PICTURE THEATRES

Evening Star, Issue 22685, 26 June 1937, Page 22

PICTURE THEATRES

THE MEW PROGRAMMES BEAUTIFUL ‘ ROSE MARIE' TRIUMPH FOR JEANETTE MACDONALD AND NELSON EDDY Li its offerings of artistic delight to please tlio eye ami the ear, the screen version of the •well-known classic light opera, ‘ Rose Mane, 5 presented at tho Empire Theatre yesterday to audiences that were completely captivated, will leap to the memory in any attempt to recall the big treats of one’s experience. Staged in Dunedin in 1928, the play marked an outstanding theatrical event; bpt, in tho splendour of its wellremembered songs and with tho added scenic beauty which only the screen can give, tho picture adaptation is even more enthralling. This is not surprising, two such popular and competent artists and singers as Jeanette MacDonald and Nelson Eddy in the leading roles. They more than fulfil every expectation in this gorgeous romance of North-west Canada. Tho picture is just another instance of tlie almost miraculous progress that is being made in the making of singing pictures. It gives the cue to what the future holds—tho entire album of grand opera. This is particularly pointed in ‘Rose Marie,’ for, shuffling the musical comedy to one side, the picture opens and closes in an atmosphere of grand opera, for, as will be remembered, Marie de Flor (Jeanette MacDonald) is an operatic singer in the musical comedy. The picture opens •with a whole scene from _ Gounod’s ‘ Romeo and Juliet,’ in which Marie sings a complete and ravishing aria and also the final duet; while at the end, on her return to tho stgge after her romance in the wilds of the Northwest, she appears in the final act of ‘ La Tosca ’ to reassert her claims as a lyric soprano of singular purity and sweetness. , The richness and. variety of the colours of 1 Rose Marie,’ the abundance of its musical gems, and the charm of its dances will serve to make it well remembered. It is a musical play which combines beauty with laughter, modern dressings and settings with- entrancing music, fascinating dancing with quaintly-lighted pictures of excellence and charm; and it supplies the whole with just here and There scare© an audible sob to remind one th.u. there are shadows . where the sun shines. It runs easily and naturally, and its humour is part of it, not obviously w-eldod on. It has a real iplot which entwines itself among the songs and dances, and it has a pretty story, with an ending which sends everyone away happy. Mario is shown as a highly-tempera-mental star who learns that her only brother has escaped from prison, and in the chase that follows has shot one of the North-West Mounted Police. Her one desire is to help him, and, breaking all engagements, she vanishes from the world of opera to seek tho wretched fellow in his lone hidihg place. There she encounters Sergeant Bruce, of tho North-West Mounted Police, who is strangely drawn toward this refined and beautiful girl so far from her true setting. Having been robbed of her money by.her half-breed guide, she is forced to sing at a rough cabaret of tho woods and there the sergeant hears her voice and recognises her at once, but keeps it to himself. He attaches himself to her, and through her wanderings is. always there to help her when a crisis occurs, and through her he gets his man. Not aven the beautiful ‘ Indian Love Call ’ »an deter him from his duty, and though they have learned to love one another they part. Later the beloved Rose Marie returns to the stage, but has a breakdown. Sbe seeks rest and health in a mountain resort, and there, quite naturally, Sergeant Bruce reappears in order to bring about the inevitable happy ending. Features of this fine picture are tho splendid singing by Jeanette MacDonald and Nelson Eddy of such well-re-membered songs as ‘ Rose Marie,’ ‘ Indian Love Call,’ and ‘ Song of tho Mounted ’; tho gorgeous scenery .of the Canadian woods, with glimmering lakes, tall pines, and superb mountain vistas ; and the spectacular “ totem ” dance of the Indian braves in all its magnificence, set to a new standard in photographic beauty and screen entertainment. There are seasoned players in the supporting cast.' James Stewart, featured in many New York stag© hits, plays tho role of Miss MacDonald’s brother. Reginald Owen, sterling character actor, is cast as the singing star’s harried manager. Allan Jones, the handsome tenor who was first heard in ‘ A Night at tho Opera,’ and found fame in ‘ Show Boat,’ has tho part of Romeo in. a musical. sequence from ‘ Romeo and Juliet.’ Gcorgo Hogan plays "the half-breed, Boniface, who is Rose Marie’s guide. Other prominent players include Robert Greig as the hotel proprietor, Una O’Connor as a maid, Lucien Littlefield, Allan Mowbray, David Nivens, Herman Bing, and the sensational Gilda Gray of Ziogfeld Follies .fame, who sings and dances to the kind of music she made popular on the stage. Herbert Stothart, who, with Rudolf Friml, wrote the score, has written several new numbers for the screen production. He personally conducted the symphony orchestra in tho recordings. . . - The supporting pictures are entertaining, varied, and instructive.

