PICTURE THEATRES

Evening Star, Issue 22193, 22 November 1935, Page 7

PICTURE THEATRES

REGENT Ifc might have been thought that Mr George Arliss had reached the zenith of his screen career with his performance ih ‘ The House of Rothschild.’ The very excellence of that production ieemed to be an obstacle to his further popularity, by setting an extremely high standard of comparison for all his subsequent work. But “ Rothschild ” will soon no longer he bis greatest success; its place will be taken by his latest _ Twentieth Century production, ‘Cardinal Richelieu,’ which opened this afternoon at the Regent. The star’s performance as the cardinal who was the power behind the throne of France in the reign of King Louis XIII., is intriguing, entertaining, and always impressive. But the stars acting is not the only reason whv ‘ Cardinal Richelieu ’ will be numbered among the first three films m a year of exceedingly good pictures. More spectacular even than ‘ Rothschild, and just as full ■of incident, it contains the finest collection of subsidiary character sketches that have ever been filmed. It used sometimes to be complained of Mr Arliss’s pictures that the producers were content with one good actor and did not worry much about the supporting players. That complaint could never be made against ‘Cardinal Richelieu.’ Douglas Dumbrille, as the scheming Baradas, Edward Arnold as the weak King Louis, Francis Lister as his brother Gaston d’Orleans, Cesar Romero as Andre de Pons, lover of Richelieu’s ward (Maureen O’Sullivan)—-one could extend the list to great length. EMPIRE Described by critics as the most hilarious romance seen for many months,, the Warner Brothers’ production, ‘ The Irish In. Us,’ commenced at the Empire this afternoon. It encompasses all the ingredients of successful screen entertainment. Although she is actually not rated*as one of the stars, the finest performance is that of Mary Gordon, whom one critic has described as “the finest Irish mother who ever waddled across the screen.” A year ago this unknown actress was cooking in a Hollywood restaurant, with an occasional job as an “ extra ” in the movies. Now, at middle age, .she seems at the threshold of a brilliant career. Her three typically Irish sons in the film are portrayed hy James Cagney, Pat O’Brien, and Frank M‘Hugh. Cagney and O’Brien were seen together recently in ‘ Here Comes the Navy,’ and the former scored a great success as the star of ‘ G-Men.’ But Cagney, the ruthless, " G-Man,” should not be compared with the lovable young Irishman who, in ‘ The Irish In Us,’ wants to be » great boxer, and annoys His two brothers, O’Brien and M'Hugh, by his refusal to get a steady job or keep away from O’Brien’s girl. There are many thrills in the film, and plenty of action, including a prize fight that is said to he the longest and most fiercely fought ring battle in screen history. This sequence is'the climax of the film, and it is said to be guaranteed to keep an audience very excited. The love interest of the story centres round Olivia de Havilland, a beautiful young actress “ discovered ” by Max Reinhardt, who cast her for. a leading role in ‘ A Midsummer Night’s Dream.’ ST. JAMES Claudette Colbert, who recently won the Motion Picture Academy Award for 1934 with i a comedy portrayal, and whose roles in the past have ranged from an Egyptian sorceress to a modern devoted mother, essays' a totally new type of characterisation in her new starring Paramount picture, ‘ Private Worlds,’ which opened a season at the St. James this afternoon. A story laid against the background of a hospital for the insane, ‘ Private Worlds’ presents -Miss Colbert as a trim, efficient, and beautiful doctor who heals the mental illnesses of others, although she cannot conquer the fear of love in her own heart. Miss Colbert and Joel M'Crea, who is married to Joan Bennett, find happiness in their experimental work until their little world is broken up by the arrival of Charles Boyer, new head of the hospital. and his vampire sister, Helen Vinson. M'Crea is lured away from his wife by Helen Vinson. Boyer’s interference in the routine of the hospital creates riots and . a serious situation. Agonised by her husband’s infidelity, Joan Bennett totters on the verge of insanity herself.. In a dramatic and gripping climax, Miss Colbert manages to unsnarl the tangled relations of this little group and finds love for herself. Gregory La Cava directed the picture, which features Sam Hinds, Jean Ronverol, Theodore Von Eltz, and Big Boy Williams in the supporting cast. OCTAGON After an absence of some time, fascinating Marlene Dietrich comes back to Dunedin again in - ‘ Carnival in Spain,’ a bright dramatic film notable for wonderful costuming, superb acting, and the range and intensity of the story. This attraction opened at the Octagon this afternoon. _ It _is a new Marlene Dietrich appearing in ‘ Carnival in Spain,’ though her characterisation is along similar lines to previous \ . >

