PICTURE THEATRES

Evening Star, Issue 22194, 23 November 1935, Page 14

PICTURE THEATRES

THE NEW PROGRAMMES THE SUPREME ARLISC DONS CLOAK OF CARDINAL RICHELIEU There seems to bo no end to the line of historical characters George Arliss is Capable of portraying. First he was Disraeli, then he became Voltaire, followed by Rothschild, and now he has become the screen image of Cardinal Richelieu in the film bearing that title. In this latest effort, which was shown for the first time at the Regent Thea-, tre yesterday, Arliss has shown himself without doubt to be the greatest actor on the screen to-day. The very excellence of his earlier releases seemed to he obstacles tobis further popularity, but ‘Cardinal Richelieu ’_ sots an extremely high standard of comparison for all his previous work. Always the perfect actor taking ■ a great story and making it even greater for his presence, Mr Arliss is again the supremo being of the films. He makes a perfect Cardinal Richelieu. He is always given a part that is a great one from the outset, but ho finds more in it than there is to the mind of the ordinary man, and this time,/gathering about him a strong cast, every member of which seems drawn up to meet the great occasion, he makes perhaps more of a masterpiece of Richelieu than the great cardinal himself could have done. The story makes fascinating entertainment out of great historical events, full of exciting incidcilts, and with dialogue that is brilliant in itself, and that becomes doubly so when spoken by Arliss. The court faction, headed by the Queen Mother and Baradas, are plotting to depose the King in favour of his brother. That will mean the strengthening of the nobility and the weakening of France. Impelled by his love of country, which makes him willing to defy the King and even the Rope himself, the cardinal fights thig conspiracy without rest, but is clevei enough "not to resort to violent methods. The film is the story of his single-handed struggle and eventual triumph. The* film is based on the play by Sit Edward Buhver-Lytton v and the turbulent days of Louis XIII., with the conflict between church and State, and the beginning of the major struggle for national power, form ideal material not only for George Arliss. but also for all other members of the cast. Douglas Dumbrille. as the scheming Baradas, Edward Arnold, as his brother, Gaston d’Orleans, Cesar Romero, as Andre de Pons,' lover of Richelieu’s ward (Maureen O’Sullivan), and several others look and act as though they had all once lived in the French Court of the 17th century, with its ostentatious display, the cloak of intrigue, treachery, and profligate living, when all men wore swords and knew how to use them. The producers have introduced a charming ward of the cardinal’s into the story, and by the use of her pretty romance has given to Richelieu a richness and warmth of character that does much to offset the rascality that midisguisedly peeps through the fold of the plot. f Very appropriately at this particular time one of the supporting pictures deals with the efforts of a candidate for political fame. It is the comedy of the programme, and, while no other candidate might ever be guilty of acting behind the scenes as Charlie Murray docs in this instance, it serves to show in a humorous manner how an individual contesting a parliamentary scat should not act. Tho other pictures, including a coloured Silly Symphony and an Australian gazette, also make very acceptable entertainment.

‘THE IRISH IH US’ BREEZY ROMANTIC COMEDY AT EMPIRE James Cagney is an actor who could be described as someone fresh—not entirely new, for actors of his type have been seen before in films, but it is a long time before anyone of his particular character has been presented to the public. This, perhaps, explains his great popularity with theatre-goers. Cagney is at present to be seen in ‘ The Irish In Us.’ now showing at the Empire, in a role for which ho is particularly suited. As an actor he is capable always,-but he has personal qualities which are more valuable to him than his ability to act. He brings with him an ail' of efficiency and forcefulness that gives to his interpretation of a part a crispness that is stimulating. ‘ The Irish In Us ’ should add to his following, for the story is excellent, offering him many an opportunity for exercising these talents. Cagney has built up a reputation for appearing in pictures which have fast action. There is nobody in the films i to-day who uses Ids fists more to settle arguments. The lament of “ E.V.L.,” the film critic for ‘Punch,’ who saw a recent offering in England, was that in it Cagney was too mild. “ I sat there,” he said. “ waiting for the little volcano to flare up and double his fists, but not a blow was struck. It is incredible.” One can agree with “ E.V.L.” that all of Cagney’s “fans” must have been disappointed, but there is no danger of unfulfilled hopes in store for the “ fan ” who sees Cagney’s present offering. It provides a delightful comedy about an Irish family of a mother and three sons in New York, who, though their affection is secure enough, are often at loggerheads. Yet even in their most quarrelsome moods the Irish faculty for laughter is never far away, and there is nothing tiresome in their bickering. Pat O’Brien—he provided a source for trouble with Cagney in ‘ G-Men ’ —is again at variance, this time about a girl. Cagney has a good part as a prize-fighter’s manager, but his embryo champion is not as good ns could be desired, and when the big match is scheduled to begin Cagney cannot induce his protege to go into the ring. And so Cagney gets a chance to use his fists in the ring. There is a pleasant romance woven into the story, and more than an abundance of humour. Indeed, for its comedy element alone this picture is well worth seeing. Among the film’s ample merits is the finest Irish mother who ever appeared on the screen, in the person of Mary Gordon. Hers is a magnificent performance. “ Standing shoulder to shoulder with this outstanding performance, and each playing flawlessly in the brilliant combination of laughter and affection, tears, and tension, are Cagney. O’Brien, Olivia De Havilland, and Frank MtHiigh. Cagnev has never had a better role. Pat O’Brien gives one of bis top performances. Frank M'Hugh has unusual scope for hi.s ingratiating kind of comedy, and plays it to the hilt in line, antic, and gag. Allen Jenkins, ns a dumb-witted prize-fighter who slashes •