BOBBY BREEN AT MAYFAIR

• LET'S SIKG AGAIH' Bobby Breen, the nine-year-old singing discovery, is the star of ‘ Let’s Sing Again.’ which features George Houston, Henry Armetta, Vivienne Osborne, and others. ‘ Let’s Sing Again ’ is now at the Mayfair. The story is centred upon Bobby, an orphan, who is lured away by a travelling tent show. Joe Pasquale, its handy man, takes Bobby under his wing. An erstwhile member of the Milan Opera Company, Joe recognises the potentialities of a fine voice in Bobby. With hardship facing them at every turn, Joe and Bobby make their way to New York, where they seek out an opera star whom Joe tutored years before. At her house she gives a party in honour of the concert baritone, Leon Alba. A surprise climax revealing her guest of honour as the estranged father of Bobby produces a heart-throb ending said to be one of the more gripping denouements to flash across the screen of late. Some thing l new in screen entertainment is to be offered in the associate feature, The Flying Doctor,’' an Australian

film, with Charles Farrell, Mary Maguire, James Raglan, Margaret Vyner, Joe Valli, and Frio Cohnan heading the east. Though it reaches the heights of high endeavour and Hashes a faithful mirror of our own life and times, the film is simple with humanity, and because of this it is great. The acting is splendid, the swift tempo of action and reaction being maintained throughout.

STIRRING LUMBER GAMP DRAMA

SUPERB TEGHHEGOLOUR ACHIEVEMENT A fast-moving drama set in primitive surroundings, ‘ God's Country and the Woman,’ which commenced yesterday what should prove a very popular season at the Regent, presents the problems and hardships of the American lumber camps in a way that has not . been excelled. The film has the additional advantage of being produced in technicolour, and tlio result of the producer’s effort show;; the enormous improvement which has- been made in this particular phase of film production. Competent direction, an amusing dialogue from James Oliver Curwood’s fine tale of the lumbering camps, competent acting, and a stirring but possible story make this film an outstanding one, which should not bo missed by Dunedin theatre-goers. The technicolour, in fact, deserves some special mention. Earlier in its development and application to the screen the process was handicapped by a harshness and blurring which made it difficult for the eyes when watching film in technicolour for any length of time. But now such advances have been made that in a complete film, as in ‘ God’s Country and the Woman.’ it causes absolutely no eyestrain, but rather adds pleasingly to the great beauty of genuine out-of-doors scenes, giving a new vividness to their action and even, it could perhaps he argued, making it altogether a much more pleasant experience., There is a dramatic quality about life in lumber cam ns,' or sawmills as_ they are called in New Zealand, which is only now being “ tapped ” adequately by the talkie. In this talkie there are nianv scenes reminiscent of what one could easilv sen in real life in the forests on the West Const. Screaming bush saws; great forest trees falling solemnly under axe and saw; puffing engines dragging long timber-trains from the mills to the railheads; brawny men living hard lives: stern fighting with Nature; behind all this, a broad, grand background of lakes, mountains, rivers, and forests. It all makes a very entertaining material for those who produce films. In this film a strong, sensible story adds to the appeal. Two rival lumber firms clash in a struggle for ownership of important rights. When the partner of one meets the owner of another in the heart of the country they are fighting over and in the hard life of the lumber camp the fighting ground shifts with them. Naturally romance follows them, too. the owner of one firm being a very attractive woman, with a square jaw and any amount of ability to hate the people endeavouring to put her out of business. The story is handled with restraint; it is easy to like the love theme, which at no time has even the suggestion of being ludicrous, and difficult not to gasp with enjoymentt at the repeatedly fine shots of background scenery. George Brent, who acts the part of one of the partners, has a sense of • light, subtle humour and a gentle “ Clark Gable ” way of handling women, which makes his work interesting and intriguing. As Jo Barton, the woman owner, Beverley Roberts- does so well that one wonders why this Beverley Roberts has not been heard more of. The cast is nicely balanced from top to bottom. ‘ God’s Country and the Woman ’ is declared to he not only the most difficult colour picture ever filmed, hut the most beautiful. The screen play is by Norman Reilly Raine. The supporting programme includes a ' musical, ‘ The Pretty Pretender,’ featuring Bernice- Clare, and ‘Poets of the Organ,’ featuring Mr and Mrs Jesso Crawford.

