PICTURE THEATRES

Evening Star, Issue 23113, 12 November 1938, Page 9

PICTURE THEATRES

THE NEW PROGRAMMES VARIED FARE PRESENTED AT THE STRAND Heading the new programme which ■ commenced at the Strand yesterday is 'Highway" Patrol.' This is a thrilling Btory of an oil . war in which Robert Paige faces sinister under-cover slayers who menace the lives of the workers. Getting a leave of absence from regular duties, Paige struggles to save a gigan-; tic oil refinery and the girl he loves from a mifrderous combine bent on destroying both. Jacqueline Wells is Paige's pretty leading lady\ Robert Middlemass, Arthur Loft, Al Bridge, Eddie Foster. Ann Doran, George M'Kay, and Eddie Laughton head the supporting cast. _ The second feature is ' Young Fugitives,' which provides a happy blend of Comedy, drama, and romance. Harry Davenport, Dorothea Kent, Robert Wilcox, Clem Bevans, Henry Roquemore, Larry Blake, Mira M'Kinney, and Tom Iticketts have the featured roles, supported by Mary Treen. George Guhl, , Edward AcufF, William Benedict, Robert M'Kenzie, Ferris Taylor, and Douglas Evans. Davenport was on the Stage 65 years before coming to pictures, and has the role of Joel BenJtßam, a lovable old Civil War veteran, ■who suddenly comes into possession) of 80.000d01.' All of his small town neighbours wish to spend it for him, but he Iremembers their neglect of him in the East and decide-? he -will use his money i his own way. He adopts Meg, a Irivacious and charming girl hobo, and Hoes his best to reform Ray Riggins. »he -wild young grandson of an old Civil War comrade. The big moment In the pictures comes when Ray's evil (young associates of other days descend on Joel's place and try to make him Reveal the hiding place of his money. Kay goes to his defence, but is overpowered. Then an unexpected turn of events brings on the powerful climax.

GRIPPING SIVIL WAR DRAMA

MADELEINE CARROLL AND FONDA V r lb was only to be expected that Hollywood would not let slip an opportunity to adapt the Spanish Civil War into a theme for film purposes; certainly there has been ample scope for b gripping drama offered. United Elitists have not been backward in diserning the potentialities of such an betion, and their ‘ Blockade,’ which fcommenced a season at the State yesterday, deals in sensational manner with such a plot. Against a stirring bar background, courage and adventure have been exploited to the full, tvhile the romantic side has not been neglected. With Madeleine Carroll and Henry Fonda co-starred, 1 Blockade ’ is b thrilling, action-filled picture of high merit. Whenever one finds oneself becoming Bnduly moved by the of

characters in screen plays, it is usually possible to reassure oneself with the thought that “ this is oniy a story, after all.”. But in the case of ‘ Blockade ’ no such easy comfort is vouchsafed. For ‘ Blockade ’ probably portrays without any exaggeration the sufferings of much of the civilian population of Spain at the present time, or, for that matter, of any non-comba-tants in modern warfare. It is this that makes ‘ Blockade ’ a memorable and moving film, and in some aspects, almost a great one. When one is looking_ at Madeleine Carroll’s immaculate coiffure or following her adventures in this latest episode of her career as the screen’s most persistent international spy, it is not difficult to remain in the realm of pleasant, undisturbing fiction, but when there are shown scenes of towns in ruins, starving women and children waiting hopelessly in food queues, and a torpedoed- relief ship sinking before the eyes of a hunger-stricken crowd, then this film is no longer fiction, but cold, hard'fact—and fact that is extraordinarily exciting and full of suspense. Because Walter Wagner, the producer, has come to grips with realities, ‘ Blockade ’. is rightly to be regarded as one of the most daring and important pictures of the year. The background of this stirring photo-play is the Spanish civil war, and the central theme of the story is the romance of Miss Carroll and Fonda, both caught in the seething maelstrom of the conflict. The story opens with .Norma (Madeleine Carroll) arriving in Spain to discover her father and an associate who have been active in helping to foment a civil war. War breaks out, and Marco (Henry Fonda), a farmer whom the girl has met and fallen in love with, becomes a soldier, kills Norma’s father as a spy, and is obliged to arrest her as a suspect. Released •‘through a traitorous alliance between her father’s former associate and a Spanish general, she is forced to become their aide in' espionage work, and is sent to Castlemare as the bearer of a message to spies intent upon the destruction of a ship laden with food for the relief of the blockaded city. The trusted men are engaged in secretly selling their services to the other side. However, there is a danger of overemphasising this aspect of the film and making it out to be wholly propaganda. , The producer has been very discreet in labelling no sides in the Spanish struggle, just as he has taken care to invent fictitious place names. The peaceful Spanish countryside before the war breaks out is skilfully depicted in a few charming scenes of sheep and trees and rivers, with Leo Carrillo a veritable Pan playing his flute to his attentive'Tlock. Henry Fonda is for once given a real chance to show his skill as an actor, as the young farmer who loves his land and drops his plough and takes up a gun to defend it. The villain of the piece is John Halliday. Madeleine Carroll is, inevitably, in the opposite camp—but love at last finds a way. ‘ Blockade ’ is a notable picture. Included in a supporting programme of interesting shorter subjects is another of the revealing ‘ March of Time ’ series. This unit deals in the usual striking manner with the League of Nations, taking the audience behind the scenes at Geneva. Entitled ‘ Armaments and the League,’ it opens the eves of all upon this important question, and discloses many little-known and extremely interesting facts.

