PICTURE THEATRES

Evening Star, Issue 22975, 4 June 1938, Page 15

PICTURE THEATRES

THE NEW PROGRAMMES ADOPTED BY GHOSTS MAIN THEME OF ‘ TOPPER * Constance Bennett and Cary Grant, who are co-starred for the first time, and Roland Young as ‘ Topper,’ achieve a joint triumph in the Hal Roach M.G.M. feature comedy, ‘ Topper, which opened yesterday at the Empire. The trio crive brilliant performances that brought forth enthusiastic response from the audience, iliss Bennett, light and gay in the high comedy of ‘ Topper,’ is more delightful and alluring than in any role she has portrayed , in her illustrious career. Just as Claudette Colbert added to her fame in ‘ It Happened One Night ’ and Carole Lombard scored in ‘ My Man Godfrey,’ Miss Bennett comes into her own in ‘Topper.’ Cary Grant exhibited the same gay, rollicking manner that characterised hie leading man rple opposite Grace Moare'in ‘When You’re In Love.’ The screen, play is sensational and refreshingly novel ' in; its motivating theme. Adapted from Thorne Smith’s book by JacK Jevne, Eric Hatch, and Eddie Moran, ’’as the Kerbys, are'dramatised as a rich, madcap couple who, after death in an automobile accident, are low plane spirits with the ability to mortally materialise and dematerialise. The Kerbys resolve to obtain heavenly eternity "through the exercise of a “ good deed.” Cosmo Topper, a staid Wall Street bank president—perfectly portrayed by - the expert farceur. Roland Young—who lives a routine, suburban existence under the dignified but domineering ambitions of his wife V (Billie ' Burke") , 'considered by the Kerbys as a perfect specimen of represw siou. ' ‘ • How the captivating Connie and the rollicking Cary proceed to upset the normal life of the droll Roland and Miss Burke ,to mould it to their own hectic • ways of living set the audience into-the spontaneous nilarity of hysterics. V The astounding adventures and ribald , escapades in which 'the gay ghosts in- ', volve Young bursts all hounds'; of ; comedy. In the end they lift Topper ( from his snug existence, make Inin a f. happy . human - being, and joyously ■ escape themselves from their earth- ; bound existence: Commendation is merited by the .. . direction Of Norinan Zl M‘Leod, the photography of Norbert Brodine, and the special camera effects of Roy Sea--1 -wright,. Among those, who contribute much, to-the scores of featured roles are ’ Alan. Mowbray and Eugene Pallette. Hoagey Carmichael’s new song .Lit, j ‘ Old Man Moon,’ adds to the outstandproduction that makes Hal Roach’s | debut into the realm of super-film feaf tures. a ; - CLEVER COMEDY ROMANCE MARSHALL AND STANWYCK LEAD I*. A racy : -story- which never fori a moment allows-the interest of.-patrons £to yjahe,. ah'intriguingly original plot, and a perfectly, balanced, cast, all oom|bine to make ‘ Breakfast For Two,' V which is now at the Grand. It is one entertaining- eotoediesrseen for , some time. The story depicts the : drastic lengths to which a determined .Texas heiress (Barbara Stanwyck) will go to win the love of the unwilling playboy (Herbert Marshall). In pur- . suit of her determination to capture the affections of the young man, who is the last of his family left to direct the affaire of a shipping company, the young heiress buys the controlling interest in the company and appoints the victim of her amorous designs as its vice-president. Miss Stanwyck displays an aggressive- : ness which goes to the extreme of making a deep impression on Herbert Marshall with a boxing glove in which is concealed a weighty door knob. When the unwilling vice-president seeks escape from the Amazonian attentions of the belligerent heiress by deciding to marry a gushing acquaintance who appears at a,-criticar momentj - the wealthy-' Texan damsel contrives to prevent the cere- : inony from taking place with the application of a little diabolical cunning, and she is eventually rewarded when, after she is treated to an overdose of her own medicine, ahappy denouement brings the regenerated vice-president to railway station, where she marries him before the maze of the passing throng. To complete the humour which abounds in the story, Eric Blore gives (me of his best performances as an old '•family retainer; , , , The'; well-balanced programme includes some highly entertaining short •features.

