PICTURE THEATRES

Evening Star, Issue 22595, 12 March 1937, Page 7

PICTURE THEATRES

STATE Charlie Chan encounters the strangest and most baffling case of his career as he combats the deadly machinations of •a ruthless killer in ‘ Charlie Chan at the Race Track,’ Twentieth CenturyFox, picture, which opened this attci-■ noon at the State. Murder with a phantom horseshoe, an intra-ray that hurls unseen death, and a poison roam that bubbles venomously, are but a tew of the macabre means of murder that Chan deals with as he races neck and neck, halfway round the world, with an invisible killer. Warner Gland once anaiii plavs Charlie Chan, Karl Derr Rigger’s famous sleuth, with- Keye Luke, Helen Wood, Thomas Beck, and Gavin Miiir also featured in the east. The film opens with a thn ling horse race in Australia, where Avalanche, the heavily-backed favourite, loses the Melbourne Sweepstakes through the operations of a gambling ring. Major Kent, infuriated at the gamblers, cables Honolulu and requests Chan to investigate the case. When the boat carrying Kent and Avalanche to America docks in Honolulu, Chan finds the Major dead—apparently kicked to death by Avalanche. Chan uncovers evidence that indisputably establishes the fact that Kent has been murdered—and the wily sleuth decides to continue with the boat to America, thereby plunging headlong into the most amazing experiences of his career. Avalanche is to run in the famous Santa Juanita Handicap—and Chan makes the astonishing discovery that the horse has been switched wit i another and slower thoroughbred. Ihiili follows thrill as Chan follows, on the heels of the murderer, culminating with the kidnapping of the detective on the eve of the race. By a clever ruse, Chan outwits his captors and reaches the track just before the start of the big race. Aided by his son, Keye. Luke, Chan creates a disturbance, and in the ensuing excitement restores Avalanche to his true colours. REGENT * Dodsworth,’ the United Artists film which began a season at the Regent this afternoon, has excellent credentials, for it is a Samuel Goldwyn picture, adapted from Sinclair Lewis s famous novel. Even apart from that, however, the performance of Walter Huston in the title role would make the film memorable. Good though Huston has always been, ‘ Dodsworth ’ should put him among the three really great 'American actors, as distinct from the racially indistinct Hollywood variety. There is not a trace of self-conscious-ness or melodrama in his work. It is downright and sincere, finely balanced between humour and deep feeling. ‘ Podsworth,’ of course, is the perfect medium for it. Walter Huston plays the typical American good business man, good husband, in a way that gives him homeliness without dullness, enthusiasm without . ilambuoyance, and shrewdness without guile. It is a remarkably sympathetic portrayal of a rather splendid type, that is too often caricatured. The case of Samuel Dodsworth is that of the man who marries a woman considerably younger than jhimself. . They live together happily, ’ bring up a daughter to womanhood, and then, when she marries in turn, they decide to see Europe. Dodsworth sets out on the adventure with the determination to live as he has never had time to live before. But his wife yearns for gaiety in the form, offlirtations and superficial love affairs. She is terrified, of- growing old, and- the contentment with which Dodsworth