PICTURE THEATRES

Evening Star, Issue 22631, 24 April 1937, Page 21

PICTURE THEATRES

THE NEW PROGRAMMES OUTSTANDING PICTURE ‘COME AND GET IT' AT REGENT Banking as one of the outstanding "■ productions of the"yearis * Come'and’ Get It/ the Samuel- Goldwyn picture which opened its Dunedin season--at the Regent Theatre yesterday, and it is the type of him that will ue recalled . with pleasure long after it has been seen. It reaches the highest standard of . film entertainment, and from first scene ’ to final fadeout is marked by a finish 1 and impressive restraint associated with ,too few dramas to-day. The story is by Edna Berber, and, as might be expected, it has . humanity, robustness, spectacle, -and natural comedy. It is ! intensely alive, and catches, as few , other pictures nave done, the spirit of the great North-west lumber country, bringing it to the screen with a vivid- ' ness that is startlingly real. Edna ' Berber, who wrote 1 Show Boat,’ has \ produced another really great drama ■ which has all the ingredients of universal appeal. ‘ Come and Get It ’ recounts the rise of Barney Glasgow, hard and ambitious, ‘ from a lumber camp overseer to the ■ head of the biggest timber business in his state. The dominating personality throughout is Edward Arnold, who play* the role of Barney Glasgow, typical timber boss, who allows nothing to hinder his climb to power. He falls in love with a dance hall girl, but ' rather than sacrifice his ambition to become the head of the greatest timber , concern in the State he leaves her to marry the daughter of the owner of the timber company. Bor the greater part of the film he is the most masterful figure in the picture, hut as he grows older he weakens through association with the daughter of his first love, who . had married Glasgow’s faithful friend, a Swedish lumberman.

Frances Farmer plays both ; his first love and her daughter, and she offers a study in contrasting roles that is amazing. As the dance hall girl she gives a brilliant performance, and when she reappears later in the part of the daughter she handles her part with great skill, making mother and daughter two distinct characters. As the daughter, Lotta, she sees in Barney Glasgow only a dear friend of her father, who is repaying an old friendship by kindness to them both. It remains for Glasgow’s son to reveal to her the true position of affairsr-that the older man is in love with her.

An intriguing twist is given to the story when Glasgow’s son falls in love with her, a feeling which is soon red-' procated. Intensely jealous of his son, Barney makes all sorts of plans to rid the field of his rival, but he is unsuccessful, and there is a striking climax when he finds the girl in the arms of his son. The girl has nothing but , pity for the older man, hut in this he ' senses that in making the attainment ‘ of great power his objective in life he has been blind to the achievement of real happiness. Although Edwin Arnold and Frances Farmer give memorable preformances, there are others in the cast contribu-

ting to the success of a truly great picture. One such is Walter Brennan, as Swan, Barney’s Swedish friend, and his whimsical and rather droll characterisation certainly provides some excellent acting. Joel M'Crea, in the latter half of the picture, plays a manly part, Richard Glasgow, and plays it well. Mady Christians and Mary Nash also deserve credit for their portrayals. One striking feature about ‘ Come and Get It ’ is the perfect photography, and the scenes of the timber felling and logging operations in the snowbound timber country are really magnificent. The direction of Howard Hawkes and William Wyler is of high standard, and ‘ they keep the action : moving smoothly, and deftly change from mood to mood. The programme of short features is an excellent one, with a travel picture dealing with the romance, art, and beauties of Paris of particular interest. A Walt Disney “ Mickey Mouse ” cartoon is delightfully amusing and clever,