out whenever lie liears the gong, is hilarious. Olivia Do Havilland shows high artistry and promise in her handling of the romantic requirements. She unquestionably is going to make a name for herself. The •dialogue is excellent throughout, and there arc old Irish tunes incorporated in the film to add a further touch of charm. Finally, there is the most slashing and genuine boxing match the films have ever seen, with Ja'mes Cagney battling Harvey Parry for a suspense-filled climax. Altogether ‘The Irish In Us’ is one of the most pleasant surprises of the year; its success with all types of audience is unquestioned. There is an excellent supporting programme.

A DRAMATIC TRIUMPH • PRIVATE WORLDS ' AT ST. JAMES Superlatives are required to describe ‘ Private Worlds,’ Paramount’s psychological love drama, which opened a season at the St. James Theatre yesterday. It has claims to be classed as a perfect picture. The story is an unusually powerful one, symbolising the plight of millions of women who would rather dream about love than face it in reality. A radical departure from the roles she has played in the past, Claudette Colbert, winner of 1934 Motion Picture Academy Award, is a woman doctor whose devotion to her work lifts her to a leading position in one of the world’s best-known psychiatry hospitals where she demands consideration on the basis of her skill alone, concentrating her love on the memory of her sweetheart, killed in the war. The work of the hospital brings Dr Jane Everest (Claudette Colbert) into open conflict with Dr Charles Monet, a French psychiatrist. Monet, played by Charles Boyer, has been appointed superintendent in preference to Dr Alex MacGregor (Joel M’Crea), who was Dr Everest’s particular partner in her work. The hospital is divided into two opposing camps and enmities and passion arc aroused which threaten to ruin the work of the institution. The position is further complicated when Monet’s sister (Helen Vinson), for whom earlier in His career he had sacrificed his reputation and his fortune to save from the suspicion of murder, lures Dr MacGregor from his wife (Joan Bennett). In a scone of dramatic climax, Dr Everest strives, to save this girl’s life and reason when she learns of her husband’s infidelity. In a hospital riot, brought on by Monet’s change of routine, Dr Everest eaves Monet from serious injury at the hands of a maddened patient, and then suddenly she realises that she can no longer Jive with her dream lover and that her dislike had veiled a growing love for Monet. The theme is laid in the unusual setting of a hospital for the insane, and in the handling of such a story dealing with the mental ills and frustrations of the patients and the problems and emotions of a wide array of characters, considerable restraint was obviously necessary if the melodramatic was to be avoided. There can be no such suggestion about ‘ Private Worlds.’ Gregory La Cava has handled the direction of 1 Private Worlds’ with delicacy and no suggestion of over_ emphasis in any detail. It required a cast of unusual ability and human understanding to enact such a film, and it is doubtful if better characterisations have been seen in any other picture shown here for a long time past. Claudette Colbert’s performance as Dr Jane Everest represents a dramatic triumph. She lives tile part, revealing that sympathy and understanding that one would imagine a psychiatrist must possess. Miss Colbert is a charming actress, and in the _ emotional scenes she reached great heights. Charles Boyer, as Dr Monet, also gives a lino portrayal. Joel M'Crea, Joan Bennett, and Helen Vinson enact their parts excellently, but quite one of the best performances is that of Esther Dale as the matron, a really outstanding and delightful bit of character acting. There is a very strong supporting'cast, and not one member of it gives anything but a first-class performance. ‘Private Worlds’ is a picture that offers food for thought as to the treatment of mental diseases, and it also touches upon tho causes that may sometimes lead to such affliction. It is cue of the most powerfully dramatic films to be shown in Dunedin for a long time. The supporting programme is a good one, including an interesting gazette, an amusing cartoon, and a really laughable comedy. The programme will be shown to-night and during the week.