VARIED FARE' STRAND’S NEW BILL The 4 Jones Family,’ which has already been introduced to filmgoers, returned to the Strand_ yesterday in ‘ Off to the Races,’ which is a new episode of their lives. The fun begins when Uncle Slim Summerville arid his horse come to stay with the Jones family, while for good measure Slim’s provoking daughter accompanies him. All the players who have made the Jones family the country’s best loved ; clan are here again—Jed Frouty, Shirley Deane, Spring Byington, Kenneth Howell, George brnost, June Carlson, Florence Roberts, and Billy Mahan—and iinssall Gleason makes a new heart totor«*t opposite lovely young Shirley I>MBO. Russell ami Shirley find their engagenissit prematurely announced by Slim’s aiecc, Mrs Jones learns with dismay that hay and oats have suddenly be.csok the biggest item on the family’s Mils, and Mr Jones, posing for a pictor*; with Jerry 8., is thrown from the sulky when the trotter chases after a passing engine. • Meanwhile, Slim has inveigled the family into supporting his chances of winning the big race at the county fair. When ae is unable to drive in the, crnoial heat, Jed Frouty fearfully takes hia place, driving Slim's noble steer! in a mad, wild raoa that climaxes the most thrilling aud funniest Jones family mix-tip that has been seen so far. ‘ Off to iha Raoas ’ was directed by Frank ft. Strayer Mas Golden was associate producer. 4 Under Suspicion.’ which is the asnociaW fan tore on this programme, reveals Jack Holt in a part he has never frevloosly attempted—that of being a ig . buxines- magnate. Midas-rich and Internationally Unions us 'an automobile fmuiajacturer, he finds his life threat-

ened by secret assassins when he announces to the world that he plans to retire and turn his auto plant over to his 'workers. In a half-dozen ways, from tampering with his aeroplane to shooting at him with poisoned arrows at his mountain lodge, the ever-lurk-ing, mysterious killer, or killers, tries to thwart the signing of the transfer papers. - 1 When skilled private detectives suspect his company’s chief stockholders, business associates, his manager—even and old sweetheart and his ne’er-do-well nephew-—it is Holt who provides the scheme and final coup revealing the menace. So deftly do author and scenarists hide the real culprit throughout the swift, exciting unfolding drama that even the most Sherlockian solvers of mystery stories are left baffled until the very end. As in most of his carefully cast characterisations in the past, the strong, silent, stern-faced Holt fits perfectly into the role. Katherine De Mille is seen as Holt’s leading woman. In the rest of the important supporting roles are such screen favourites as Luis Alberni, Rosalind Keith, Esther Muir, Granville Bates, Craig Reynolds, and Purnell Pratt. BEAUTY AND PIRACY STORY OF SOUTH SEAS Few other branches of the motion picture industry have progressed so rapidly as colour photography,., and it is generally realised ■ now by picturegoers that a technicMour film of an appropriate subject almost invariably carries more than pu c in the usual black and white. The full power and beauty of colour as an aid to expression in pictures is admirably brought out in the screen version of Robert Louis Stevenson’s ‘ Ebb Tide,’ which is the feature of the programme now showing at the Regent. The tinted medium is particularly suited for the colourful island settings, while much of the action takes place at sea, and the deep blue of the ocean and the creamy whiteness of the breaking waves are depicted with wonderful realism. Here, colour is not used merely in a series of beautiful spectacles. Some colour films which have achieved a great appeal have been little more than a string of beautiful scenes held together by a rather tenuous plot. ‘ Ebb Tide,’ having as its setting Papeete, the South Sea Islands, and the high seas, might well have appeared as a number of coloured pictures of island and marine beauty. Instead of this, however, colour has been skilfully used to develop and strengthen the story. Beautiful scenes there are, including some reminiscent of famous oil paintings of ships at sea under full sail, but they Mend into the story