•TARZAN ESCAPES’ ‘

POPULAR REASON EXTENDED Bearing excellent testimony to tlie popularity and entertainment of ‘ Tarzan Escapes',’ at the St. Janies, is the fact that the management has decided to screen the film for a further week. The series of Tarzan pictures, based on Edgar Rice (Burroughs’s tales of adventure and romance in the African jungle, is increased by the addition of yet another exciting episode in the life of the famous “ ape-man,” entitled ‘ Tarzan Escapes.’ To say that the producers have made full use of the opportunities which present themselves in the story for the inclusion of thrilling incidents would be to state the case mildly, for in this production there is such a wealth of intensely exciting episodes as would satisfy the most ardent sensation-seeker. Johnny Weissmuller, who is again featured in the role for which his magnificent physique so admirably suits him, goes tlirough a, series of hair-rais-ing adventures with a hearty enthusiasm that is in excellent keeping with the Tarzan tradition, grappling with huge crocodiles in their natural element, and braving the myriad terrors of swamp and jungle in heroic and indomitable style. The story of * Tarzan Escapes ’ is typical of all robust adventure stories. -In this instance the villain has no scruples about trading two white women of his party to hostile natives for the privilege of not being molested by them, nor has lie any hesitation about shooting his white servant when that helper and friend of Tarzan attempts to stage a little heroic scene on his own. Such a double-dyed rascal is a fine contrast to the virile and greathearted Tarzan, who finds many opportunities for the exercise of his jungle craft and great physical strength in foiling the machinations of his arch enemy. The story opens with the arrival in Tarzan’s country of two white people—a man and a girl, who are cousins of Jane, the white girl with whom Tarzan is in love. Their reason for visiting such a wild and lonely spot is to try to persuade Jane to return to civilisation, if they can find her, and they are aided in their search by Captain Fry, who sees an opportunity for some personal gain in the expedition. There are the usual episodes (done much better in this picture than in the average thriller) where the friendly animals of Tarzan’s domain answer the “ white ape’s ” yodelling call. One in particular is prefaced by two elephants bending with their trunks the stout bars of Tarzan’s cage so that he can escape from captivity to wreak vengeance on the man who captured him and sold his mate, Jane, to the dreaded Ganelonis. The scene where Tarzan leads his rescued companions through a great swamp is one of the highlights in a picture as full of beautiful scenic effects as it is of

thrilling episode and amusing comedy provided by Herbert Mimdin as Rawlins and Tarzau’s pet ape, Chceta. An ideal film with which to forget office worries and remember one’s youth again—and tho prohibited ‘ Deadwood Dick ’ hidden under one’s pillow. The supporting role: are taken by Maureen O’Sullivan as Jane, John Buckler ns Captain Fry, Benita Hume as Jane’s cousin, and Herbert Mundin. There is a. good supporting programme, which includes an Our Gang comedy, a travelogue, and an amusing coloured cartoon.