pictures. There is a subtle something about her that has not been noticeable before, but it is a pleasing something, and will win this star new admirers. Against a background of _ colourful Spain at carnival time, Dietrich moves among her fellow-women and men, always the siren. However, her sophistication is only a cloak, and the ending is as unexpected as it is unusual. Lionel Atwill and Cesar Romero play opposite the star, and their characterisations are good.. Edward Everett Horton and Alison Skipworth head the supporting cast. ‘ Carnival in Spain ’ should hold appeal for all. ‘His Double Life,’ a picture of the Jekyll and Hyde type, is the other attraction. Lillian Gish is the heroine who meets a, painter through a matrimonial agency, and later proves herself an excellent wife to the shy genius. The interest centres round the fact that Farrell’s valet dies and is buried with honours as Farrell the painter. The master thereupon assumes his identity, and the picture twists through a series of comical situations which include the artist painting and selling more of his work to keep the wolf from the door after his alleged death. The picture ends on a farcical note with the famous man in court trying to prove his own identity. MAYFAIR One of the most successful films ever screened in Dunedin, ‘ Viennese Nights,’ concludes to-night at the Mayfair. This is the sixth season the film has played here. Filmed in technicolour against a background of life in the gay city of Vienna in the latter half of the last century, the picture lacks nothing on the score of appeal to the eye. STRAND ‘ Chinatown Squad ’ and ‘ We’re in the Money ’ opened this afternoon at the Strand. Both these films have achieved astounding success elsewhere ih New Zealand, and Dunedin audiences will be quick to realise their merits. ‘Chinatown Squad’ appeals to two basic and perennial interests of the motion picture-going public—action and mystery. It is a lively film. A murder starts the story on its way, and the picture ’ takes you into the mysterious byways of Chinatown, with Orientals and Americans matching wits in a comedy-drama of absorbing interest. There is an exceptional cast, including Lyle Talbot, Valerie Hobson, Hugh O’Connell, and Andy Devine. _ In ‘We’re In the Money,’ three highly popular stars, Joan Blondell, Glenda Farrpll, and Hugh Herbert, have the leading roles. The picture concerns the efforts of two girls to serve subpoenas on wealthy men in breach of promise suits. Never has Miss Blondell been more radiant or more beautiful; she bubbles over with spontaneous good spirits. Miss Jarrell is the same witty Glenda, although she seems even .to outdo her excellent performances. Ross Alexander is excellent in his role of a rich young man. The picture is a riotous, fast-moving comedy with tense dramatic moments and a stirring romance. ■ GRAND An event which is proving extremely welcome to the thousands of admirers of the novels of Gene Stratton-Rorter is ‘ Laddie,’ screening at the Grand. Following upon the notable success achieved by ‘ The Girl of the Limberlost,’ another of this popular novelist’s most, celebrated books, this film provides delightful entertainment of the most wholesome kind. The story is set in the lovely State of Indiana in the late nineteenth century, and concerns a romance between tlie son of a wealthy fanner and the daughter of an English nobleman living in the district. The girl’s father objects strongly to the match,' and it is only through the efforts of the man’s little sister that matters are brought to a satisfactory conclusion. This story contains opportunity for much gripping drama and whimsical .comedy in addition to the romantic interest. ’John Beal is said to he most‘impressive in the title role, and is given splendid support by Gloria Stuart in the main feminine part. Other major characters are taken _ by the new juvenile success, Virginia Weidler, Charlotte Henry, and Donald Crisp. i LAURIER. PORT CHALMERS V" “ ■ ‘ Lady in Danger ’ opened a short season at the Laurier to-day. Mr Tom Walls lands himself in a morass of misadventure when he chivalrously undertakes to smuggle the Queen of Ardenburg (Miss Yvonne Arnaud) to England, to keep her away from possible accidents until the current revolution has blown over. Subtle dialogue and piquant situations abound in this clever creation of Ben Travers’s versatile pen, which flows so unfailingly, fertilising the brightest fields of screen comedy in mannei; ever new. Walls and Miss Arnaud are chiefly responsible for lieeping the fun at flood level throughout, and high-water mark is reached when Richard Dexter (Tom Walls), good-natured fellow, arrived secretly in London with his charming : little Royal charge. For naturally his \ fiancee (Anne Grey), chancing to learn ! of his return to England, lost no time , in seeking him out—and, not unuatur- [ ally, is a trifle suspicious when she 1 hears a careless songbird trilling in her affianced’s bathroom. From that point complications, numerous enough ; before, begin to assume mountainous proportions,' and, while everything in the end is satisfactorily rounded off, the gallant gentleman in the meantime leads a truly hectic life, largely I on the tenterhooks of anxiety, but : with some charming interludes.