accepts his years turns her from him to younger men. When the inevitable break comes ho takes the blow bravely, but he is heart-broken and desperately lonely. It is natural for him to find solace with a sympathetic'woman, but his problem comes when he must choose between his two lovfes. Supporting Huston in the film are Ruth Chatterton, Marv Astor, Paul Lukas, and David Niven. EMPIRE ' Tom Walls, that amazing and amusing English romantic comedian, is back in Dunedin. He is not only back in Dunedin, but ho is playing in another Ben Travel- farce, a merry tale of muddled marriages and a captivating co-respondent who won women ever from the witness box in the divorce court. It is the Tom Walls of the flexible eyebrow that conveys so much or so little, the man who has done more to put English farce in the 1 forefront of cinema entertainment, than any other actor or producer. His copartner, Ben Travers, has never composed a better play than ‘Dishonour Bright,’ the name of this week’s film at the Empire. It is one of the wittiest and most delightful shows ever presented. The situation round which ‘ Dishonour Bright ’ revolves is ingenious. Tom Walls plays the role of a Highly sophisticated man about town with a reputation that “ makes jealous husbands shut their doors on him, and romantic wives open them again.” He haz a charming, vague, cold-in-the- “ dose ” wife, well played by Diana Churchill, and Betty Stockfield is the girl who does her best to come between the happy pair. Eugene Pallette plays the part of a crook whoso zeal fails to make up for his natural stupidity, and Arthur Wontner, Cecil Parker, and Henry Oscar are among those to whom important roles are allotted. Filmgoers have cause to remember the Tom Wails films that have gone before ‘ Dishonour Bright,’ but this latest farce v will be remembered when others are forgotten. Seldom has there been a. better teaming between actor and writer than exists between Travers and Walls. The one has the happy knack of writing just what the other wants to play, and Walls is the greatest exponent of the risque matrimonial farce. GRAND Featuring an astonishing number of Hollywood’s most famous comedians, a wildly riotous story and some clever new songs, the makers of ‘Thanks A Million,’ Twentieth Century-Fox, have topped their previous triumph in many ways with ‘ Sing, Baby, Sing,’ which is playing to crowded houses at the Grand. With the Ritz Brothers, Alice Faye, Gregory Ratoff. Ted Healy, Patsy Kelly, Michael Whalen, and Adolphe Menjou,Sing, Baby, Sing,’ starts off in a gale of laughter that ihcreases steadily until it is a raging tornado of mirth at the climax. Alice Faye is given her notice at a night club in which she has been singing. She goes to see her agent, Gregory Ratoff, to get another booking, and finds that Ratoff is about to lose his office for neglecting to pay the rent. That is the opening situation, and, in spite of the irresponsibility of the Ritz Brothers and, at times, of every member of the cast, the story is worked out smoothly. Patsy Kelly, who gives such a delightful performance in 1 Private Number,’ does some clever light acting in ‘ Sing. Baby,.Sing,’ and there is a particularly funny scene when she detains tin? villain of the play on the Kansas City railway station telling the world that this monster is a wife-deserter, an army of bribed infants being present in force to complete the effect. Ted Healy is