FLYNN AND BLONDELL

BRILLIANT COMEDY TEAM Such has been the popularity ol ‘ The Perfect Specimen,’ starring Joan Blondell and Errol Flynn, in its initial season in Dunedin, that the management of the St. James decided to taka the film for a week to give those who have not seen this brilliant comedy a chance to do so. The first role of its type to fall to him, Flynn proves that he is a master of comedy. Joan Blondoll, with her inimitable brand of comedy, is the perfect foil to the more serious kind dispensed by the male lead.

The film is full of hilarity, and shows a resemblance in style to ‘lt Happened One Night,’ the film which set the fashion for runaway comedies. Still, the story has an original freshness, as it' is centred in a particularly bright idea in studying the effect of environment on personality, and the theme is made the most of by the acting of Errol Flynn and Joan Blondell, who are assisted by Hugh Herbert, Edward Everett Horton, Dick Foran, May Robson, and Beverly Roberts. Joan Blondell is making her way rapidly in films of this type, and she continues in this one with her zest unabated. Flynn, the handsome hero of several costume films, in such a- type of role for the first time, but he is a perfect specimen for ‘ The Perfect Specimeh.’ The other well-known figures are in characteristic parts, and they rally round the central characters, contributing an clement of slapstick to their sophisticated humour. Errol Flynn is cast as the heir to a fortune of 30,000,000d01, and is the ward of an eccentric grandmother who takes her duties so seriously that she imagines the best way to prepare her grandson for the duties which await him is to perfect him in all branches of activity. To carry out her purpose she literally imprisons him on the wide family estate, and strictly guards him from the intrusion of any except his instructors. She seems to be in a fair way to carry out her scheme when one day a charming and light-headed blonde in a mischievous mood decides she would like to meet “ the perfect specimen ” of whom so much has been heard in the newspapers. So she gaily crashes her car through the fence of the estate and surprises the young man, studying the effects of gravity in a tree. Physical and mental gravity arc immediately disturbed, and, although the prompt descent of grandmother and secretary soon removes the intruder the damage is done. The perfect specimen has still some human imperfection, some element of original sin, left in his composition, and so next morning, equipped with a*, copy of ‘ Don Quixote ’ and a borrowed car, he sots out in quest of the tantalising trouble-maiker. He finds her, and the two gaily set out in search of adventure. They find it._ First there is a fight with a bus driver, the next step is a prize fight, and then spurred by the news that the police are out looking for the supposedly kidnapped heir, a mad flight across the country commences. The result is inevitable—the two discover that they love one another, and the girl, belatedly overtaken by some qualms of conscience, disappears. And so confusion further confused. The grand climax comes with a reunion of all concerned being haled before the irate grandmother, and there the entanglements are straightened out to the satisfaction of all and to tho immense entertainment of the audience.

‘ The Perfect Specimen ’ is pure comedy; it cannot be regarded analytically or even constructively, but. taken as a whole, it will be found to be worthy of high ranking as entertainment, and this, after all, is the primary requisite of a picture. There is a good supporting programme.

‘FOUR MEN AND A PRAYER*

POWERFUL PICTURE AT OCTAGON It is strange how frequently Hollywood producers spoil a really worthwhile picture through bestowing upon it a poor title. Instances are always being quoted, and the latest case is that of ‘ Four Men and a Prayer,’ the new offering at the Octagon. The title is uninteresting, and it certainly gives no indication that the picture may really be described as a “ dramatic bombshell,” and can certainly be classified as one of the best shown here for some time. - It is not fair to disclose the nature of the plot, except to say that it involves the unswerving loyalty of four brothers, who determine to solve the mystery of the death of their father. The “ Prayer,” played by beautiful, gay Loretta Young, joins with the men in their quest because she loves one of them.