‘ CARNIVAL IN SPAIN ’

MARLENE DIETRICH AT OCTAGON One of the feature films in au entertaining double bill at the Octagon Theatre this week is ‘ Carnival in Spain,’ which gives the great German actress, Marlene Dietrich, still another chance to show her wonderful powers as a screen actress. ‘ Carnival in Spair ’ is completely different from anything that this popular Continental artist has attempted previously. The story is vaguely reminiscent of ‘ Carmen,’ and the action is set in Spain during one of those carnivals that can form a background to so many stories. The usually languorous Marlene Dietrich displays more animation in this new film than one would imagine her capable of, and she seems to have forsaken that aloofness that characterised her acting in former pictures. In the picture she plays the part of a thoroughly heartless Spanish girl who, to quote the words of one of her lovers, “ has a lump of ice where others have a heart.” To one of her many lovers she brings honour and social ostracism—and to another she gives freedom from political persecution —and then realises that she has a heart, which, one is led to understand, she finally intends to give to her old lover. Miss Dietrich dresses superbly throughout the show, her Spanish costumes being striking in the extreme; and she is as fascinating as ever. Her leading men are Lionel Atwill and Cesar Romero. The settings in the film are extremely bizarre, and the carnival scenes fantastic yet beautiful.' The other film, ‘ His Double Life,’ has a lively theme which sets off as comedy hut broadens to farce. It is usually difficult to talk of death beds and funerals and provoke mirth. This film includes both in its opening scenes, and both are so faithfully reproduced that their damper on later mirth is never completely shaken off either by the brilliant subtlety and wit of dialogue or the hilarity generated by many comical and farcical situations. This is a pity, since Roland Young, one of the best comedians on the screen to-day, is seen in his best Conn. Ho plays the part of a world-famous painter whoso identity becomes hopelessly entangled with that of his butler, 'flic butler dies, is held to be the famous painter, and as such is buried in Westminster Abbey—that was how the

trouble started. Lilian Gish is charming in the role of a matter-of-fact woman who “catches” the butler through a matrimonial agency. When the butler turns out to be the painter, when funerals and death beds become so entangled that arrival at the truth seems impossible, she retains her equanimity, and her portrayal is such that she almost “ steals the show.”

TWD GOOD PICTURES COMEDY AND DRAMA AT THE STRAND An exciting drama of San Francisco’s Oriental quarter, ‘ Chinatown Squad,’ opened a Dunedin season a.t the Strand Theatre yesterday with ‘ We’re in the Money,’ a fast-moving comedy. 1 Chinatown Squad,’ in addition to being a first-rate mystery, appeals through its setting. Chinatown, with its suavity, with its tradespeople not at ease among those of their countrymen, who have automatically and perfectly assumed the culture of the West, suggests evil because of its ur,harmonious elements. A Chinese restaurant where people eat alone in ornate and isolated cubicles, where semi-official louts lounge .about the doors, adds to the suggestion of evil! The place is so set in peculiarly Eastern shadow, the people who eat there are so ill at ease, and the booths are so suggestively isolated, that anything might happen. Then inseparably a part of the atmosphere is the talk of the Chinese with the Europeans—the coldness of the Chinese, the urgency of the,Europeans. Things begin to happen when the agent for some Chinese is found dead in one of the booths, and suspicion naturally falls on those present. Lyle Talbot as a bus driver succeeds in helping “ the woman in black ” to escape, and through her begins to take an interest in the case.' When he is warned in a very suggestive manner by some Chinese he not only_ becomes more interested, but also is present at the murder of the head oh the Chinese band. From then on the picture moves to an exciting climax, with the Chinatown Squad featuring prominently at the conclusion of the picture. The exceptional cast of featured players includes Lyle Talbot, Valerie Hobson, Hugh O’Connell, and Andy Devine. Once again Joan Blontlell, Glenda Farrelh and Hugh Herbert are together in a riotous comedy, the second film on the programme. The story concerns the efforts of two girl golddiggers who are process servers fer an attorney specialising in breach of promise cases.l The romance between one of the girls and a wealthy young man disguised in a chauffeur’s uniform, with whom she falls in love while strolling in the park, provides one of the main attractions in the film; The love is mutual, although neither knows who the other is, nor that the girl is trying to serve a subpoena on the man in a breach of promise case. However, the amusement provided by the two girls in their endeavours to serve the subpoenas provides the main comedy element in the film. They prove their ability as process servers by going right into the locker room of a men’s club to get their map. Other men to whom.they are to give the subpoenas include a singer in a night club, the owner of a dubious dub, Man Mountain Dean, the wrestler, and Richard Courtney, who, although a millionaire, is the chauffeur whom Joan Blontlell met in the park. Some very reckless driving by the crooked lawyer Hugh Herbert, first in a motor car, and later in a speed boat, neither of which he knows how to handle ■ properly; provides some more excellent comedy. 'The picture concludes with Joan BlondoH marrying her millionaire chauffeur and Glenda Farrell collecting the l.OOOdol for delivering the subpoenas. Altogether an excellent and diversified programme.

