PICTURE THEATRES

Evening Star, Issue 22596, 13 March 1937, Page 23

PICTURE THEATRES

THE NEW PROGRAMMES

SINCLAIR LEWIS CLASSIC BRILLIANT ACTING IN • DODSWORTH ’ A powerful social drama, adapted from the novel by Sinclair Lewis and produced for United Artists by Samuel Goldwyn, under the title of Uods■worth',’ opened at the Regent yester- • day. Every modern artifice of the producer’s skill has been employed, so that backgrounds are appropriate to the ever-changing European capitals in ■which much of the story is enacted. Modernity is the keynote, even to the scenes on the mammoth new luxury liner Queen Mary, on which the Qodsworths embark on their soul-ruining European travels after a life-time of domestic bliss. , , The film is lifted far above the standards of ordinary productions by the brilliant character acting of the principals, who include Walter Huston, Ruth Chatterton, Mary Astor, Paul Lukas, and David Niven. . The film opens with the retirement of Sam Dodsworth, who, after a hard but successful career, is looking forward to enjoying his first taste of real leisure and travel. To his wife, Fran, however, travel means one last period of romance before she settles down to the quiet respectability of middle-age. The couple sail for Europe on the liner Queen Mary, andvFran has her first flirtation on board ship. Arrived in Paris, she becomes involved with a dubiously “ smart ” set, and leaves her ' husband alone to amuse himself as he pleases while she dances in all the gay* .est restaurants with the worldy Arnold Iselin and the handsome .Kurt von Obersdorf. In spite of her husband s unselfishness, Fran ruthlessly plans to divorce him when she receives an offer of marriage from von Obersdorf, and Dodsworth, wandering about Europe alone, falls in love with a Mrs Cortwright. In ihe midst of his new-found happiness, Fran’s marriage plans and frantically she sends for him. He leaves all prospects of his own happiness to return to her, but, realising at last her worthlessness, he goes back to the woman he loves. _ , Walter Huston, as Samuel Dodsworth, seems to be the living embodiment of the man Sinclair Lewis made famous in his analysis of the doting American husband, over-mastering m business ability, yet boyishly incapable of controlling and directing a spoilt wife who did not know when she was well off. In contrast his wife, played by Ruth Chatterton, is artificial, selfseeking, and whole-heartedly selfish. This-unsympathetic role, nevertheless, has called forth some thoroughly convincing acting such as Miss Chatterton brought some years ago to the silent screen. Mary Astor as Edith Cortwright, the widow who finally makes Dodsworth’s life happy, Paul Lukas as the philandering Arnold Iselin, David Niven, and Gregory Gaye all give good performances, as does every other member of the large cast. An excellent supporting programme features another of Walt Disney’s popular coloured cartoons, ‘ Mickey’s Grand Opera/ while other supports include news items and an entertaining travelogue. _ r , ,

TOM WALLS COMEDY

EMPIRE'S FIRE ATTRACTIOH Ben Travers, the prince of modern comedy authors, wrote ‘ Dishonour Bright ’ specially for Tom Walls, while in order to obtain the full benefit from this farce Walls directed the film bnntfelf. ‘ Dishonour Bright,’ which starts in a divorce court, commenced a Dunedin season at the Empire Theatre yesterday, and the situations which develop during the progress of the picture are well handled by Walls, who plays the part of a polished man of the world, whose reputation makes jealous husbands shut their doors on him, and romantic wives open them again. Yet he finally destroys the illusions he has built up around himself when he cannot overcome a weakness for his own wife. In his role as a much maligned modern Don Juan, Tom Walls only commences a hectic series of matrimonial adventures when he marries the respondent in a divorce action. From this time, the fun waxes furious as his Continental honeymoon is complicated by his misunderstood endeavours to rescue the wife of the suspicious lawyer, who had assailed him in the court, from the ingeniously laid plot of a blackmailer. There is a startling climax when the husbands and wives of both parties and the blackmailer, most of whom are apprehensive of the attentions of the notorious Stephen Champion (Tom Walls), arrive in a Paris hotel, to bring about a denouement. No actor but Tom Walls could use the witticisms of Ben Travers’s dialogue to such advantage, and the film abounds in the subtlety which offers him full rein for his ability in the role of adventurer. As Stephen Champion’s wife, Diana Churchill gives one of her best performances, her portrayal of the trusting wife, simple in manner and hopeful in ideals, but dogged by a persistent xold in the head, proving a great foil to, the pointed sallies of her husband. As the lawyer’s wife, Betty Stocfceld plays a* more emotional role with artistry, and the trio pass through their many trials in an atmosphere of complete diversion. Certainly it is one of the most entertaining of Tom Walls’s productions, its success being enhanced by the able support lent by the actors with whom he is cast. Much interest centres in the excellent supporting programme, which features ‘ Keeper of the Trees,’ a skilfullydesigned camera record of a major New Zealand afforestation scheme.