The quest reveals to them a great menace that shadows the entire world, and appropriately enough under those considerations leads the four men and the Prayer all round the world before a solution is reached. The hunt leads through the hidden, secret places of India, into mysterious Egypt, through the carefree gaiety of Buenos Aires, terminating after a series of startling dramatic adventures -in London, in an almost overpowering atmosphere of suspense and dread. There are scenes that speak volumes without one word being used; menace stalks across the screen in a weird silence that rumbles in the heart, but is unheard by the ear. This is a new and eerie effect, brilliantly created by the director, John Ford. The picture contains one of the strongest casts ever assembled for one feature. Headed by Loretta Young and a newcomer, Richard Greene, it includes George Sanders, David Niven, William Henry (who, with Greene, play the four brothers), C. Aubrey Smith (the father), J. Edward Bromberg, John Carradine, Alan Hale, Reginald Denny, Berton Churchill, and Barry Fitzgerald. Miss Young gives a flawless performance as the American girl who covers her intense loyalty to the brothers’ cause with an “ Amerjcad flippancy ” which amazes her British lover most of all, but which more than anything puts spirit and vigour into the grim quest. Richard Greene, who is the brother loved by Loretta Young, gives a performance that augurs well for his future. He is a handsome, athletic young man, but he is more than that—he is an actor, and his depiction of his role is a convincing and capable exhibition of fine acting. The rest of the cast supports the leading stars to perfection. This excellent picture is well introduced by a short, entertaining first half. Up-to-the-minute newsreels present prominent events in to-day’s parade of history, and an excellent comedy, ‘ Hi, Ho, Hollywood,’ gives some new and possibly unauthentic angles on the film capital. 1 Camera Thrills ’ completes a highly satisfactory programme.

CORRUPT LAWS

REVELATIONS IN PRISON DRAMA The majority -of people, even in Dunedin, have heard of Alcatraz Island, that rather smallish piece of rock which is washed by the chill crosscurrents of San Francisco Bay. Very few persons, however, apart from residents of San Francisco, have ever seen the island, and almost nobody has been inside the prison which, is situated on the rock. Through the enterprise of Warner Bros, the interior of America’s most widely-publicised penitentiary, the “ Big Rock ” —Alcatraz Prison—is today thrown open to the gaze of the curious in one of the most exciting and gripping Aims that studio has ever turned out. The picture is ‘ Alcatraz Island,’ and is tho headline attraction at the Empire. Its leading players are John Litel, Dick Purcell, Gordon Oliver, Max-y Maguire (the Australian girl), and Ann Sheridan. The story has to do with a racketeer, played by John Litel, who is, as gangsters go, a fairly decent sort of man. He will take every penny he can lay his hands upon, but he very firmly draws the line at murder. Because of this latter characteristic he is “ framed ” by certain of his underworld associates, and he is sent to a minor gaol, Leavenworth, on—of all things—an income tax. evasion conviction. But American law is a peculiar thing, and even in Leavenworth prison he is further framed, and is made to appear an incorrigible. This time he is sent to the dreaded Alcatraz prison, on a charge of murdering another gangster at Leavenworth. At Alcatraz, he is tried, and here an amazingly dramatic sequence of events takes place. The, truth concerning the murder comes out, and real justice has its way.

Alcatraz Island ’ is not altogether a prison story. It would be rather drab if it were. As it happens, Litel has a daughter in a private school before his arrest, who knows nothing about his means of livelihood. The girl (played by Mary Maguire) falls in love with the district attorney (Gordon Oliver), who has sent her father to gaol. She ultimately persuades Oliver to rally to her father’s rescue and do what he can to have him released from prison. The picture is a complete novelty as a movie, and has a smashing climax which straightens everything out in a logical manner. Supporting ‘ Alcatraz Island ’ is one of the best “ first halves ” thp Empire has ever screened. Pride of place goes to the feature ‘ Necking Party,’ which introduces Charlie M'Carthy and Edgar Bergen. In case anyone does not know, it should be mentioned that Charlie M'Carthy is a ventriloquist’s doll, and although he is made of wood he is as real and active as a human person. The “ wise-cracking ” between Bergen and M'Carthy is about the funniest thing Dunedin has seen or heard. M'Carthy may use Bergen’s voice, but it is hard to believe, and it is more hard to believe that the realistic actions of the doll must necessarily be the contrivances of Edgar Bergen. On his performance in this picture Charlie M'Carthy deserves to rank as Popular Comedian No. 1. Other supports include ‘ Postal Union,’ a musical comedy with some spectacular ballets and snappy songs; ‘ Land of the Magyar,’ a coloured scenic film of Hungary; and a technicolour cartoon, ‘ Daffy Duck and Egghead.’