SUBTLE COMEDY THRILLER WILLIAM POWELL AMUSES AT STATE Rare subtlety and sophistication symbolise every William Powell picture. This intriguing star lent his suavity and quaint humour to ‘ The Thin Man,’ and the result was one of the most cleverly amusing films ever enjoyed by any audience, for Powell created in it something in the nature of a nonchalant amateur detective who won lasting admiration because of his strangely disinterested methods. Ever since laughing at and being thrilled by his joyous escapades in that role, screen followers nave been clamouring for his being assigned ,to a similar “ case ” —and the wish has been granted in full measure in his latest success, ‘ Star of Midnight,’ another pleasant piece of irresponsible jollity, which should fill the State Theatre during its current season. Powell has a new partner, but Ginger Rogers, always attractively dressed, shows a flair for straight acting, as distinct ftom her undoubted talents for dance and song, and scores almost as heavily as Powell’s former heroine, Myrna Loy. The activities of Miss Rogers in courting the debonair though none too willing William are frank and stubborn, and always a source of mirth sandwiched with the more serious developments of the play. * Star of Midnight ’ is a finely-conceived murder story, which possesses a tolerant good humour that argues favourably for the trend such films are taking. “Features which also brand this picture a winner are headed by its crisp dialogue that intrigues with its inferences and its beautiful settings to depict the extravaganza of modern life in an American city. Morover, the novel twist to the theme—wheels within wheels, as it were—makes for enthralling entertainment, and the surprises that fill the picture from its beginning arc overshadowed by the surprise occasioned when the culprit is revealed. It is a complicated plot, and the mystery of_the murderer’s identity is sustained without a dull sequence, this being due to skilful direction and faultless acting, for the various characters are more than mere puppets necessary to the story. J. Farrell Macdonald, Leslie Fenton, Ralph Morgan, Russell Hopton, Vivian Oakland, and Gene Lockhart perform with distinction in the supplementary dramatic roles. Topical films in keeping with the good entertainment value of the main attraction include two news reels of outstanding interest, a new issue of “ dumb-bell letters,” as collected by Juliet Lowell, and a tuneful comedy, in which a whirlwind tap-dancing sequence takes prominence.

1 LADDIE —BELOVED ROMANCE DRAWING BIG HOUSES AT GRAND John Beal, who rose to fame through his work opposite Katharine Hepburn in ‘ The Little Minister,’ plays the title role in 1 Laddie,’ the talking film version of Gene Stratton-Porter’s beloved romance, which is still drawing record audiences to,The Grand. The novel is listed among the 10 best-sell-ers of the last GO years, and critics state that it has been 'transferred to the screen with all the wizardry of Mrs Stratton-Portor’s literary genius intact. It is a tribute to the power of the story that it has 40,000,000 readers all over the world to-day; and R.K.0.lladio, makers of ‘ Little Women ’ and ‘Anne of Green Gables,’ spared neither time nor money to give similar distinction to the screen version. Some critics have called the theme the sweetest of all romances, but it is not altogether fiction, for ‘ Laddie,’ as Mrs StrattonPortcr later wrote, was in some respects a story of her own youthful environment. Its characters actually lived, and its threads were actually