TWO THRILLING DRAMAS

LOUIS-SHARKEY FIGHT FILM An action-packcd programme is being presented at tho Strand this week, incorporating ‘ Killer at Largo,’ featuring the crimes of a madman, ‘Lady From Nowhere,’ a talo of tho adventures of a witness to a murder, and tho film of tho Louis-Sharkey heavyweight boxing bout. Effectively mounted in a sotting as sinister as a chamber of horrors, ‘ Kil»ler at Largo ’ proceeds vigorously through a tale of madman’s lust to kill and tho ingenious methods he devises to carry out his demented crime campaign. Mary Brian is seen as a feminine department store detective who, with Russell Hardie, a young jewellery salesman, tries to solve tho mysterious murder of the store owner and the theft of a valuable collection of jewels. Aided and abetted by George M‘Kay, as a rather dumb police sergeant, they manage to get into one serious situation after another. The story involves a certain Mr Zero, who conducts a wax exhibit in a show window of the department store. As an exploitation stunt he takes the place of one of the wax figures each day, and defies the public to identify him. Miss Brian, as the store detective, suspects that Mr Zero is connected with the murder and robbery. Trailing him to his wax works, eho finds that he ha* just murdered one of his accomplices and has buried the jewels with her. Thereafter it is one exciting event after another as tho girl and boy try to trap Mr Zero, who not only evades them, but time after time places their lives in jeopardy. ‘ Killer at Large ’ contains one thrill after another, and a dozen laughs to match each thrill. Director Selman has done a splendid job of keeping this story moving at a _ swift pace, and has shown ingenuity in introducing many shriek-producing episodes., Mary Brian is excellent as the store detective, a role that gives her plenty of opportunity. Russell Hardie is capable as the self-appointed supersleuth. Betty, Compson appears to, advantage as the unfortunate aide to the murderer, George M‘Kay as Kelly, the police sergeant, is splendid, and Thurston Hall lends authority to the role of the police inspector. Blending comedy and melodrama in large, well proportioned doses, ‘ Lady from Nowhere,’ the Columbia picture which supports, presents Mary Aster in one of the most amusing and entertaining screen plays in which she appeared. Briefly, it is the story of a manicurist who witnesses a gangland murder and has to flee for her life. Her flight takes her to Clearview, a small town, where she meets Earl Daniels, a young/newspaper reporter, and the real coiiplications set in. Learning that the killer is on her trail, Polly hides out at the farm of Daniels’s grandfather, posing as a runaway heiress. This makes matters worse, for “ Gramp,” with his eye on a reward, notifies the father of the real runaway heiress, and the gangsters descend on the town. A series of seriocomic situations follow that result in splendid entertainment and rise to an exciting climax. ‘ Lady from Nowhere ’ introduces Charles Quigley to tho screen in the romantic lead opposite Miss Astor. The newcomer is handsome, personable, and should go far. Others in the cast are Rita La Roy, Thurston Hall, Gene Morgan, and Claudia Coleman.

JESSIE MATTHEWS AT THE STATE

• IT’S LOVE AGAIN ' Jessie Matthews, queen of the screen’s musical comedy stars, is back again in a brilliant and lavishly-pro-duced musical comedy, ‘ It’s Love Again.’ This, her latest and most eagerly-awaited production, began a season to a full house at the State Theatre yesterday, and should be one of the most popular she has made. For its dancing, its singing, its comedy, and its pure effervescence of fun, music, and gaiety, it is a notable film. Jessie Matthews again has the assistance of the famous English comedian, Sonnie Haije, who scores no less a triumph in this film than in any of his many other outstanding shows. This time a third star is added to ,tho cast, Robert Young, one of the screen’s most pleasant and _ most promising young men. He carries off his part so well that were the leading lady any other than Jessie Matthews he might have captured the film from her; but Jesisio Matthews for every moment of her appearance has the full attention of her audience._ This time, as at many others, she carries all before her, singing, dancing, and laughing her way through one of the most delightful films of the year. The story is a very light one, hut is handled well and provides just the right amount of good comedy to mix with the other ingredients. Sonnie Hale has the lead in this section of the film, hut has a little less to do than usual, and very nearly has his place stolen by Robert Young, who, although not playing a part that is essentially comic, strikes just the right note to provie an effective contrast to the less restrained comedy of Hale. The two of them, with Jessie Matthews, make three of the brightest personalities that could have been brought to the screen in one film, and it is a pleasure to watch them. The story has some interesting variations from the usual theipe for the film of its type. Robert Young and Sonnie Hale run a newspaper gossip column. They invent a _ Mrs SmytheSmythe, whose entirely imaginary exploits provide them with front-page copy. Jessie Matthews, who is an out-of-work chorus girl looking for a “ break,” impersonates Mrs SmytheSmvthe to attract attention, and this leads to many complications, each of which provides the means for good comedy and most appropriate occasions for tlio singing and dancing. Cyril Wells goes through some of .the dances with Jessie Matthews. She 'sings alone a number of catchy tunes. Chief among these is the theme song. ‘Tt’s Love Again ’; others are ‘ Got to Dance My Way to Heaven,’ ‘ Tony’s In Town,’ and ‘ I Nearly Let Love Go Slipping Through My Fingers.’ There is an interesting supporting programme.

