PICTURE THEATRES

Evening Star, Issue 22228, 4 January 1936, Page 3

PICTURE THEATRES

THE HEW PROGRAMMES 'LES MISERABLES' AT REGENT COLOURFUL STORY FILMED Few more highly dramatic stories have been written than Victor Hugo’s ‘ Ives Miserahles,’ and few, if any, more dramatic pictures have ever been produced from a classic novel than the film which opened a season at the Regent Theatre yesterday. It is a masterpiece of its kind, and adds to the fine interpretation of the story the additional merits of thoughtful and sympathetic individual acting and film production and photography of a quality as good as any that has yet been seen. The cast comprises a bracket of outstanding actors, any one of whom would be a sufficient recommendation for a picture. The story is cruel, and while nothing of its poignancy is lost in the picture, the many excellences of acting, narrative, and production technique serve to temper much that might otherwise come as a shock to those who have not read of the injustices of the early nineteenth century French law—a law which said that a man was guilty until he proved himself innocent, the very antithesis of modern justice. It was a law which mafic a man a galley slave for the theft of a loaf of bread and then pursued him relentlessly for 20 years. While mirroring these hardships, there is introduced into the picture an element of romance and in some parts there is a glimpse of comedy, but there is no serious attempt to spare feelings, and the result is a remarkable dramatic achievement. To Charles Laughton go the acting honours. He is Javert, the impeccable and sinister officer of the law, for whom the principles of the law stand for everything. Although there is other acting of the highest standard, Laughton remains as the ineradicable memory. There is Fredric March, as Jean Valjean, who after 10 years of brutal treatment as a galley slave returns to such an existence as the French police will allow him to lead. Harried from town to town, he at 'last finds shelter with a bishop, but repays kindness by robbing him of some silver plate. Saved from the galleys again by the bishop’-s kindliness, Valjean realises that there is still some good in the world and resolves to devote his life to helping others as he has been helped. On every hand Valjean is thwarted by the police, and even four years later, when mayor of a town, Javert, who had been his guard on the galley, again comes into his life to persecute him. Circumstances make Javert suspect that Valjean is a convict _ who has broken parole, and after saving an unfortunate from prison Valjean becomes a fugitive again, now accompanied by an adopted daughter. A twist of plot puts Javert in his power, but the inscrutable officer of the law continues his relentless Years pass as Valjean remains undiscovered in Paris, but again Javert tracks him down and again the officer of the law is placed under the fugitive’s power and is released. It is not in the nature of the man who has suffered the tortures of the galley to do him harm, and the climax comes as a relieving touch to a life of sacrifice. The whole picture has been adapted in a series of dramatic situations, forming a pageant of human misery, defeat, and triumph. _ It is a tirade agqinst the social injustices of the author’s day, retold in a manner such as few masterpieces have been on the screen. There are many other aMe screen players in the cast. Sir Cedric Hardwicke is the benevolent Bishop Vienvenu, and Rochelle Hudson, Prances Drake, and John Beal are featured. There is an entertaining supporting programme. Many selections of a popular nature are played by the Regent Orchestra, a highly efficient combination under the direction of Mons. de Rose. The orchestra plays a short programme before the showing of the pictures and again appears at' the interval.

THE MONSTER RETURNS FRANKENSTEIN CREATION DEMANDS A MATE The creation of the imaginative mind of the mad scientist, Henry Frankensein, and built as a living creature by scientists, the monster has returned to the screen to continue his terrible career r of murder and destruction. Fearsome, yet fascinating, the monster, made from parts of dead bodies, pursues his horrible and grotesque liie in ‘ The Bride of Frankenstein,’ which opened at the Empire Theatre yesterday. With its weird settings, its intense excitement, and its remarkably fine acting by all the members of the original cast, this film is a fitting sequel to the first picture, which was shown here a year or two ago. Again Boris Karloff gives a notable performance as the monster whom Frankenstein had made of dead bodies and endowed with life. Through his ghastly make-up Karloff conveys with consummate art_ the dim flickering of human feelings in the weird creature’s mind and the bewilderment of the poor revivified brain that makes the monster run amok and slay more in terror than in anger. A convincing performance is also given by Colin Clive, the con-science-stricken creator of the monster; while Ernest Thesiger handles cleverly a difficult role as Dr Pretorious, the mad scientist, who carries on with Frankenstein’s researches. A welcome vein of comedy is supplied by Una O’Connor. Opening with _ the final scene of ‘ Frankenstein,’ in which the monster is supposed to be burned to death in a mill, the sequel goes on to show his escape after falling into a well under the building, where he is uninjured by the flames. Once again the whole countryside is thrown into a state of terror. Taught to speak by an old blind hermit with whom he finds refuge, the monster returns to demand a mate, and falls into the hands of Dr Pretorius. a mad scientist, whose researches into the sources of life have paralleled those of Frankenstein. The latter has sworn to abandon his disastrous experiments, but the monster kidnaps his wife and holds her as guarantee that Frankenstein and Pretorius will make him a mate. A second picccd-together body comes to life under a powerful electrical discharge, but the bride-to-be repels the monster with horror. He, with a glimmering of intelligence. realises that his renewed life is a horrible mockery, and, depressing the lever that controls the electrical apparatus, destroys the laboratory with