and a British Paramount News completes one of the best programmes presented in Dunedin for a long time. ‘ Com© and Get It ’ will be shown tonight and during next week. BLACKMAIL THEME EXPLOITED STRAND PRESENTS FINE DOUBLE . The methods of American blackmail rings were rarely more ingenious than the plans developed by the “ Thursday Club” in ‘The, Girl on the Front Page,’ which opens this evening at the Strand. The blackmailers succeed in entering the service of the most prominent wealthy ...families as . butlers, personal maids, and household servants. They look for scandal and improvise it | where it does not previously exist. Working in several homes simultaneously, they meet on Thursdays to compare notes and advance their schemes. When some person is ” ripe for plucking ” they send a representative to demand hush money. After collecting, the exclusive help goes on to another victim. Edmund Ijowe and Gloria Stuart have the leading roles. Ralph Bellamy, Marian Marsh, and Isabel Jewell have the leading roles in ‘ The Man Who Lived Twice.’ This fascinating film is ' bhilt round the theme of a man who, by means of a nerve-centre operation, is given a new character. It tells the story of Slick Rawley (Ralph Bellamy), a dangerous killer, who, to evade a police trap, induces a surgeon to operate on him and emerges mentally a new man. ROLLICKING COMEDY GEORGE FORMBY AND VAUDEVILLE / ~ The management of the St. James has struck a novel and, from the appreciation expressed by last night’s audience, a popular note, in introducing a composite vaudeville and picture programme of the type which is entering its second week locally. Reminiscent of a'quarter of a century ago, when the St. James (then the Princess) was, the Mecca of_ all patrons of vaudeville, is_ the bright and satisfying show which occupies the first half of the bill, and to round off. a thoroughly good two and _a-half hours’ entertainment is a rollicking film comedy in which the principals are all artists of international repute. There can be few radio listeners who have not at some time or other heard the droll Yorkshire _ comedian,_ George Bormhy, with his ukulele, his catchy songs, and, above all, his accent, Bunny as he is to listen to, however, he is even funnier to look at, and in his latest film, * Keep Your Seats, Please,’ in which he is co-starred with Blorence Desmond, he is given every opportunity to exploit the whimsical brand of humour he has made peculiarly his own. The picture is pure farce, but it is farce that, by reason of the clever work of the artists, never becomes tiring; moreover, the'various incidents are finked together by a logical story.' The plot concerns the hectic adventures of one George Withers, a simple lad from Lancashire, who has been bequeathed a fortune by an eccentric relative. The will discloses, however, that the fortune has been hidden in one of seven chairs, all of which the unfortunate heir has to buy, before he can become possessed of it. Into the picture step Drayton, a family solicitor, whose integrity is by no means unimpeachable, and Max. a slippery itinerant salesman, ostensibly Withers’s partner. For a beginning, Withers discovers that the chairs have all been sold to different buyers, and he sets off on what at first appears to be a hopeless search, and on what transpires to be an hilarious round of adventure. Complication follows complication, but just when things look at their blackest. Withers succeeds in bobbing up serenely, and finally a happy climax is reached. Heading the vaudeville section of the bill are Trevor and Dawn, a clever dance duo, who present several novel and graceful numbers, in addition to which the male partner in the act is seen in a deftly-executed acrobatic : dance. Miss Esme Chalk, a tap dancer of some merit, also appears, a particularly popular feature of her turn being an unusual variation of the sailor’s hornpipe. The pianist is Mr Fred Dawson, who. besides accompanying the dancers, plays one of his own compos!- ' tions. '

ROLLICKING AMERICAN FARCE OCTAGON'S PRINCIPAL PICTURE Two good pictures comprise the Octagon’s new programme. They are ‘ Three Men on a Horse ’ and ‘Arizona Mahoney,’ a fine western production. Comedy of the most farcical type is maintained throughout ‘ Three Men on a Horse.’ A liighly successful play, ‘ Three Men on a Horse ’ has been running on Broadway for three years. The screen version features Frank M'Hugh, Joan Blondell, and Allen Jenkins. At times the story is productive of hysterical laughter; for the rest the theatregoer is kept constantly chuckling. Frank M‘Hugh is well cast. As a writer of verses for Christmas and Mother’s Day cards, a timid but sometimes truculent soul, the comedian has been allowed to give full rein to his antics. Erwin Trowbridge is his screen title and a typical suburban villa' is his home. His monotonous life is brightened (for the audience at least) when a group of down-and-out gamblers discover that he possesses an uncanny faculty of “ picking the winners.” Altogether the story is a splendid farce. As long as the newfound treasure can “ pick the winners ” his Bowery acquaintances hail him as a genius in accents that will he the delight of every audience. A better _ choice to play the part of the timid poet would be hard to conceive. His mentors, Allen Jenkins, Ted Hart, and Sam Levine, together with that delightful comedienne Joan Blondell, pour forth a constant stream of rough and ready witticisms, and possess a fund of “ wisecracks ” that has seldom been equalled. Joan Blondell, as a Bowery ” Mabel,” and Carol Hughes, M'Hugh’s wife, who have the only feminine parts in the story, are excellent. ‘ Arizona Mahoney ’ gives a spice of the usual Western gunplay, horse opera, farce, and laughter, with the cast chiefly composed of Robert Cummings, Juno Martel, Larry Crabbe, and Marjorie Gateson. The story, portrays how a young man (Talbott), given to doubtful ways of making a living, runs foul of Lloyd, a small Arizona town merchant, who is, with his gang, robbing the Bixby ranch of cattle. The advent of Miss Bixby, the owner, turns Talbott and his men in her favour, however, and they take back _ her cattle from Lloyd with a| promiscuous firing' of guns, whooping of voices, and lowing of cattle. The wily Lloyd, seeing his spoil being taken,_ rides with his band against the Bixby ranch. Amid more gunfire, and with the help of a showman with an elephant, the situation is saved, however.