CLEVER AND THRILLING

CHARLIE CHAN'S LATEST CASE Described by critics in Auckland and Wellington as the best of this series of pictures in which the celebrated Charlie Chan has appeared, ‘ Charlie Chan at the Race Track,’ the State s new release, richly deserves that credential. A large audience last night thoroughly enjoyed it. The story, an enthralling one, centres round George Irving’s famous horse Avalanche, which loses an important Australian sweepstakes through the manipulations of a gambling ring. Irving immediately cables Charlie Chan (Warner Gland) to meet him in Honolulu, when the boat on which Irving is returning to America docks fcjiere. Irving allegedly is kicked to death by Avalanche just before the ship docks at Honolulu, Chan boards the boat, and his investigation reveals that Irving has been murdered. Chan, with his son Keye Luke, decides to continue to America with the boat. A series of mysterioua events on board the snip is climaxed by a fire. In the confusion Avalanche is switched with another horse, Gallant Lad. The boat arrives in Los Angeles, and Alan Dmehart announces that the horse will positively run in the handicap, despite the mysterious threats he has received. The gamblers make several attempts on Chan’s life, and on the day of the race kidnap the detective. By a clever ruse Chan escapes and arrives at the track shortly before the big race. Chan creates a disturbance, and in the infusion again .switches the horses. The gamblers sense that the horses are to run in the race under their proper identity,. and conceive their diabolical plot to kill Avalanche just as he enters the home stretch. Their plan is suecessful in execution, but Avalanche gamely continues to the finsh, the winner, befofe he collapses. Chan gathers all the suspects in the racing stewards’ office, discloses his evidence, and unmasks the murderer. Keye Luke, Helen Wood, Thomas Beck, Alan Dinehart, and Gavin Muir are also featured in the cast of the picture. There is a splendid array of pictures shown in the first half of this excellent programme. A fine pictorial film dealing with deep-sea fishing, and swordfish in particular, is immensely enjoyable. After a long absence from the screen Buster Keaton returns in an amusing comedy, in which he succeeds in disappearing at critical moments. Several newsreels arc shown,_ and one includes scenes of the fifth cricket test, recently concluded, and views of the rescuers of the survivors of the ill-fated Stinson, which crashed last month near Brisbane.

BRIGHT PATSY KELLY REVUE

FULL OF LAUGHTER AND MUSIC It is difficult to know where to begin a description of ‘ Sing, Baby, Sing,’ the riotous comedy-revue which is screening to crowded houses at the Grand. Full of humour, full of music, full of dancing, it swings along in happy time, giving its many star players a wonderful opportunity to produce their best in the laughter-making line, and giving the audience no excuse for one dull moment. ‘ Sing, Baby, Sing ’ is a Twentieth Gentury-Fox- production, which' means that nothing is left undone to make it the best of its kind. The plot is laid in night club, stage, and radio circles, and hangs together just enough to provide the introduction of plenty of bright numbers and interludes, and _to give scope to the brilliant cast. It is doubtful if such a group of comedy talent has been brought together in one picture before. The performance of the three Ritz brothers is an entertainment in itself. Ted Healy and Patsy Kelly are seen at their very best. Alice Faye sings and dances, and also to the fore are Adolphe Menjou, Gregory Ratoff, Michael Whalen, Montagu Love, and Dixie Dunbar. The picture brings music as well as laughter to the audience, and the response to such bright ditties as 1 Love Will Tell,’ ‘ You Turned the Tables on Me,’ and ‘ When Did You Leave Heaven?’ is immediate and appreciative. ' ,