an dnormous charge of electricity, burying himself, his bride, and Dr Pretorius in the ruins, from which Frankenstein and his wife narrowly escaped. The supports include both bright and instructive films, among which are an antelope novelty, a clever musical and comic picture (which introduces several exceptionally talented artists), an ‘ Oswald the Rabbit ’ cartoon, and a couple of newsreels. DRAMATIC TRIUMPH AT ST. JAMES ‘ SHANGHAI * A REMARKABLE PICTURE That man bo accepted on his merits and not on creed or colour is a pica forcefully developed in the remarkable, drama ‘Shanghai,’ which commenced a season at the St. James Theatre yesterdfl v. The picture tells a love story set in a broad-minded community; a community, however, whose sophistication would not accept the union of a .white girl with a man of other blood. In her part as Barbara Howaid, Loretta Young is both charming and accomplished. Her attractive P®rsonality dominates the picture, and her ready wit and natural acting give pleasant entertainment. As Dimitri Koslov, Charles Boyer achieves a marked success. It is for him to play the part of a lover who knows full well that he may never claim the woman of his choice. Warner Oland, as the ambassador, Lun Sing, acts with the same quiet serenity that has made ms Charlie Chan pictures so popular. Alison Skipworth provides a lot of fun and laughter with her absurdly petty conceits, while there is always a smile of blackest ebony on the face of Libby Tayior, as Corona, the negro maid. _ ■ Barbara Howard falls in love with Koslov, whom she first sees as a rickshaw man, but later as _ a successful banker. The love is reciprocated and continues while Koslov, through shrewd investing, amasses a huge fortune and establishes himself as a social lion and a business leader. Lun Sing, however, informs Koslov that' ho has no right to lovo Barbara, because he is a haltChinese, his mother having been a Manchu princess and his father a Russian nobleman. Koslov realises the folly of such a romance and repulses Barbara, but her beauty and persistency overcome his fears. , They soon become a most popular couple in the white quarter of Shanghai, and still Koslov’s fame and fortune grow. He cannot forbear from speculating, however, as to what might happen if Barbara knew the truth about him, and accordingly resolves upon an astonishing method of putting her love to the test. At a sumptuous party, attended by the elite of Shanghai, he publicly tells the secret of his birth. The guests at once leave the house and Barbara joins them, soon to return, however, repenting her disloyalty., Again they profess their love, but it is not long before Koslov finds that ho is ruined, and that every door is closed to him. Parting is all that is left to them; they do so, never to meet again. The programme of short films in support of ‘ Shanghai ’ is an excellent one, including a very interesting gazette, a ‘ Popeye the Sailor ’ cartoon, a clever coloured cartoon, and several other atractive features. This programme will he shown to-night and during the week.

