishman, Captain Rayner, suggests a pact that they should all meet again at his home the same day 16 years hence, as it so happens that it is also [ the Irishman’s birthday, and he had jokingly expressed a wish that he would like to see how much each of them had changed by the time he had reached 15 The years slip by, the reunion is held, but Pat is the only one who does not turn up. His son attends in his stead, announcing that his father’s dying wisli had been that he should keep the pact for him. The men live again through the spirit of comradeship of those dark years, and prove that, though time has changed their status, the old lessons of loyalty aro not forgotten. The Englishman had lost his money, the Scot is prosperous (so much so that he is “ afraid” of his business), and the Welshman is a poor coal miner. A romance springs up between young Pat and llayner’s daughter, and at last the meeting comes to an end. Left alone, Rayner turns to his friend who lias acted as “ butler ” and thanks him for placing at his disposal the home which once had been his during more pros porous times. Much that is jovial is judiciously intei’spersed with the drama. Tim humorist of the party is the Scot, played by George Carney, who by many will be classed as the best artist in the film. He is a refreshing change in comedians, and this comment of his when he first tastfis the soup at the reunion dinner must be appreciated; “If they had anything like this in Glasgow they’d run trips to it.” Again, his Harry Lander song, ‘Stop Your Tickling, Jock/ is well presented. “ Taffy ” is also a jolly character, of which Roddy Hughes makes a splendid job. His refusal of Raynor's cheque to cover his expenses to the reunion is the most pathetic scene in the film. Esmond Knight has the role of the young Irishman, and his singing of ‘ Mighty Like a Rose’ and ‘The Mountains of Mourno ’ is a feature of the reunion.

Of more than usual length, the supporting programme includes a fine study of the monuments of ancient Rome, some amusing views of Paris, and its fashions as they were ‘25 years ago, a musical scenic of Cornwall and the Scilly Isles, a picturisation of ‘ Nocturne,’ and a. musical revue, ‘ Million Dollar Melody.’ A PROGRAMME OF CONTRASTS FARE AT GRAND POPULAR The policy of the Grand in judiciously blending two contrasting productions has again met with its full measure of success; indeed, this week’s fare surpasses even its predecessors from the viewpoint of value in entertainment. These two films are ‘ Grand Old Girl ’ and ‘ Red Morning.’ The first picture upholds ihe leaching profession as equal in its services to mankind to most professions. As Luma Bayles, Miss Robson portrays the elderly, but energetic, principal of a small" town high school. Throughout the picture she is surrounded by boys and girls'of high school age who play her students. The contrast of their exuberant, boisterous youth, and her grace and dignity is strikingly vivid. Vet there are scenes in the picture in which she , is declared to seem the youngest of them all. The central plot centres about the gallant and courageous fight of the school teacher to rid the town of a sinister influence which threatens the m rals of her pupils. Underlying ' the poignant drama of the story is a yomhi'u! romance. Its principals Mary Carlisle and Fred MacMurrny. Others in the supporting east include Alan Hale and Hale Hamilton. Most of the action thrills in ‘Rod Morning ’ are provided by' a dauntless sea girl, portrayed by Steffi Dima,

singing star of the technicolour sensation, ‘La Cucaracha,’ which was screened in Dunedin a few months ago. Miss Duna’s role presents her as the second mate on her father’s freighter. She matches man’s, heroism as she battles savages and villainous white men in the South Seas. Her breath-taking exploits on the high seas and dry land are highly exciting. Heroism in this thrilling melodrama is shared by Regis Toomey in, the male role. The film is said to have been authenticated by material filmed at the picture’s locales, New Guinea and the Fiji Islands, by two explorers who lived for almost a year in these far-off sections of civilisation. JOE E. BROWN AS IMPERSONATOR • YOU SAID A MOUTHFUL ' AT STRAND To be mistaken for a celebrity could in some circumstances mean haying the time of one’s life, but Joe Holt, the hero of 1 You Said a Mouthful,’ which began at the Strand yesterday with another comedy, ‘ A Night at the Ritz,’ on being taken for a famous swimmer, hugely enjoyed being regaled, but frequently’ had spasms of terror at the thought of what was expected of him. For Joe. personated by none other than,Joe 15, Brown, the popular comedian with the cavernous mouth, discovered that within a few days of the beginning of his adventure that he would be expected to take part in a difficult and dangerous ocean marathon race; and he was unable to swim! It was not Joe’s fault that he found himself being hailed as a hero, but rather that of coincidence and fate,; though later he became the willing, if frightened, accomplice of these two hi a plot made very amusing for those in the know-tho audience. After some preliminary adventures, Joe, because of a similarity in name, was hustled on to a ship, much to his bewilderment, and before he was given time to explain. When he finally discovered who he was supposed to be it was too late for him to retract, for love had given him a ducking. His efforts to live up to his reputation, to learn to swim within a week of his participation in the great race wherein is shown a remarkable example of. the power of the imagination, afford hilarious entertainment. The other film is ‘ A Night at the Ritz,’ with William Gargan and Patricia Ellis. Gargan has the role of a typical high-pressure, “go-getting” salesman ready to turn his talents to any use. He'meets a young man who fancies he can cook and makes a contract for the latter to become director of cuisine at the Ritz Hotel. Unfortunately, the new director’s abilities do not extend to practicalities, and a very awkward situation is brought about. Gargan is ideally suited to his role, and Patricia Ellis' does not appear to find the task of looking beautiful a very difficult one. The programme also includes a newsreel. JACK BUCHANAN PLEASES 1 BREWSTER'S MILLIONS ' SEASON EXTENDED All Jack Buchanan's previous pictures have been well received by Dunedin audiences, who, evidently, relish his delightful individuality and the type of production in which he appears. If some of his films have Jacked pretensions to strength, it is not the case with ‘ Brewster’s Millions,’‘which has been so well received at the State I fiat it has been decided to show this delightful musical comedy for a further week.