without conveying the impression that the plot has been made an art gallery. Perhaps what will be most remembered by those who see_ the film will be the play of emotions on Oscar Homolka’s face. Here the screen has done what it has only a very few times previously accomplished. Homolka’s brilliant acting as Captain Thorebeeke, a sea captain who has been “ on the beach ” at Papeete since the loss through his own drunkenness of his ship, entitles him to the highest honours the film world can bestow. In the “close-ups” of Homolka, colour has put the last touch of verisimilitude to the performance. Homolka has a “tough,” rugged face, but at times, 'when tho better nature of the captain is dominant, it takes on a real beauty. Homolka is cast as Captain Thorbeck. a sea captain who has lost both his ship and his papers through drunkenness. He is “ on the beach ” on a lonely Pacific island, and his Wngmg to return to his wife and family is portrayed with convincing poignancy. His companions on the beach are (Robert Berwick, a derelict young Englishman portrayed by Ray Milland, and Huish, a disreputaMe Cockney played by Barry Fitzgerald. The three obtain employment on a schooner whose crew has been depleted by plague, and set out to take a cargo of champagne to Sydney. They decide to steal the schooner and take her to Peru, where they will be able to sell both ship and cargo. Before they are able to embark on this plan, however, they have to overcome the strenuous objections of a girl they find on board. She is Faith Wishart (Frances Farmer), daughter of the dead captain, and a part owner of the ship. All goes well on the course to Peru until Captain Thorbeck and Huish broach the champagne cargo. While they are in a drunken stupor the schooner encounters' a hurricane, and after some very realistic, storm, sequences the vessel is driven off its course. The story comes to a gripping climax when the ship puts in to an uncharted island for provisions. Here the party encounter a demented pearl merchant who brings tragedy with startling suddenness into their lives. In conjunction with ‘ Ebb Tide ’ a number of entertaining featnrettes are being screened. Pop-Eye the Sailor is seen at his best in ‘I Likes Children and Infinks,’ a Max Fleischer cartoon. Newsreels and other short subjects complete the proogramme. .

ROBESON SINGS AGAIN DRAMA OF AFRICAN TRIBES H. Rider Haggard has been responsible for adventurous imaginative tales that have thrilled readers since , the ’eighties and will continue to do so for years to come. These stories have all the glamour and romance that appeals to any imagination, and ‘ King Solomon’s Mines,’ which heads the new bill at the State, is probably the best of those. It is ideal film material, and as adapted and presented by G.-8.-D. under the direction of Robert Stevenson. it is definitely Britain’s film triumph and intense, exciting entertainment. The story of Kathy O’Brien and her diamond-mining father who obtain a wagon lift from a hunter, Allan Quartermam, and who are later joined by Commander Good and Sir Henry Curtis, explorer and adventurer, with the powerfully-built ITmbopa for driver and guide, makes interesting material. O’Brien then disappears with a map ho has obtained, supposedly locating the fabulously rich diamond mines King Solomon’s Mines and the party, following in the wake of Kathy, who has gone in search of her lather, take an interest in the proceedings. From the moment they are captured by Zulus and TJmbopa reveals himself ns their rightful king, tho story builds up to a thrilling and powerful climax that involves fierce tribal wars, gruesome mischief by witch doctors, and an enormous volcanic upheaval. These scenes have been brilliantly and realistically produced, and the tribal war and celebration scenes in which thousands of natives take part are both impressive and spectacular. As Umhopa, Paul Robeson has never been soon to better advantage. Ho sings three songs during the action of the film in glorious voice, and acts with conviction. Sharing all honours is Cedric Tlardwicke as Allan Qnartormain, adventurer.' , This convincing English star adds but one more characterisation to his successful list.

