PICTURE THEATRES

Evening Star, Issue 23065, 17 September 1938, Page 24

PICTURE THEATRES

THE NEW PROGRAMMES

JEANETTE MACDONALD TRIUMPH 1 FIREFLY ' SEASON CONTINUES Jeanette MacDonald lias won a deservedly high place for herself in the esteem of Dunedin theatre patrons, principally in the company of Nelson Eddy, and the brilliance or her singing has done much to win her this distinction. In her latest co-starring vehicle, ‘ The Firefly,’ which is screening for a further week at the .Regent, she is teamed with Allan Jones, who will be remembered for his excellent performance in ‘ Show Boat,’ with Irene i Dunne. Together they make the film ■' one well worth seeing. I The Metro-Goldwyn-Mayer studios >. have effected many improvements to • the stage production, and instead of a series of set scenes, ‘ The Firefly ’ has

become an agile, witty, fast-moving ro- • mance, with all the original beautiful >’ musio and with the added advantage ' of the most picturesque settings. _ The I whole’ effect of the production is so .’ brilliant that the players, outstanding i. as they are, must take second place. r Jeanette MacDonald in the title role ' is even more delightful than she was in I Naughty Marietta ’ and ‘ Maytime. The scenes are set in ' romantic old ' Madrid, in Bayonne, and among the !■ Pyrenees, and they cany with them a conviction that is seldom achieved on • the screen. ‘ The Firefly ’ is a film of ■ great contrasts, as it depicts the ; struggle of the Spanish people, aided , by the Duke of Wellington and his British troops, _ against the might of ■ Napoleon’s armies. The Metro-Goldyn-Mayer studios have effected many improvements to the stage production, and instead of a ; series of set scenes ‘ The Firefly ’ has : become an agile, witty, fast-moving romance, with all the original beautiful ■ music and with the added advantage

of the most picturesque settings. The whole effect of the production is so brilliant that the players, outstanding as they are, must take second place. Jeanette MacDonald in the title role is even more delightful than she was in * Naughty Marietta ’ and ‘ Maytime.’ The scenes are set in romantic old Madrid, in Bayonne, and among the Pyrenees, and they carry with them a conviction that is seldom achieved on the screen. ‘ The Firefly ’ is a film of great contrasts, as it depicts the struggle of the Spanish people, aided by the Duke of Wellington and his British troops, against the might of Napoleon’s armies.

The story is . one of intrigue behind the enemy lines. In one of the principal cafes of Madrid, Nina Azara, an entertainer known as “ The Firefly,” sees among her admirers a stranger, Don Diego, a wealthy yonng Spaniard, by whom she is much attracted. The dancer is also a Spanish spy who is trying to discover Napoleon’s plans for the invasion of Spain, and the next day sets off for Bayonne. Don Diego follows her and confesses his love for her, but once in Bayonne “ The Firefly ” loses no time in making the acquaintance of a French officer in an endeavour to obtain the precious information. When she wants to send a message back to Spain by the devoted Don Diego she learns to her dismay that he is in reality a French spy. Then follow five years of war, after which the dancer and the French officer of Bayonne meet again. Carrying out his duty, Don Diego tells the Frenchnlan that the beautiful Nina is a spy, and she is condemned to be executed. After the battle of Vittoria the story takes an unexpected turn, however, and ends on a happy note. But, interesting though the story is, it is the singing in 1 The Firefly ’ that makes it such an outstanding production.

Miss MacDonald and Allan Jones are heard in seven songs, comprising three solos each, and the beautiful duet ‘Sympathy.’ The best of the other songs are ‘ Gianina Mia,’ ‘ When a Maid Comes Knocking,’ and the already popular ‘ The Donkey’s Serenade.’ One could go into raptures over * The Donkey’s Serenade,’ which _ sung by Jones to the perfect accompaniment oif a guitar, a flute, the nodding of the donkeys, and the clatter of their hoofs. There is a short supporting programme.

JANE WITHERS SCORES

DELIGHTFUL HILARITY OF 'CHECKERS' Jane Withers has appeared in many guises since she made her motion picture debut some time ago, but throughout she has maintained a standard of excellence in hilarity that bears comparison with any adult performances. Jane has this advantage—she takes the fullest delight in all her parts, and almost lives them as any youngster of tender years would find easy, because of their remarkable suitability to her own particular temperament. Jane Withers, one would imagine, is little different off the set to the mischievous personality she portrays in her screen roles. This is true in a great measure of ‘ Checkers,’ her latest starring vehicle, which is at present screening at the Octagon. In ' Checkers ’ Jane has a plot well suited to the display of her unquestionable comedy talent. Irresponsible, apparently, yet _ with really kindly thoughts underlying her mischievousness, Jane runs the gamut of amusing adventures that seem immensely complicated as they progress, but which all unravel into a popular ending. ‘ Checkers ’ is a singularly appropriate vehicle for Miss Withers from every point of view. The title is ancient and honourable, symbol in many minds of race-track melodrama in the pink, with Stuart Erwin and Una Merkel as the frincipals most affiliated with the star, t is not especially important to mention that this version of ‘ Checkers ’ by