A WOMAN'S HEROISM

KAY FRANCIS AS ‘ WHITE AKfiEL' The story of Florence Nightingale’s single-handed battle against the prejudice, greed, and incompetency of some of the leading surgeons and _ Government officials of the middle of last century is known to the world, but never has it been depicted in such'picturesque colour as in ‘ The White Angel,’ which, owing to its great popularity with Dunedin audiences, has been transferred to the St. James from the Empire, in order to give those who have not already witnessed the film an opportunity to do so. . The significance of the nineteenth century, as many historians have shown, lies in the emergence of women from their cloistered and barren, existence. And with their liberation we also witness the emergence of the ideal of social service. Of the many women whose deeds stand out during that epoch one - is pre-eminent, or at least a first among equals. She is Florence Nightingale, founder of the modern nursing and a glowing symbol of feminine emancipation. Dedicating herself to a career of service to humanity, she still embodies all the noble characteristics of the modern social worker. A magnificent and inspiring portrayal of Miss Nightingale’s life, ‘ The White Angel,’ features Kay Francis. Tho Lady with the Lamp is seen wandering through the ghostly _ hospital halls at Scutari, with its dying and wounded groaning pitifully. For a moment the anguished cries are hushed as Florence Nightingale glides past, listening intently, perhaps, for one who may need her most. There are mumbled words of thanks and prayer for this ministering angel of mercy. And so endlessly through the night walks Florence Nightingale. It is with awe that one approaches this sublime woman, and it is with awe that one watches her in 1 The White Angel.’ Florence Nightingale was a great humanitarian, and the picture seems to have caught the spirit of her life and to have portrayed it so vividly that millions, young- and old, who have taken nurses for granted, will have a better understanding of the struggle, sacrifice, and battle that raised this work to the professional dignity it now enjoys. Kay Francis is always a finished actress, but never has she been more splendid that in the role of Florence Nightingaie. She gives to the character the fire of enthusiasm that makes tho great Englishwoman live and breathe on the screen. Preceding the main feature is an outstanding collection of shorter subjects.

IMPRESSIVE DRAMA

MAIN FILM AT OCTAGON Powerful drama, an appealing love story, and a panorama of Hollywoou life make for excellent entertalumcnt in the principal picture at the Octagon. In short, the film, 1 Hollywood Boulevard,’ tells the story of a former star who has not kept abreast of modern trends. His day is done, but he does not know it, and on this fact is built a powerful story that engages the interest at all times. John Halliday is the featured player as the former leading man of silent pictures who tries to bring his name back to the public by writing a series of memoirs for a cheap magazine, lo give the story colour, a number ol old screen players have been gathered together, and their faces on the screen bring back memories of the days gone by. These include Maurice Costello, who last appeared nine years ago, Esther Ralston, Francis X. Bushman, and Charles Ray, once known for his lovable country boy roles. Hoi ywood Boulevard ’ has been deverly designed, and the working out of the actual story has been left in the hands of a capable cast, including Marsha Hunt and Robert Cummings, who give strong support to Halliday s portrayal. When Halliday contracts to write his memoirs he further agrees, in exchange for the main part in a picture backed by a magbzine publisher, to dwell particularly on his love affairs., When the first few chapters appear a scandalised family appeals to him to stop the memoirs. For their sake he agrees, but the publisher, who is building circulation on the scandalous writing, will not hear of it. It happens the publisher’s wife is an old sweetheart of the star, and he tells her that unless she compels her husband to cancel his contract he will bare their love affair and ruin her. In a neatly-contrived twist in the story there is a dramatic finish that is touching. Singing his way into favour with ail who see him—except the desperados in the film—Dick Foran is back in an exciting story of the days when the Texas Rangers were endeavouring to force law and order in the west. This picture, ‘ Guns of the Pecos,’ is aptly named. It is filled with thrills, romance, and songs,' and represents that time just following the Civil War when portion of Texas, known as the Pecos, was overrun by outlaws. It depicts the effort of the Texas Rangers to smash these hands of cut-throats and drive them from the country. A major of the United States army, who is commissioned to procure horses for the Government, is murdered, and the horses stampeded and stolen. The outlaws responsible for his death also try to steal the deed to the ranch left to the major’s daughter, and the rangers are sent out to break up the band and bring the killers to justice. Dick Foran does some spectacular riding as well as capable acting in the role of the ranger heading the investigating party. Anne Nagel, who began her picture career a year ago after some time on the ’musical comedy stage, gives a fine performance in the leading feminine role as the daughter of the slain major.

ASTAIRE AND ROGERS

WITH LAUREL AND HARDY AT MAYFAIR It may be said that * Follow the Fleet,’ tne film at the Mayfair, with that splendid combination of stars, Fred. Astaire and Ginger Rogers, rises to the top standard in screen musical comedy. The story illustrates the old saying, “ The course of true love never runs smooth,” but innumerable complexities arise from the fact that both the men whose love stories are followed (Fred. Astaire and Randolph Scott) are sailors. Full opportunity is therefore taken for witty repartee, for which Astaire is famous, and several dances are introduced in appropriate places. The opposite leads are played by Ginger Rogers and Harriett Hilliard as sisters. Particularly witty lyrics are sung by Astaire to music of the usual high standard of Irving Berlin, the best of which are ‘We Saw the Sea,’ ‘ Let Yourself Go,’ ‘ Let’s Face the Music and Dance.’ There are no halfmeasures about the musical. It uses not one, but four, bands to present the Irving Berlin tunes composed especially for the nautical adventures and land romancing of these masters of song and dance. A wing-footed music-mad sailor in the R.K.O. Radio film, Astaire himself conducts one 10-piece band and presents the first of Berlin’s seven compositions with it aboard a battleship in San Francisco Harbour. The piece is ‘We Saw the Sea.’ For this and other sequences on the deck of a United States battleship a navy band provides traditional marine music. A 12-piece dance orchestra, playing in a San h rancisco dance hall, sets the fox-trot rhythm for Ginger Rogers in her rendition of the rollicking _ ‘ Let Yourself Go.’ Also screening is an hilarious Laurel and Hardy comedy, ‘ Oliver the Eighth.’