Roland Young makes Commander Good an interesting, friendly little fellow with brilliance, and the romantic interest is sincerely handled by Anna Lee and John Loder. This is a picture for everybody. No filmgoer, playgoer, story reader, or adventure lover should miss ‘ King Solomon’s Mines.’ Three songs were ingeniously introduced into the action of the film. These, ‘ Kukuana Song,’ ‘ Climbing Up! Climbing Up!’ and ‘Ho! Ho! The Wagon Song,’ have all been specially composed by Mischa Spoliansky, writer of songs for Jan Kiepura and other famous singers. Lyrics were written by Eric Maschwitz, the 8.8. C. executive, novelist, librettist, and dramatist, who has written lyrics for song hits under the nom de plume of Holt Marvell, scoring terrific success. Prior to the screening of the mam film, a fine selection of shorter subjects is presented. SUPERB SCREEN SPECTACLE DRAMA AND HAVOC IH CHICAGO Superb screen spectacle, with all the elements that make for entertainment, is presented m Darryl F. Zanuck’s awesome ‘ In Old Chicago,’ tho pnncipal attraction in the now Octagon bill. Up to now, Hollywood seems to have made the most of all of the classic struggles between man and the elements, but not since the ‘ Birth of a Nation ’ has such completely overwhelming grandeur graced a motion picture screen. That the grandeur in this 20th Century-! ox production is derived from the relentless fury of an unrestrained holocaust which wiped out a middle-Western metropolis of a rougher and tougher era m our history, is only part of the story. The true beauty lies iu the carefullymanipulated love story, capably written, directed, and acted. The film opens showing the O’Learys in a covered waggon, bound for Chicago. Pa O’Leary typifies the grim brevity of existence in those days when he trios to outrace a “ new-fangled ” (Currier and Ives) locomotive. _ Molly O’Leary buries her husband in the prairies, only a few hours away from the city he longed so to see. Then, the next morning, Ma O’Leary brings her throe sons into this brawling city of 1854_and after an episode with a fancy lady’s mud-spattered gown, launches herself upon a career as laundress. The boys grow up, and by 1870 Bob O’Leary (Tom Brown) is married to a German immigrant girl (June Storey). Jack O’Leary is a struggling attorney and Dion is making his first inroads into politics. Dion first swings into his stride when he woos Bello Fawcett (Miss Faye) so that he can central the choice site for a saloon which will drive his political “ boss ” (Brian Donievey) out of business. The violent love scenes end with a slightly subdued Belle Fawcett becoming Dion’s aide in a series of machinations which are culminated by a political plot electing Brother Jack o'T.eary as reform mayor of Chicago. The strange O’Leary tribe fights tooth ami nail at times, and tlie climax comes wfton Dion has nis brother perform the marriage ceremony which makes Belle Fawcett the. bride of Dion O’Leary. Mayor Jack O’Leary learns that tne marriage was engineered by Dion so that Belle could not testify to Dion’s political chicanery. A fight begins here, and far away in “The Patch,” the cow Daisy kicks over the lantern in the barn. Then the screen liowers forth in tho most terrifying beauty; Chicago is wiped out. J The final moment, which shows the indomitable O’Learys reunited in the spirit of a regenerated Chicago to come, is a scene that beggars description. ‘ln Old Chicago ’ will be for many years the standard by which future screen dramas must be measured. Literary, production and technical wizardry are apparent throughout this master work—and in that, the guiding hand of Darryl F. Zanuck is evident. The story leading up to the burning of the city on the night of October 9, 1871, is lusty, powerful, and authentic to a degree. No less brilliant.has been the direction of Henry King, who developed the personalities of the O’Learys. He keeps a lot of movement in the early sequences, and steps up his tempo to move fluently into the terror, tragedy, and flight of the fire. For the realism that wells up from the screen in these stirring, blazing scenes, Bruce Humberstone’s direction earns well-merited praise. But dramatic laurels most certainly are due Alice Faye, Tyrone Power, Don Ameche, Alice Brady, Brian . Donlevy, and Andy Devine. Miss Faye is revealed in ‘ In Old Chicago ’ as a surprisingly talented actress. Her role as the soubrette in a gaudy, glittery saloon of 1871, is as the tempetuous sweetheart of the saloon’s owner. Tyrone Power, that comet among the Hollywood stars, literally lives the role of Dion O’Leary. Don Ameche, as Jack O’Leary, the direct antithesis of Dion, gives a sincere performance as the rereformer and envisionef of a clean, orderly, civil-minded