Lynn Boot and Frank Fenton, with Robert Chapin and Karin De Wolf assisting in the screen play, is about as far removed from the original Drury Lane production in text as in time. But in view of some unsuccessful attempts to reproduce old favourites without change is distinctly for the better. This version of the picture complies with modern racing rules and to-day’s manners, customs, and circumstances and as timely as to-morrow’s tips in to-night’s paper. The story is about a child, “Checkers,” whoso uncle, Edgar.Connell, owns a racehorse which breaks its log, but is nursed back to health on the farm of Mamie Appleby, who loves Edgar, but refuses to marry him unless he gives up racing. There is another suitor, a “ fake ” oil discovery, an incidental love affair, and, finally, a race to end all racing, for the-group, with the outcome satisfactory all round. The expert producer and director have safeguarded the picture against many pitfalls commonly encountered in pictures of the kind. The long arm of coincidence is exercised moderately—never pulled out of joint. The young star is instrumental in making things happen as she wants them to, but resorts to none of the incredible precocities generally perpetrated in this connection. What she does a child of her years could do. Characters are underscored but not caricatured, with the result that this production is suitable for both adults and children. ‘ Checkers ’ is delightfully mirth-provoking, it has many thrills, more than a dash of romance, and all that recaptures the irrepressible spirit of happy youth. Jane, Stu, and “ Blue Skies wander around to the track at the opening of the story. The horse, with Jane riding, beats the star of another owner’s stable. Em-aged, this sportsman fires Marvin Stephens, his jockey, who joins forces with Jane and company. The quartet then descends upon Una’s farm. When “ Blue Skies ” breaks a leg in a race, Una is forced to put the horse up in her barn, even though she dislikes racehorses. Stu gets a post on the farm, and Jane and Marvin start school. Soon Stu’s romantic rival appears—Andrew Toombes, the local banker. Then Marvin, through his part-time position in Toombes’s bank, develops a great interest in the banker’s daughter. Determined to set things aright, Stu employs a ruse which reveals the ulterior motives behind the banker’s courtship and results in Marvin being fired. But the ruse “ backfires ” and they find they will have to race “ Blue Skies ” if they are to save Una’s farm from foreclosure, They enter the horse secretly in the big race, but the news leaks out. A stormy conclusion is neatly turned into a romantic idyll. There is a fine programme of secondary films which include a rollicking comedy, ‘ Who’s Who,’ an animated cartoon, and a Fox Movietone News depicting current world happenings.

MILKMAN AND HOUSEMAID

RACETRACK DRAMA SUPPORTS ‘ You Can’t Buy Duck,’ which heads tho current programme at the Grand, opens to view one of those simple American stories which become persuasive through the very deftness with which they are handled. Not an instant is wasted. Every smallest scene has been calculated for its effect on the forward motion of ; the narrative. Summed up, the film is a clever combination of comedy, drama, and romance. The leading roles are capably filled by Onslow Stevens and Helen Mack, who have the support of an unfailingly competent cast. With a bright and witty scenario, and a cast better-balanced than those generally entrusted with routine comedies of this type, ‘ Maid’s Night Out,’ the second picture, is bright and neatly-directed entertainment. The story deals with a millionaire dairyman’s son, who, as one of his father’s milkmen, falls in love with a penniless society girl, whom he mistakes for a housemaid. Once the narrative gets fairly on its way the picture reveals cleverness, whilst creating considerable merriment.

Joan Fontaine shares the beauty and vitality of her sister, Olivia de Havilland. Allan Lane is a brisk and debonair milkman with ambitions towards tropical fish research. Veteran George Irving, as the millionaire, Hedda Hooper as the fussy Mrs Harrison, and Hilda Vaughan, admirable as her servant, lead the supporting cast.