TWfl UNUSUAL THEMES STRAND'S ENTERTAINING FARE Two outstanding films, each portraying unusual themes, are the new attractions at the Strand. ‘ The Bitter Tea of General Yen ’ is an unusual drama of China and a missionary’s struggle against her beliefs; while ‘ The Public Menace ’ is the story of a young American reporter who' pursues Public Enemy No. 1. The former film tells the story of Barbara Stanwyck, a New England girl who goes to China to marry her lover, Gavin Gordon, and assist him in converting the worshippers of Confucius I to Western Christianity. Although. she went forth to convert the heathen, it was she who became the convert. The picture deals, with a time of civil war in China. Barbara Stanwyck and Gordon have to postpone their wedding for a few hours, and while on a station Gordon _is knocked unconscious by the struggling masses. The girl’s plight is, however, seen by Nils Asther, who has her rescued and brought to his luxurious berth and later to his stronghold. During the week she is there Asther tries to win her love. Each has the chance of converting the other, sjie with her Western Christianity, he with his Eastern philosophy. ' A most unusual and startling climax concludes an outstanding film. The second feature on the programme, 1 The Public Menace,’ featuring Jean Arthur and George Murphy, is the tale of a young reporter who tries to obtain a story of America’s Public Enemy No. 1. Murphy is sent to cover the arrival of an ocean liner, and while in the Press boat is informed that Tonkelli, Public Enemy No. 1, is on the ship. Also on the liner is Jean Arthur, who, because she is not an American, is not allowed to land. The only possible way she would be allowed to go on shore would be to marry an American, and on the promise of a good story she persuades Murphy to marry her. While the captain is performing the ceremony the prisoner escapes, and when Murphy misses the story he is discharged. When a man is burned beyond recognition in an automobile fire Jean Arthur calls up Murphy’s paper stating she has a red-hot story, but will only give it to Murphy. The latter is taken oh again, and she tells him that it was the wanted man who was killed ; but just as the papers containing the information are put on sale the very-much-alive Public Enemy No. 1 appears with a machine gun. Murphy is once again discharged and the girl is arrested for false identification. Tonelli arranges her bail, but the police, suspicious of her, follow her to Tonelli’s apartments. However, she manages to send a phone call to Murphy, who appears on the scene with an ambulance, and together they take Tonelli right up to the editorial room of Murphy’s former newspaper. The paper obtains an outstanding story, Murphy is once again taken oh. and a long-delayed honeymoon follows.

MAYFAIR'S NEW BILL TWO CONTRASTING FEATURES ‘ Gold Diggers of 193d,’ First National’s latest musical film, opened at the Mayfair to-day with ‘ Menace.’ The picture is said to carry more unique and unusual numbers and more comedy than any other musical produced by this company. Busby Berkeley, musical comedy genius, not only created and staged the numbers, but directed the

entire picture. Dick Powell anti Gloria Stuart have the romantic leads, with Frank M'Hugh and Dorothy Dare in a semi-comic love affair and Glenda Farrell having an affair with an eccentric millionaire. Alice Brady has the role of the rich widow who is bilked of a considerable fortune by a theatrical producer, a part played hy Adolphe Alcnjou, Joseph Cawthorn in the role of a scenic artist, and the hotel manager, Grant Mitchell. The cast of ‘ Menace.’ features Gertrude Michael and Paul Cavanagh, recently seen together in ‘ The Notorious Sophie Lang,’ and John Lodge, Montagu Love and Henrietta Grosman. In ‘ Menace,’ three people live under the death threat of a madman wlio tracks them from Africa to an isolated house in the mountains of California. There they await the coming of the avowed' killer and, although the police have been notified, realise that they alone must face their unknown assailant, overpower him, save themselves from his mad revenge. Within a lew minutes, a note pinned by a dagger to a table announces that the killer is among them, ready to exact his revenge of death. Suspicion and fear grip all, and even before any action or plan can be put into effect, one of the party, an American - adventurer, is found dead with a knife in his heart.

A JUVENILE DRAWCARD SHIRLEY TEMPLE STILL AT GRAND When any picture is shown in Dunedin in which the inimitable Shirley Temple appears, be it of a dramatic or romantic nature (or a blending of both), her admirers are always legion. And ‘Our Little Girl ’ has been no exception, as large audiences at the Grand have testified. ‘ Our, Little Girl is equal in many ways to its forerunners, and further proof of its popularity has been an extension of its season. • . . .. The story of the picture is sentimental ; it is hackneyed ; it is not particularly well told. And yet those who see the film ‘ Our Little Girl ’ will not trouble about these faults for they will find a great deal of entertainment and enjoyment in watching Shirley Temple carry the story along with her as she acts her various important or unimportant parts. She is a little girl Molly, daughter of Dr Middleton (Joel M'Crea) and his wife Elsa (Rosemary Ames). Her father is an exceedingly busy doctor, and it is only by careful planning that he can keep free the two special days in the year—May Saturday and September Saturday—when he and his wife and daughter picnic in a place they have named Heavensgate. Gradually _ also, Dr Middleton becomes suspicious of his wife’s interest in another man. His nurse, Sarah Boynton (Erin O’Brien Moore), loving him, tries to show him that hisw ork as a doctor comes before the so-called selfish interests of his wife and child. But Molly’s devotion to her father and to her mother makes everyone se© sense so that the three may live happily ever after. The supporting bill is quite entertaining.