EPIC OF THE AIR

‘TEST PILOT’ AT THE REGENT Air-minded patrons of the Regent have plenty to interest them in the programme which commenced there yesterday. The chief picture is ‘ Test Pilot,’ which is undoubtedly one of the best pictures of the kind that has ever been taken. Not only is it a picture of aircraft and air pilots, but it deals in particular with the members of that baud of men who, taking their lives in their hands, test out the new aircraft before they are handed over to the purchasers.

Besides the exciting nature of the story additional interest is created by the large number of players, each in the front rank of ability and popularity, who are included in the cast. There is Clark Gable, of daredevilry and action, and Myrna Loy, that Mona Lisa of the screen, who goes from fame to fame with every new part. Then there is Spencer Tracy, a versatile actor. In ‘ Captains Courageous,' ‘ Fury,’ and in ‘ San Francisco ’ his roles were utterly different, yet it is hard to find three persons who will agree as to which he played' the best. The only common agreement is that he was excellent in all. ‘ Test Pilot ’ will add another triumph, more particularly, as with ‘ San Francisco,’ he and Gable are associated. They are associated in the same sort of way, too. Finally, Lionel Barrymore completes a quartet of stars calculated to demand success for a much less pretentious production than ‘ Test Pilot.’

There are plenty of flying thrills, but breath-taking stunts with ’ aeroplanes do not provide the only entertainment in the picture. It also deals just as much with the romance between Gable and Myrna Loy, who marry quite early in the film and have a chequered career all through it. Clark Gable is the one who will risk anything once—and the greater the zest if death is the risk. Spencer Tracy is not, as might be suspected, the third of a triangle; instead he is the faithful friend and counsellor of Gable, who, despite his recklessness, has his heart in the right place. Tracy is the more cautious, the more stable. Theyi are foil to each other. It is Myrna Loy who lightens the atmosphere, hut not only with her quips and' jests. It is her femininity which relieves what one might call a masculine atmosphere. Roaring planes and screaming struts, with many a sharp order given in the stress of an instant decision—these are not places for women. Then in comes Myrna Loy, and the tension vanishes.

WESTERN G-MEN

FINE ROMANTIC DRAMA SUPPORTS Sketched in bold strokes against a colourful background where the desert meets the sea, ‘Border G-Man,’ 11KO Radio’s outdoor drama which heads the programme at the Grand, casts George O’Brien in the type of fast Action role that made him a universal favourite. As Federal agent, O’Brien receives a dangerous assignment to break up a gang of smugglers shipping arms, munitions, men, and horses to a foreign nation in violation of America’s neutrality laws. The band operates from a ranch located on the gulf coast of Texas, and their shipments are made from a nearby cove owned by a United States senator, whose son is unwittingly involved in the plot. Joan Bennett and Henry Fonda are featured in Walter Wanger’s ‘ I Met My Love Again,’ the second film, romailtic drama based on Allene Corliss’s novel. ‘ Summer Lightning.’ Wanger has lined up a great supporting cast for the stare, headed by Dame May Whitty, Alan Marshall, Louise Platt, Alan Baxter, and Tim Holt. The story casts Joan as a headstrong maiden of the “ jazz and flapper ” era of 1927, and Fonda as the studious young New Englander to whom she is engaged.

GEORGE WALLACE RIOT

ALSO SHIRLEY TEMPLE'S LATEST Although the movie camera curtails, in some respects, his own particular brand of humour, George Wallace is as amusing as ever in his latest film, ‘ Let George Do It,’ now. at the Mayfair. With a well-established popularity Dunedin theatre-goers built up by many nights of wise-cracking at His Majesty’s, the stocky little comedian did not" need anything out of the ordinary in the way of a story to attract good houses. Producer-director Ken G. Hall took no chances, however, and gave him a plot in which comedy is well seasoned with human interest and fast action. Letty Craydon, Joe Valli, Alec KelGwen Munro are featured in the supporting cast, and help materially to make one of the best films turned out by the studios over the Tasman. The efforts of ambitious little Joe Blake (George ■Wallace)* to find prosperity and so marry the girl of his dreams, Molly (Gwen Munro), form the thread of the plot, which climaxes in a side-splitting chase when Joe falls foul of a notorious gang of underworld criminals.

Shirley Temple, America’s top-rank-ing star, is seen in her musical, ' Rebecca of Sunnybrook Farm.’ the second attraction. Stars, by actual count 40 of them, were assembled from the screen, the musical worlds, playwriting profession and from among dance directors when Darryl F. Zanuck ordered this production. Where the average musical hit has one or two teams of songsmiths, seven star writers were assigned to this new film.