seen as Gregory Ratoff’s man-of-all-work. He. shows himself to be a magician of more than average ability. The principal songs are ‘ When Did You Leave Heaven?’ and ‘You Turned the Tables on Me.’

ST. JAMES The story of Florence Nightingale, the woman who reorganised and humanised the nursing service England, is told graphically in ‘ The White Angel,’ which has been transferred from the Empire to the St. James. Kay Francis has the part of Florence Nightingale, and captures the character of the great nurse admirably. Florence Nightingale was a well-bred girl, who was inspired to set right the wrongs in the nursing profession in England in the ’fifties of last century. She was no weakling, but a girl of inflexible will, indomitable in her struggle to relieve suffering. Her great chance came with the Crimean War. In the face of official disapproval, and every conceivable obstacle —for women in a war zone were unheard of—she did her great work. Kay Francis plays splendidly in the leading role, and the whole atmosphere of the film is authentic. The young society woman’s decision to make something of her life, and her fight against great odds, is admirably shown. Opposite Kay Francis is lan Hunter, who plays the part of Fuller, a war correspondent in the Crimea, who is at first the. only man to support her work. Donald Woods and Nigel Bruce are at the head of a large supporting cast. Scenes in fever-stricken London hospitals and on the battlefields of the Crimea are well produced, and no fault can he found with the historical detail, although a cloak of romance has been thrown over some of the central characters. STRAND Many theories have been advanced as to what happened aboard the Marie Celeste, the vessel found with all sails set, in the early ’seventies, ploughing along with not a son) on her; and not the least ingenious “ solution ” is offered in ‘ The Mvstery of the Marie Celeste,’ which is now showing at the Strand. The character of the production may be- gauged from the fact that Bela Lugosi, famous for the horror of his ‘ Dracula,’ is in the leading role, and the superstition of seafaring men of that day is skilfully woven into the well-constructed background of drama. Shirlev Grev has the part of the wife of Captain‘Briggs (Arthur Magetson) in the strong cast supporting Bela Lugosi. Jimmy Dunn is teamed with a talented newcomer, June Clay worth, in the leading roles of Columbia’s ‘ Two.fisted Gentleman,’ which is the supporting feature. Though Miss Clay worth has appeared in several recent films, her current role is her first of major importance. . The story of ‘ Two-fisted Gentleman’ is the tale 'of Mickey Blake, a trim, courageous fighter man : aged by the brain? of the family, his ring-wise wife, played by Miss Clayworth. When Mickey reaches the top he neglects his wife for the “ elegance ’ of high society. The 1 dizzy social pace, plus a growing fear that his handsome face might be mauled in the ring, starts him on the road back. He finally winds up broke, discouraged, and embittered when he finds society, is through with him. His plucky wife, however, tricks Mickey into fighting again in an effort to restore his courage and self-respect. The film boasts many authentic ring battles, staged with several of the leading Pacific Coast boxing champions. OCTAGON . i All the lights and shadows of Hollywood are on view in Paramount’s ‘ Hollywood Boulevard,’ a dramatic picture of the comeback of a fallen screen idol, now showing at the Octagon. John Halliday has the featured role of an egotistical actor who agrees to sell the story of his love-life for another chance in a picture. When his estranged family appeals to him to stop the scandal, after the first chapters, he tries to, but the fan magazine publisher will not permit it. Then he threatens to write of his affair with the publisher’s wife, and when she threatens him with a pistol, he is shot. The police charge the shooting to his daughter, but an unusual twist in the story smooths out the drama in a sensational climax. Marsha Hunt, as the daughter; C.. Henry Gordon, as the publisher; Robert Cummings, in the juvenile role; Esther Ralston, as the blonde charmer; and Frieda Xnescort, as the" unhappy wife make the story live. They are assisted by 30 old-time stars of the silent picture days. The hot spots of Hollywood, beach scenes, the home of the stars, and back stage at the studios provide a colourful background. New Western songs are sung in his well-known style and many fast action scenes are performed with a great deal of ability by the noted Western actor Dick Koran, in the exciting; production ‘ Guns of the Pecos,’ which is being screened with ‘ Hollywood Boule : vard.’ Appearing with the leading player in the film is the horse “Smoky,” which is responsible for a performance equal in merit to that of its master. MAYFAIR ‘ Border Flight ’ and ‘ Down the Stretch ’ conclude at the Mayfair tonight. “'Border Flight,’.with a oast headed by Grant Withers, Roscoe Karns, John Howard, and Frances Farmer, is a novel presentation of the law’s fight against the smugglers who have taken to the air to evade the Customs. There are some thrilling air battles and aerobatics in the film. ‘ Down the Stretch,’ is a dramatic racing film.

ASTAIRE-ROGERS MUSICAL. There does not seem to be any ing to the rhythmic, hops that Fred. Astaire and Ginger Rogers essay into the stratosphere of entertainment. Critics declared “ Top Hat ’ was excellent, but Astaire, Miss Rogers, and a strong cast have conspired in production of ‘ Follow the Fleet,’ coming tomorrow to the Mayfair, to set a new standard of entertainment. Irving Berlin has written seven new songs to test the vocal excellence of Astaire, Miss Rogers, and a newcomer to the screen, Harriet Hilliard, and to provide the rhvthm for the intricate dance numbers. ‘ Follow the Fleet ’ is a real musical film, employing a logical story, everyday habiliments for the players, and a battleship, a freighter, and the city of San Francisco for realistic backgrounds. The story is based on the romantic adventures of a pair of “ bluejackets,’ Fred. Astaire and Randolph Scott, ashore. The object of their affections are Ginger Rogers, who is a night club entertainer, and Harriet Hilliard, a school teacher, whose romantic nature responds to the call of love for the first time. Astaire and Rogers dance together three times, each routine striking a different mood and tempo. Ginger appears in her first solo dance in this picture, and Fred. Astaire does: a seven-minute tap routine, supplemented by 24 sailors, which is the novelty highlight of the film ‘ Oliver the Eighth.’ a short Laurel and Hardy comedy, will be the supporting attraction.