ARLISS SUPERB EASTERN MELODRAMA AT STATE ‘'East Meets West,’ Gaumont-British production starring George Arliss and directed by Herbert Mason is released by G.-8.-D. at the State. Here is a melodrama of a robust nature, with George Arliss giving a characteristic performance as a crafty sultan who replenishes his exchequer by deft diplomacy involving Great Britain and an Eastern Power. Developed with great effect, ornate settings, large crowd scenes, gripping suspense, and the star’s personality have combined to make a rich offering for all-lovers of spectacle and drama. George Arliss appears as the rajah of a tiny kingdom known as Renang, which, by virtue of its geographical position, is coveted By Great Britain for harbourage purposes. A powerful Eastern country also makes a bid for the sultan’s friendship, and the wily potentate “ plays ” them both until he has extracted a million pounds from each. _ Woven into the main plot structure is the saga of a hard-drinking British Customs officer, whose pretty wife has an affair with the _ sultan’s Oxford-educated son, Nezim. The situation is provocative of suspense at the climax, wnen the white man is on the point of being hanged for rum-running, only to be saved at the cost of the English treaty with the sultan. George Arliss plays the sultan with relish. Deftly exploiting his famous mannerisms, he succeeds in presenting a study in the ripe Ar]iss vein, peppering the dialogue with characteristic quips of his own. Godfrey Tearle, as the English diplomat,

renders yeoman support, with Romney Brent making an effective foil as the representative _of the Eastern Power. Lucie Mannheim is the lovely wife, Ronald Ward her drunken husband, and Ballard Berkely is a convincing princely lover. The film is a field day for Arjiss fans, and their name is legion. • COMEDY AND DRAMA BUGHANAH AND TAYLOR AT MAYFAIR Bright entertainment is provided by ‘ Come Out of the Pantry, 3 which is at the Mayfair. Jack Buchanan, the famous English musical comedian, is seen in one of his best roles—a role that gives him plenty of scope. He takes the part of an English lord who finds himself down and out in New York following a hank crash. A former servant of the family gets him a job as a footman in a wealthy American’s home, and then the fun begins. The American’s niece, who suspects the identity of the nbw footman, falls in love with him, but the arrival of his brother (Lord Axminster) ffom England nearly upsets matters. Lord Axminster, with whom a match with the girl has been arranged, condemns his younger brother, who is thought by the family to have decamped with money he had received for the sale of a number of old masters. The highlight of the film is when Lord Axminster is the guest of honour at a dinner at which the singing footman has to wait. Many humorous situations arise, but matters are straightened out eventually. ‘ The Magnificent Obsession ’ will also be screened, starring Robert Taylor. ZANE GREY ADAPTATION ‘ KING OF THE ROYAL MOUNTED • ’ The picture at the Grand, ‘ King of the Royal Mounted,’ is a spirited proplayed against a background of scenic _ grandeur and exciting romance which alternate with breathless thrills. Robert Kent is starred, and Rosalind Keith and Alan Dinehart head the supporting cast. From the pen of Zane Grey, the picture has for its 1 hero a member of the Royal Canadian Mounted Police, and the locale is the primitive, rugged country of Northwest Canada. Into this wild section, presided over by Robert Kent as Sergeant King, come Rosalind Keith and Alan Dinehart. Kent finds out they are_ travelling under assumed names, his suspicions are aroused, and he decides to make a further investigation. Ho discovers that the girl is attempting to_ gain a half-interest in a valuable mine, operated by Frank M'Glynq. Rosalind’s father, until killed in a supposed accident, was 1 M‘Glynn’s 'partner. Kent also discovers that Dinehart, posing as Rosalind’s attorney, in reality is attemptinn; to win control of the mine himself. M'Glynn becomes aware of Rosalind’s true identity, and decides to present her with her rightful interest in the mine. Before ho can do so _he is murdered —with suspicion pointing at both Miss Keith and Dinehart. Dinehart takes the girl and attempts to escape, with Kent, torn between the love of the girl and his sense of duty, following on the trail. In the majestic vastness where the jagged Rockies stand sentinel over the wilderness, the picture comes to a climax, exalting, breathtaking, thrill-packed. ‘ King of the Royal Mounted ’ was produced by Sol Lesser, with Howard Bretherton director. It is a virile outdoor tale of ( adventure, and shows how the “ Mounties ” always get their man. There is an excellent programme of short subjects. GANGSTER DRAMA CESAR ROMERO TRIUMPH Merciless gangsters prove no match for the savage bravery of a girl fighting for the things s'he loves most in Twentieth Century’s ‘ Show Them No Mercy P which is at present at the Municipal, Green Island. Produced under the personal supervision of Darryl F. Zanuck, the thrilling anticrime picture features Rochelle Hud-

sou as its heroine, with Cesar Honiero, Bruce Cabot, and Edward Norris in the supporting cast. Miss Hudson first encounters the gangsters when she and her husband stumble into their hideaway to seek shelter from rain, ihe story leads them through a series or nerve-scraping adventures until, in the climax, she takes matters in her own hands to provide a startling conclusion to a breath-taking story. George Marshall directed ‘ Show Them No Mercy!’