OCTAGON'S NEW BILL

DOUBLE-FEATURE PROGRAMME The matching of two brilliant brains, one of a reformed diamond thief and the other of a man who still seeks to steal other people’s jewellery, forms the basis of Paramount’s cleverly produced film, ‘ The Return of Sophie Lang,’ which began a season at the Octagon Theatre yesterday. Sophie Lang once troubled the police of Europe and America by her sensational coups, but she has forsaken her old life, and appears in the picture as the devoted companion of a rich New York woman who is crossing the Atlantic homeward-bound with the famous Kreuger diamond in her possession. On the same liner is Mas Bernard, former associate of Sophie’s, who sets out to procure the precious stone. Sophie’s attempts to protect her companion, her incidental romance with a newspaper reporter, and the subsequent entanglements with the New York police provide excellent entertainment which is interspersed with numerous thrilling passages and amusing situations. Gertrude Michael gives a delightful interpretation of the quick-witted, charming Sophie, while Sir Guy Standing, in the part of the suave Bernard, is excellent. Much humour is provided by Elizabeth Patterson, as Araminta Sedley, the rich American woman, and there is always plenty of action when Ray Milland, as James Dawson, the reporter, is about. An interesting member of the cast is Colin Tapley, formerly of Dunedin, who is seen as the purser on the liner. An exceptional acting combination, a thrilling, fast-paced, and imagina-tively-directed story, and a human and appealing theme are the elements that have been put into the making of ‘ Now and Forever,’ which is the second picture on the attractive double-feature programme. They make the picture one of the most delightful and entertaining hours of film fare that have been offered in a long time. Romantic Gary Cooper, Carole Lombard, and lovable Shirley Temple are the three who play out this talc of a reckless young international crook, his light of love, and the child who changes the whole course of their gay lives. The plot of the picture revolves round Shirley Temple and her efforts to make both her father, a reckless, improvident fellow, and Carole Lombard, an equally reckless and altogether attractive person, go straight. Cooper stops short of selling his daughter for 75,000 dollars, and, meeting her after an absence, is captivated by her winsome charm. The story works to an exciting conclusion, with the wishes of the three coinciding satisfactorily.

AMERICAN GANGSTER DRAMA

PRISON PAROLE SYSTEM PLOT A startling exposure of abuses in the paroling of dangerous gangsters from U.S. prisons, is told in an exciting story, ‘ Don’t Turn ’Em Loose,’ the chief film of a doublefeature bill which is at the Grand. For years gangster films have enjoyed a reputation for entertainment value similar to that opce held by pictures of the Wild West, but ' Don’t Turn ’Em Loose ’ is a novel and interesting variation of a familiar theme. Excellently acted and based on actual happenings in parts of the United States, ‘ Don’t Turn ’Em Loose ’ holds interest from beginning to end, and startling events move to an unexpected and thrilling climax. Briefly, the story concerns a notorious gangster .who

secured his release time and again from a just prison sentence by pleading to a board not disinterested in its motives a false determination to reform. Once out of prison the old round of bank robberies and murders (if necessary) takes the place of promises to reform. In the end retribution comes to the gangster from his own father, who has been called from the rectorship or a big school to assist in clearing the prison system of its abuses. A welcome reappearance is made in the film by Lends Stone, as the father so sadly disillusioned in his son. Other excellent acting performances are given by Bruce Cabot (as the gangster), Louise Latimer, and Betty Grable. There is a wealth of excitement, and the film is ’as good entertainment as it is a revelation of probationary methods and their possible abuses in America. The second attraction, ‘ Wedding Present,’ is an unusual and amusing story of newspaper life in Chicago.