STRAND'S ATTRACTIVE OFFERING

‘MYSTERY OF THE MARIE CELESTE' ’ A mystery of the seas that bas puzzled the world ■ for more than 60 years, the fate of the crew, of the Mary Celeste, bas been made the basis of a thrilling film that commenced a season yesterday at the Strand, The picture makes a very successful attempt to solve one of the most baffling mysteries of the sea of all time. Entitled 1 The Mystery of the Marie Celeste,’ it provides a feasible solution of the finding of that ill-fated ship, under full sail and in calm seas, with not a soul on boardIt is a highly dramatic and tangled storv that is unfolded. The ship was found adrift off the coast of North Africa in 1872 with all sails set, her cargo of 1,700 barrels of alcohol intact, everything ship-shape, her small boats still in their davits —but not a single member of her crew of 13 on board, nor has any trace of them ever been found since. The only living creature on this “ ship of death ” was a snarling, crazed black cat—an omen in itself. Many and varied have been the solutions put forward for this strangest of all sea mysteries. A recent play presented by the 8.8. C. gave an octopus coming on hoard as the solution to the mystery, but the film advances a new and strikingly possible explanation. The jealousy of two lifelong friends, both sea captains, who fall in love with the same woman, the superstition that was part of every sailor half a century ago, the insane desire for revenge cherished by an illtreated seaman, and the mystery that is inseparable from a lone sailing ship bound halfway across the world, all combine to make the story convincing. A part only remotely resembling those in which be has previously been featured is filled by Bela Lugosi. As a onf>arraed sailor, a strange mixture of religious fanatic and vengeful enemy, he is most suitably cast. Other members of a large cast responsible for outstanding work are Arthur Margetson and Shirley Grey. Another fine attraction of the pro-

gramme is ‘ Two-fisted Gentlemen/ a quick-moving comedy romance in which the leading parts are taken by Jimmy Dunn, June Clayworth, George M'Kay. and Thurston Hall, This story of a famous ex-boxing champion is an entertaining one with a novel plot and full of wholesome humour.

‘THANKS A MILLION’

DICK POWELL STARRED With Dick Powell and Ann Dvorak singing and romancing, Fred. Allen and Patsy Kelly indulging in a hilarious feud, and Paul Whiteman and his band, Rubin off, and the Yacht Club Boys assisting in the general hilarious tunefulness, ‘ Thanks a Million,’ the new Twentieth Century production, brings the season’s top mirth and melody production to the Municipal, Green Island. The picture, replete with catchy new tunes by Gus Kahn and Arthur Johnston, follows the cockeyed adventures of a tanktown show troupe headed by Fred. Allen. Powell is the handsome young warbler of the troupe, who positively refuses to croon. It is his romance with Anne Dvorak and the complications that ensue when Margaret Irving enters the scene, that furnish the major story. That is backgrounded hy hilarious business between Fred. Allen and Patsy Kelly. In the climax, after they become entangled with politicians in- a fantastic adventure, Powell realises his heartfelt ambition as a radio singer and the object of his affections in Miss Dvorak. ‘ Thanks a Million,’ the theme song, heads the tunes Powell sings. Other catchy hits include ‘ I’m Sitting High on a Hill Top ’ and ‘Sugar Plum.’ The Yacht Club Boys do a number of their original selections,

CORONATION CONTINGENT

PERFECT BEARING ADMIRED [Per United Press Association.] WELLINGTON, March 12. Appreciation of the physical fitness and bearing of the military contingent which is to represent New Zealand at the Coronation on May 12 was expressed to-day by the Minister of Defence (the Hon. F. Jones). . “The military training in camp at Trentham has brought to something like perfection the fitness of tho men and their bearing,” the Minister said in an interview. “It was a pleasure to see the contingent at drill and on parade. I feel confident, that they will uphold the high reputation that the New Zealand soldiers won in the Old Country during the war. The officers and men at Trentham realise their responsibilities to the Dominion, and I have no hesitation in saying that my confidence in them to maintain and even enhance New Zealand’s good name is complete.” Mr E. T. Tirikatene, member for Southern Maori, who is leaving with the contingent, having been successful in the final ballot, was accorded a farewell by his colleagues at Parliament House to-day, and presented with a travelling rug.