spun -by fate to enmesh the lives of the Indiana folk, and the British family, about whom the tale centres-. Gloria Stuart plays the “Princess,” and other important roles are in the hands of Gloria Shea, Charlotte- Henry (of ‘Alice in Wonderland’ fame), Donald Crisp, Willard Robertson, Dorothy Peterson, Greta Meyer, Grady Sutton, Virginia Weidler, and Jimmy Butler. The selection of shorter films offers entertaining fare. DIVERSITY THE KEYNOTE MAYFAIR'S ENTERTAINING NEW BILL » Diversity is the keynote of the programme that the Mayfair opened its new programme with this afternoon, the two pictures being George White’s ‘ Scandals ’ and ‘ The White Cockatoo.’ / Scandals ’ was conceived and staged by George White himself. The film is as elaborate and as spectacular as any of White’s previous successes on the Broadway stage. With the advantages offered by recent developments in talking pictures, White was able to produce a film that he says he could not possibly contemplate duplicating on the stage. Interspersed with the song numbers, revues, and “ blackouts ” is a romantic story involving the principals of the show. At'one time the romance threatens to ruin the show, but the clear thinking of the producer, who is George White himself, saves the show and brings happiness'to a pair of lovers. The cast with which White has surrounded himself is large, and is studded with an array of screen,, stage, and radio personalities. Among the most prominent are Rudy Vallee, Jimmy Durante, Alice Fnye, Adrienne Ames, Cliff Edwards, and Gregory Ratoff. Produced by Robert T. Kaiie for Fox, the film was directed by Thornton Freeland and Harry Lachman. In ‘ The White Cockatoo,’ a murder mystery drama, there are throe murders, the kidnapping of an American heiress, and several other attempted crimes, all committed in a spooky hotel on the windswept coast of _ France. There is an all-star cast, with Jean Muir and Ricardo Cortez in the roman-, tic roles, and around whom (he plot revolves. GREEN ISLAND CINEMA ‘ TARZAN AND HIS MATE' In ‘ Tarzan ami Mis Mate.’ which will be screened at the Green Island Cinema to-night, Johnny Weismuller, as Tarzan, and Maureen O’Sullivan

are again united in a jungle love story, based on the famous fiction characters created by Edgar Rice Burroughs that has been read by 15,000,000 people in English alone, with translations into 15 foreign languages. Into the primitive romance is packed a series of animal scenes that have never been equalled in the filming, of adventure pictures for the screen. Herds of elephants are shown charging members of a safari, followed by a mixed fight between elephants and 50 lions, with Weissmuller in the middle of the struggle. Other animal thrills include a battle to the death between Weissmuller and a man-eating crocodile at a depth of more than 30ft under water, photographed by submerged cameras. Herds of zebras, wunderbeeste, gorillas, ostrich flocks, andmany smaller African animals are also shown. Human drama in the picture is provided by a strong supporting cast with Weismuller and O’Sullivan, including Neil Hamilton iff the roje of Harry Holt, that he played in the highly succesful ‘ Tarzan the Ape Man.’He repeats his performance with not* able success. Paul Cavanaugh is « powerful and convincing “ heavy ” as a jungle explorer with a craze for ivory. Forrester Harvey provides comedy as a Cockney storekeeper, Doris Lloyd, Williain Stack, Desmond Roberts, and Nathan Curry are outstanding in small roles. ■

SUBTLE TRAVERS FARCE ‘ LADY IN DANGER ’ AT LAURIER Roguish Tom Walls and pretty Yvonne Arnaud have the leading role* in ‘ Lady in Danger,’ 'which will b* shown to-night at the Laurier. Pori Chalmers. _ Subtle dialogue and piquant situations abound in this clever creation of Ben Travers’s versatile pen. which flow* so unfailingly, fertilising the brightest fields of screen comedy in manner ever new. Walls and Miss Arnaud ar* chiefly responsible for keeping the fun at flood level throughout, and -highwater mark is reached when Richard Dexter (Tom Walls), good-natured fellow, arrived secretly in London with his charming little Royal charge. Fop naturally his fiancee (Anne. Grey), chancing to learn of his return to England, lost no time in seeking him out—• and, not unnaturally, is a trifle suspicious when she 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 on the tenterhooks of anxiety, but with some charming interludes.