BRILLIANT CHARACTERISATION

EDWARD G. ROBINSON AT EMPIRE Entertainment of a gripping nature is offered in ‘ The Last Gangster,’ which opened its season here at the Empire yesterday, with Edward G. Robinson back in the type of role which first mado him famous as one of the screen’s foremost character stars. In the new story of a notorious gangster whose ruthless criminal career is brought to a close when he is sent to prison for 10 years for income tax evasion. Robinson once again portrays his brilliant technique and consummate acting ability. Also of interest in connection with the new production is its introduction of the lovely new Viennese “ find,” Rose _ Stradner, who plays Robinson’s wife in the dramatic narrative and who promises to repeat the triumphs which have heralded her as one of Europe’s most popular actresses. In ‘ The Last Gangster ’ Robinson is seen as Joe Krozac, gangster overlord, who marries Talya (Miss Stradner) not because ho loves her but because he wants to become the father of a son. It is not until he is sent to prison for income tax evasion that Talya learns the true ruthlessless of her husband’s character and divorces him to marry Paul North (James Stewart), a reporter who has befriended her and her infant son. When Krozac finally serves his prison term he seeks out his former wife with revenge in his heart. It is his ultimate understanding of his own unfitness to be a father to his_ child that brings about a stirring climax to the story Robinson has never been greater than in his role of Krozac, and both Miss Stradner and Stewart contribute memorable support as the wife and other man respectively. A uniformly fine cast also includes Lionel Stander as Robinson’s chief henchman, Douglas Scott as the child, John Carradinc, Sidney Blackmer, Grant Mitchell, Edward S. Brophy, Alan Baxter. Frank Conroy, and Louise Beavers. Edward Ludwig has done an expert job of direction, particularly effective being the prison riot scenes and the tragic metamorphosis undergone by Robinson when he enters prison and finds himself robbed of all his former glory and power. Apart from the first-class short studies that are a feature of the Ecnire's programmes, there is a Laurl and Hardy comedy. The title, ‘ Biotin.’ suggests what it is all about. The entire”show this week is one to bo recommended.

BEAUTY CONTEST AND COMEDY. A barrage of buffoonery will be unloosed next Friday at the Empire in Columbia's ‘ There’s Always a Woman,’ a sprightly, mystery-tinged romantic comedy in the mad and merry manner of 1 The Awful Truth.’ Heading the cast are the inimitable, wide-eyed Joan Blondell and her “sleuthing” spouse, Molvyn Douglas. Those two merrymakers take the film over, lock, stock, and barrel, and turn it into a rollicking farce. The foolery in which they indulge proceeds to a new peak of delightful nonsense in the scene where Joan is being subjected to a “psychological ” third degree by a corps of burly policemen. At the end of weary hours Joan is perfectly cool and collected: her “ tormentors ” worn to the proverbial “ frazzle.” The supporting feature of this programme will be the stage appearance of the semi-finalists in the ‘ Woman’s Weekly ’ beauty contest. No effort has been spared by Brown, Ewing, and ■Co., which will present this attraction, to make it a spectacular and interesting portion of the programme. The successful candidates will be exquisitely gowned by the company, while the manner of the presentation will be a revelation to spectators. Lady members of next week’s audiences will be delighted by the costumery displayed by some of Dunedin’s selected beauties, and all will be to give their opinion of the merits of the entrants.

HOW STARS FIND SUCCESS

HOLLYWOOD ROMANCE AT ST. JAMES Hollywood has made one of its most absorbing romances in the United Artists picture, ‘ A Star is Born,’ the new picture at the St. James. Well produced in technicolour by David 0. Solznick, and directed by William A. Wellman, with an unerring instinct for genuine dramatic effect, the whole production has distinction and is a credit to its creators. It reveals the real Hollywood, and the heartbreaks and tragedy that lie behind the glamour and glitter. Many a famous rendezvous is to be seen in the film, such as the Hollywood Bowl, the Chinese Theatre, Santa Anita racecourse, the Brown Derby, and Malibu Beach — where the most tragic sequence of the picture is screened. . This movie is, in essence, the tale or that one girl in 100,000 who went to America’s film capital and had the luck to be given a big chance and the ability to take it. But it is more than that; it is a spectacle, a study in emoional tension because of its revealing details of tho disintegration of Norman Maine, who has been a great star and is reduced to waiting at home all day for his wife to return, a high-spirited romp in the wooing of the young star by the old, and the preachment on courage. In it Janet Gaynor, player in many Cinderella films, returns superbly to her last days, and Fredric March, the swaggering actor of Anthony Adverse,’ and the racked adventurer of ‘ Dr Jekyll and Mr Hyde,’ has what is probably the most difficult role of his career, and proves again what a ■sound and resourceful actor he is. The whole bustling, glaring scene, shown in its intensity at the moment of making of a film test, with the cameramen measuring, the sound men bawling, and the numerous other underlings, from make-up men to fly-swatters carrying out their task with a supreme indifference to the feeling of the new star, is realised in all its details, embellished with the amusing dialogue of Dorothy Parker and superbly photographed. And the supporting roles are filled by excellent actors headed by Adolphe Menjou and May Robson. The supporting programme maintains tho high standard set by the principal film, a feature being one of those classic ‘ March of Time ’ series.

