PICTURE THEATRES

Evening Star, Issue 22632, 26 April 1937, Page 2

PICTURE THEATRES

GRAND

With spectacular action played against a background of scenic grandeur and romance alternating with thrills, Zano Grey’s ‘ King of the Royal Mounted ’ is at the Grand. Robert Kent is starred. As the title indicates, Zane Grey’s new hero is a member of tho Royal Canadian Mounted Police, and the locale is the> rugged country of north-west Canada. Into this wild section, presided over by Robert Kent as Sergeant King, come Rosalind Keith and Alan Dinehart. King finds out they are travelling under assumed names, his suspicions are aroused, and he decides to make a further investigation. From this situation is developed an exciting drama of adventure and intrigue. TWO DRAMATIC FEATURES. Commencing at tho Grand on Wednesday is ‘ Everything is Thunder,’ a Ganmont-British release that has for its stars the beautiful Constance Ronnett, Douglass Montgomery, and Oscar Homolka. ‘ Everything is Thunder ’is a dramatic story with war as its background. It tells of a, British wartime escapee and of his adventures when befriended by a waif of the streets. The action is gripping, and advance reports state that never before has Miss Bennett been seen to better advantage She is an actress of more than the usual ability, and is at home in both heavy and light roles. Douglass Montgomery is a young actor who can always be depended upon to give an excellent performance. Jack Holt, well known for his acting in pictures of adventure, is seen in ‘ Dangerous Waters.’ which will be seen in support. The opening scenes of the film show a steamer on fire in mid-Pacific. Holt has the part of a sea captain, and is constantly in the centre-of exciting happenings. A storm at sea is a wonder of modern production, and it helps the tempo of tho film. An attempt to scuttle the ship is made. And so the story rushes on: it is an unbroken cycle of villainy and counter-acting courage. Other members of an exceptionally strong cast are red-haired Grace_ Bradley. Hollywood’s “ most seductive siren,’’ Diana Gibson, Charlie Murray, and Willard Robertson.

REGENT

According to a writer in the ‘ Film Daily,’ New York, the new Samuel Goldwyn production, ‘ Come and Get It,’ now at tho Regent, stands out as a perfect example of the truism that it takes a combination of the gifts of fine writing, directing, and acting to make an outstanding picture. Starting with these three essentials, ‘ Come and Get It ’ emerges as one of the most satisfying pieces of entertainment that Hollywood has produced. ‘ Come and Get It ’ is described as a gusty and robust film that will send thrills down your spine and the blood singing through your veins. It is claimed to be intensely alive, to catch the spirit of the, great North-west lumber country and bring it to the screen with a vividness that is startlingly real. Edna Ferber, who wrote ‘ Show (Boat,’ has produced another great drama which has all the ingredients of universal appeal. One personality dominates the cast —Edward Arnold, rising from lumberjack to timber baron through a blustering, masterful career. His characterisation is exhilarating. Frances Farmer, as the dance hall girl in the lumber country, contributes a classic part, while later, playing the part of her daughter, she offers a study in contrasting roles that is amazing. It is hardly fair to single out individuals in a production that will probably be ■classed as great, because all the persons responsible for it did outstanding work. The direction of Howard Hawks and William Wyler deserves commendation. Not often before in any picture has better pace and tempo been witnessed. Other members of the cast are Joel M'Crea, Walter Brennan, and Mandy Christians.

EMPIRE

* The Great Ziegfeld,’ the romantic, amusing, spectacular story of the career of Florenz Ziegfeld, first producer of America in his lifetime, is in its third week at the Empire. William Powell, Luise Rainer, and Myrna Loy make an exceptionally fine set of top names to a great oast, and in their portrayal of Ziegfeld, Anna Held, and Billie Burke respectively they are convincing and have well-written parts. Fannie Brice, with that facility of emotion, that magnificent voice, and strange, vibrant personality which have made her famous, appears as herself, and so does Ray Bolgor, surely the most eccentric as well as the most brilliant of tap dancers ever to be seen. Harriet Hoctor, a leading Ziegfeld dancer, is also there, and so are the spectacles which Ziegfeld enjoyed, the dressing up of girls in magnificent creations and the surrounding of them with magnificent settings. The story itself is a biography of the great showman of the twentieth century whose name is a byword for taste and magnificence. Opening with his part in the great Chicago World’s Fair of 1894, when ho had an even more imposing figure, the great Sandow, undisputed holder of the title of “ The World’s Strongest Man,” the story takes the audience with Ziegfeld on his career which really culminated with the brilliant successes of the middle 1920’s and the stock market crashes which began the depression. Then there are acts in the Ziegfeld shows which, by their own appeal, unaided by dazzle or sumptuous setting, succeed in drawing applause from film audiences, a difficult thing to accomplish in these days. MONTGOMERY TRIUMPH. Metro-Goldwyn-Mayer lias brought P. G. Wodehouse’s character Piccadilly Jim into being in the person of Robert Montgomery, who gives one of the most delightful performances of his career. It is significant that Robert Z. Leonard, the director of ‘ The Great Ziegfeld,’ also directed this picture, which will be commenced at the Empire next Friday. His deft touch is unmistakable. Robert Montgomery, in the title role, performs what is considered his finest part; Madge Evans, opposite him, is said to be delightful. Frank Morgan, of ‘ The Great Ziegfeld ’ cast, appears with Billie Burke in her first role under her new M-6-M contract. Eric Biore, Robert Benchley, Ralph Forbes, and others give remarkably good performances in their respective roles. The picture’s scenes present London, New York, and a transatlantic luxury liner with a realism that is possible only to the technique of the screen. The Wodehouse story was produced intact, with all of its droll situations and its smart comedy. ST. JAMES .i a r the days when tho St. James was a vaudeville house, but pleasant memories will bo revived by the half-and-half programme now being presented. As well ns tho George iormby full-length comedy, ‘Keep

Your Seats Please,’ and a number of short subjects, a programme of entertaining stage items will be supplied by a touring troupe of overseas artists. Prominent in the latter are Trevor and Dawn, Continental adagio dancers, who will present some of the acts that won them applause outside this country, and Esme Chalk, who, besides being a comedienne of ability, will also present a number of songs and special tap-danc-ing numbers. The fourth, member of the troupe is George Dawson, who has been appropriately billed as “ the wizard of tho piano.” The climax to introduction will be given by ‘ Keep Your Seats, Please,’ described by one critic as “ the best comedy I have seen this year, and a credit to the artists and Monty Bank, comedy’s ace director.” Florence Desmond is teamed with Formby, and, with the merry *No Limit ’ still in their minds, theatre-goers should bo well satisfied with this new release. George Formby is cast as George Withers, who contorts his unhappy, but finally successful, way through a sustained search for one of a set of chairs which holds a fortune. Unfortunately for George, the-chairs have been auctioned off to separate purchasers, and,_ therefore, he spends the whole of his time looking for tho particular chair. He has a rascally, scheming partner, and, further, is persecuted by an unscrupulous lawyer, also seeking the chair. Among the laugh-provoking sequences are those of George taking “ crooner ” lessons from a prima donna, with tho misunderstanding husband adding to the fun, while a goat disguised as a dog adds further to the comedy. Mention must also he made of Fiona Stuart, a new child actress, who, it is forecast, will carve the same niche for herself in screen fame as has her famous prototype, Shirley Temple.