SCINTILLATING MUSICAL • TOP HAT ' ATTRACTS CROWDED HOUSES Now entering its third wee]; at the State, ‘ Top Hat,’ featuring Ginger Rogers and Fred Astaire, has proved to be one of the most popular films shown in Dunedin in years. The combination of Astaire, Miss Rogers, and the music of Irving Berlin makes the film one vyhich will be remembered for a long time, and the manner in which the dances and singing are done leaves nothing to t be desired. The story of ‘Top Hat’ is light and thoroughly plausible, the ideal type for a' musical comedy which is concerned only with providing good entertainment which is at the same time realistic. The film tells of the adventures of Jerry Travers, an American dancing star, and Dale Tremont, a beautiful young country woman, who meet in romantic and unconventional circumstances in London and Italy. The various song and dance numbers are novel and brilliantly executed. Because of the colour of its setting and that it is hailed as a successor to the ‘ Carioca ’ and the ‘ Continental,’ the feature dance, the ‘ Picoolino,’ deserves special mention. A dance of haunting Italian rhythm, it is performed with superb ,-grace by Astaire and lliss Rogers, against a background embracing canals with drifting gondolas. An ensemble arrangement of the number is also done by a large mixed chorus.

A RICHARD TAUBER TRIUMPH • HEART'S DESIRE ' COMES TO OCTAGON Hit-hard Tauber’s liquid tenor voice was never heard to better advantage than when ‘ Heart’s Desire ’ was screened at a city theatre last week. In fact, so popular was this picture that many of the public were unable to gain admittance, and it is partly to cater for this large section oi Tauber s admirers that the Octagon has secured this production, which commenced a return season tnere yesterday. The biergarten set where, as “ Steidler,” an Austrian singer with great local popularity, Richard Tauber holds everyone ■ entranced by his rendering of ‘ Vienna, City of My Dreams,’ is most effective. The film promises to make Tauber supreme on the screen, as he already is on stage and concert platform. It is in the “ Heuringer ” that a rich English girl, cleverly played by Leonora Corbett, first meets “ Steidler.” She is in search of a tenor to sing in the new opera composed by a friend of her s (played by Carl Harbord) in .London, and immediately she hears Steidler she realises that her quest is over. Steidler is not anxious to leave the biergarten and his little sweetheart, but she overrides his objections, for, though music is his greatest joy in life, he shrinks from leaving the city and friends he knows so well to venture into a strange life in a new country, dauber is called upon to do some strong emotional acting in ‘ Heart’s Desire, at which he proves himself expert. He again delights his audience with some very beautiful songs in this production, several being by Schumann, ‘Devotion ’ and 1 A Message Sweet as Roses.’ Others specially written for the picture by the great tenor himself include ‘ My World is Gold Because You Love Me,’ ‘ Lot Mo Awaken,’ and ‘ All Hope is Ended.’ The supporting cast is a distinguished one, including Leonora Corbett, Kathleen Kelly, Diana Napier, Paul Gractz, George Graves, and Carl Harbord. The supporting fare is well up to the standard set by the Octagon, and includes some fine topical newsreels depicting events in various parts of the world.

LAURIER, PORT CHALMERS FILM UNITES LOWE-H'LAGLEH One of the most thrilling and colourlul pictures to reach a local screen in seasons will open at the Laurier to-night. This is the new Fox Film production, ‘ Under Pressure,’ which stars Edmund Lowe and Victor M'Laglcn, supported by a finely balanced cast. This time the tough and trusty team of Lowe and M'Laglon are “ tunnel men ” —leading a crew of husky workers through silt and bedrock many feet below the river. One hour a day in the lives of these intrepid “ sand hogs ” is reserved for death, while they pursue their perilous work. The other 23 are given up to life and love above the river. It is a subject matter magnificently suited to the Lowe-M‘Laglen talents! Different from any story in which they have appeared, ‘ Under Pressure ’ at the same time gives them the chance to be devils with women and dare-devils with men. But, even more than that, ‘ Under Pressure ’ is a big and thoroughly human drama, with a love interest that is thrilling and comedy that is quickwitted and fast-moving. UNUSUAL SPY DRAMA GREEN ISLAND CINEMA'S ATTRACTION An exciting spy drama which enjoyed an excellent Dunedin season when screened some time ago opens the Green Island Cinema to-night. Starring Myrna Loy and George Brent, ‘ Stamboul Quest ’ tells the adventures of a woman secret service agent (Myrna Loy). who is recognised as one of the world’s most fascinating and dangerous spies. , Playing opposite her is George Brent, who provides the film with incidental humour. Others who have prominent roles in the cast include C. Henry Gordon, Lionel A twill, Judith Voselli, and Leo Carroll. A strong 'Supporting programme will include those inimical clowns, Laurel and' Hardy, in a delightfully funny production, ‘ Towed in a Hole.’