TWQ ATTRACTIVE FILMS

DRAMA AND MUSICAL COMEDY ‘ Sabotage ’ is the chief attraction on the new programme which commenced at the Strand yesterday. It is an excellent thriller, dealing with modern sabotage and the human drama behind it. It has fine suspense and first-class acting. Tragedy overtakes the Verloc family when the husband, proprietor of a small cinema, joins a gang of saboteurs so that he can make more money. His first exploit is to engineer a “ blackout ” of London, and then he is ordered to place a bomb in the cloak room at Piccadilly Circus. His innocent wife, Sylvia, becomes very friendly with a greengrocer’s assistant, Ted, who, however, is a detective in disguise, watching the exploits of Verloc. The husband fearfully sends Sylvia’s small brother, Steve, with the bomb, carefully concealed in a film-can. The tragedy that follows, affecting harmless citizens and the Verloc family, is followed by police exposure, and Sylvia only finds happiness after the terrific climax of her husband’s downfall.

Carefully built with all a big studio’s resources, ‘ Sabotage ’ is a more than usually tense thriller. The suspense of certain scenes cannot be forgotten, nor can the acting of the principals, who, each and all, are at their very best. The picture was produced by Gaumont British, and has Sylvia Sydney, Oscar HolmoLka, John Loder, and Desmond Tester in the leading roles. Although the advertised supporting attraction, ‘ This Way, Please,’ was not shown last night, the management advises that it will be screened at a later date. ‘ True Confession,’ described as a front-rank comedy production, spariding with burlesque, will be screened at to-night’s session and during the week. The leading players in this fast-moving film include Carole Lombard, Fred M'Murray, and John Barrymore.

STATE'S COMEDY ATTRACTION

'STEP LIVELY, JEEVES!’ P. G. Wodehouse’s well-known character, Jeeves, came to the State yesterday, and, as was the case with a previous picture concerning this “ gentleman’s gentleman,” scored an immediate success. Jeeves, the sad-eyed, gentle, and utterly proper butler, thought gangland, to be all right. They could swindle him, bamboozle him, and buffet him about, but he insists on proper manners, and so the underworld is overwhelmed when P. G. Wodehouse’s famed character goes berserk for a delightful period of gleeful buffoonery in the second saga of the silly blighter’s misadventures, ‘ Step Lively, Jeeves,’ a Twentieth Century-Fox picture, featuring the incomparable Arthur Treacher in the title role. Patricia Ellis and Robert Kent are Jeeves’s only friends in the strange America he is seeing for the first time as the unwitting dupe of Alan Dincliai t and George Givot, a pair of swindlers trying hard to make a dishonest living. Fun and excitement of tho most amusing type attach to the earnest

social-climbing efforts of Helen Flint, wife of a retired gangster, when she obtains for her society function the heir to the millions of Sir Francis Drake, the suddenly prominent “ Earl of Bedford,” which is the bogus title the two “ con ” men have bestowed upon their unsuspecting friend. The screen play by Frank Fenton and Lynn Root, adapted from an original story by Frances Hyland, gets more and more hilariously involved ns the swindlers, realising they are trying to mulct a former public enemy and his cohorts, attempt to scramble out of their deal, failing because they had cold their victim too thoroughly. When Jeeves’s true identity is discovered there breaks loose fireworks of an unsafe and insane Fourth-of-July nature, the hilarity of which is further heightened by Jeeves’s typical sober and sensible way out of all difficulties.

NORMA SHEARER TRIUMPH

BREEN MUSICAL DELIGHTS On viewing Norma Shearer’s brilliant and penetrating portrayal in ‘ Smilin’ Through,’ which has returned to the Mayfair, it is easy to understand why Metro - Goldwyn - Mayer received an avalanche of letters asking that this production be again brought back to the screen. For it proves to be a photoplay well worth seeing again and again. Perhaps one of the reasons which make this picture fully as enjoyable today as when it was first released is its brilliant cast, which includes, besides Miss Shearer, the renowned Fredric March, one of the foremost male actors on the current screen, and Leslie Howard than whom there is no more charming and sensitive character delineator. Both these actors again reveal themselves to be artists who are abje to take full advantage of any dramatic mood.

All the elements of a thoroughly _ entertaining motion picture are combined in Bobby Breen’s new musical starring vehicle, ‘ Make a Wish,’ the second attraction. Foremost among its attractions is the sweetly tender _ voice of young Bobby himself, who sings several numbers especially written for the picture by Oscar Strauss, noted Viennese composer. A new Basil Rathrone, essaying his first completely romantic screen role, shares the love interest with Marion Claire, though theil- romance is complicated by the fact that the young lady is engaged to Ralph Forbes. The strong comedy element in much of the story is in the capable hands of a large group of popular comedians, explosive Henry Armetto, Leon Errol, Donald Meek, and Leonid Kinskey.