Tho subject starts by being a famous one; its essential plot, that of a young, man forced to spend half a million pounds in six months in order to inherit millions, is a classic of comedy entertainment ahead, y familiar the world over. The theme has been preserved in tho picture, but the combined efforts of Arthur Wimperis, Clifford Grey, Donovan Bedelty, Jack Buchanan, and Douglas Fnrber have built round it an entirely new framework of incident and development, gay, modern, and made to measure for the personality of the star, Arthur Wimperis, is one of the cleverest writers of dialogue in tho world —* Henry VUI.’ was an example of Ids work—and Clifford Grey is an eminent scenarist, who numbers ‘ Home Express ’ among his successes. Douglas Fnrber has been associated with .lack Buchanan in all Ids British films and stage shows. Four special musical numbers were written for ‘ Brewster's Millions ’ by Ray Noble, whose ‘ Good-night, Sweetheart,’ 1 By the Fireside,’ and ‘ .Love is tho Sweetest Thing ’ have been the rage of three Continents, and have made a best-seller with an international reputation. His number. ‘ Bull flown the Blind,’ sung in tho film by Lili Damita, has all those features which have made Ids previous efforts so successful. Jack Buchanan, as the hind-legs of a dragon, is the central figure in an uproarious comedy sequence in ' Brewster’s Millions.’ How Jack gets into this predicament is one of the funniest things ever filmed. He is being chased by a pair of cut-throat Corsican bandits, and as a last resource to evade them he climbs into Ihe rear

end of a dragon which is being trotted out for the local carnival. There is a new and entertaining bill of supporting subjects.

TWO EXCELLENT COMEDIES MAYFAIR'S NEW FARE The cream of British and American comedy productions are pitted against one another in the comedy programme that the popular Mayfair Theatre presented as its new fare to-day. Both features, ‘A Cuckoo in the Nest ’ and ‘ Belle of the Nineties ’ are of such a dissimilar nature that they cannot but please the most fastidious patron. However, because the former picture’s plot emanates from the fertile pen of Ben Travers, and because that celebratd pair, Ralph Lynn and Tom Walls, delineate its farcical qualities to the best advantage, it could perhaps take pride of place on this entertaining bill. This picture is welcome because it brings together the famous comedians Tom Walls and Ralph Lynn, and restores to the fun-loving public the benefit of the team work of the happy band of players whose previous .performances had earned universal appreciation. The combination spells perfect harmony in any farcicial situation; and in this story of absurd _ misunderstandings involving two eminently respectable married couples, it is not disappointing. ‘ A Cuckoo in the Nest ’ is said to be the funniest of their comedies seen for some time,. * Belle of the ’Nineties ’ presents Mae West as a colourful burlesque queen who leaves St. Louis for New Orleans when the man she loves walks out on her. Mae West, herself, wrote the original story and screen play for ‘ Belle of the ’Nineties,’ and the star introduces several new, typically Westian songs specially written for her. Three leading men play opposite Mae West in this film. They are Roger Pryor, John Mack Brown, and John Miljan. Duke Kllington and his band are featured in the supporting cast. LAURIER, PORT CHALMERS LAUREL AND HARDY COMEDY Laurel and Hardy, America’s leading team of comedians, appear together in their latest riot of fun, ‘ Sons of the Desert,’ which Port Chalmers residents will have an oppbrtunity of seeing at the Laurier to-night. They could dish it out and they had to take it! Paraphrasing the slang expression given wide currency recently this summarises the story of ‘ Sons of the Desert.’ As demonstrated hy the two boys, the “ dishing out ” practice consists of deceiving their wives, wlio in turn are responsible for the ardent members of the ‘ Sons of the Desert ’ lodge “ taking it.” In order to attend a convention of their organisation, Stand and Ollie are forced to resort to subterfuge. Skilfully, they devise n plot, and with equal deftness win their wives’ belief in the canny plans. All goes well until their deception is discovered, and then the fun begins! There will he a splendid list of supports. A PHILOSOPHIC PRODUCTION ‘ THE WORLD MOVES OK ' AT GREEN ISLAND Willi the whole world as its background and love triumphant over hatred as its keynote, a notable film achievement, ‘ The World Moves On,’ Fox Film’s triumphant production, will he shown at the Green island Cinema to-night. It is a distinct step forward in the, creation of entertainment with universal appeal, and sets unquestionably a new standard of cinema excellence. Based on man’s struggle for security through the ages, this unusual film answers the questions bewildered humanity is asking to-day. And in its telling, the story casts a magic spell over the listener. To two young players, Winfield Sheehan, the producer, has entrusted the major burden. They are the glamorous Madeleine Carroll and that very able actor, Franchot Tone—and they carry it well. Miss Carroll is not only lovely to behold—with her fresh, starry-eyed beauty—but she succeeds admirably in breathing life Into the character she portrays; And Tone is the perfect choice for her screen team-mate. The two principals receive snlondid support from a big cast, including Reginald. Denny and Siegfried Ruinann,