Chicago. Alice Brady is magnificent, giving the finest performance of her brilliant dramatic career as the hard-working, outspoken Molly O’Leary. The supporting subjects are of high standard. ‘ ARTISTS AND MODELS ' ATTRACTIVE VARIETY PICTURE Strictly speaking, ‘ Artists and Models,’ the Paramount production which commenced at the St. James yesterday, is mainly a glorified variety show. The separate ingredients of music, dance, comedy, novelty, and spectacle are almost without exception good, and it must be admitted that such balancing of entertainment is the exception rather than the rule in musical productions, and so ‘ Artists and Models ’ is not likely to prove disappointing to the majority of picturegoers who like this brand of film. Far more important than the story as a connecting link between the acts is the performance of Jack Benny, one of the smoothest comedians the Broadway stage has given to Hollywood. This is Benny’s first solo starring picture. It is also a departure for liim in that, while he is still the good-humoured butt of many of the jokes, he is given the leading romantic role. And he does it remarkably well, even though he is scarcely the slim, romantic type. Bonny portrays an advertising expert with, a sumptuous office, but very little work to do in it. By virtue of the fact that be is chairman of the annual Ar- ' tists’'Ball Committee he secures a valuable contract from a millionaire manufacturer of silverware (Richard Arlen), on the understanding that the “ Silverware Girl ” will he chosen as queen of the ball. Benny has half promised the honour to Ida Lupino, a professional model with whom he is in love, but Arlen prefers a society girl (Gail Patrick!. So Miss Lupino sets out to prove that she is as good as any society girl, and falls in love with Arlen, while Bonny is sufficiently consoled by Miss Patrick. In and out of this story dash the crazy Yacht Club Boys, full of “ inspirations ”- for the forthcoming ball,

and the action is also interrupted by Andre Kostelanetz and his orchestra, Connie Boswell crooning ‘Whispers in the Dark,’ an under-water “ dance novelty, clever puppet show, and crazy interludes by Ben Blue and Judy Canova. For the most part these variety numbers are sufficient excuse for the story. The spectacular highlight is the ball sequence, which features— though perhaps not so much as one. might expect—some of America’s leading illustrators and some of the world’s most famous models. COMEDY AND DRAMA FINE MAYFAIR BILL A cast headed by. Joan Crawford, William Powell, and Robert Montgomery appears at the Mayfair in Metro-Goldwyn-Mayer’s ‘ The Last of Mrs Cheyney,’ based on the stage play by Frederic Lonsdale. The screen version of this memorable play is said to be better than the original. An exceptional supporting cast includes Frank Morgan, Jessie Ralph, Nigel Bruce, Colleen Clare, Benita Hume, Ralph Forbes, Aileen Pringle, and Melville Cooper. The story, ultramodern as a stage play, has been advanced in dialogue and atmosphere, so that it is more than ever smart and sophisticated. All the thrills of those adventurous days when men dared all for love, live again in ‘ Under the Red Robe,’ an exciting swashbuckling romance, starring Conrad Veidt and Annabella, which will be the associate feature. A colourful, and epic photoplay, the Twentieth Century-Fox release, is based on the story by Stanley J. Weyman, andJ on the stage play by Edward Rose. Combining the intrigue of ‘Richelieu,’ the.romance of ‘The Scarlet Pimpernel,’ and the adventure of ‘The Three Musketeers, the picture tells a tale of intrigue that threatens a throne, with Conrad Veidt, acclaimed as one of the greatest actors Europe e.ver produced, as the dashing, audacious adventurer Gil do Berault, whose sword strikes terror into the hearts of men, and whose smile brings love to the hearts of women. FOUR BRILLIANT STARS FAST-MOVING COMEDY Jean Harlow, William Powell, Myrna Loy, and Spencer Tracy unite their exceptional acting ability in one of the most entertaining films of recent years, a drama with a newspaper angle that is as modern as current headlines, ‘ Libelled Lady,’ which is now at the Municipal Theatre, Green Island. The action of the film revolves about a society girl' who considers that a newspaper has insulted her, and files a damage suit for five million dollars. Needless to say, the sued newspaper is thrown into an uproar, and its managing editor solicits the aid of a former “ star ” reporter to extricate the paper from its difficulties. In his scheme to make the heireM forgo the suit the reporter succeeds in making her fall in love with him. _lt is when he, in turn, falls in love with her that complications begin, and the tale takes an unexpected and hilarious turn. _____