PICTURE THEATRES

Evening Star, Issue 23325, 22 July 1939, Page 20

PICTURE THEATRES

THE NEW PROGRAMMES BRILLIANT LONG THEME NELSON EDDY-JEANETTE MACDONALD AGAIN Have the high gods controlling the destinies of the cinema come to the end of their resources? This question might have been asked by those who eaw and critically studied ‘ Sweethearts,’ which opened yesterday at the Regent, for something more than the entertainment it affords. It is a picture remarkable for the complete unity of the arts of singing, dancing, acting, and splendid stage tableaux. It is notable, too, for its flashes of comedy and touches of pathos, _ and comes as near as possible to the vital stage play, onlv it is on a grander scale than anything that could be produced in a theatre. , _ Th© principals ar© Jeanette MacJJonaid and Nelson Eddy. They need no introduction, for both of them are idols worshipped by millions of devotees the world over. Associated with them in ‘ Sweethearts ’ are Frank Morgan, Mischa Auer, Herman Bing, Florence Rice, Reginald Gardiner, and other familiar personalities of the screen world. ‘ Sweethearts ’ is in techmcolour, that is, in natural colours of men, women, scenes, and things. Every per.son in the play is seen as he or she is seen in the flesh, even to the lovely titian-tinted tresses of Jeanette, the fascinating colour of her eyes, the henna-coloured tips of her tapering fingernails. Magnificence is achieved in the great Dutch windmill, set in radiating beds of tulips; and the gorgeous uniforms and beautiful dresses once again evoke the question, “ And After?” For it does not seem possible that technique of this kind can be carried any further; besides, the stereoscopic effects give a sense of thc_ round to everybody and everything in the production. The gifts and accomplishments of Jeanette MacDonald and Nelson Eddy are fully utilised, with complete success to adorn a rather tenuous story, which might or might not be true. Love, as is proper, is the picture’s main theme, and it is nicely handled, too, with nothing cloying or too intense about it. Young people will thoroughly enjoy ‘ Sweethearts ’; older people may see deeper into the production, marking the convincing acting, relishing the flashes of comedy, and the judicious and successful use of cleanly and wholesome humour and sentiment. _ To all of every age ‘ Sweethearts ’ will appeal by the sheer beauty of the picture itself, for it would seem to be the last word in productions of its kind. It is offered for “ general exhibition,” but it also makes particular claims upon the attention of the music-lover, the play-goer, the artist, and the decorator; and it will especially interest the designers of women’s wear for all occasions, promenade, sport, afternoon, or evening wear, or of those extraordinary confections that women call hats. All these will be seen in startling novelty in ‘ Sweethearts,’ and Jeanette MacDonald is the willowy mannequin. As for the music, there are catchy songs perfectly sung by the principals, including 1 Sweethearts,’ ‘ Pretty as a Picture,’ ‘On Parade ’ (a rousing march song by Nelson Eddy), ‘ Every Lover Must Meet His Fate, and in between are delightful little bits of familiar songs, such as ‘ Little Grey Home in the West ’ and ‘ Auld Lang Sync,’ all brilliantly sung and with fine orchestral selections.

The importance of ‘ Sweethearts ’ in the programme should not obscure another outstanding picture—namely, scenes in Boy Town, a settlement for friendless and difficult boys,, established at Omaha, U.S.A.j hy a Father Flanagan. This is a picture of the utmost importance, for it shows how a great problem can be and has been solved—the turning of refractory juvenile material into men of sterling worth. 'Die secret is disclosed, and it is the application of firmness, tact, self-respect, and, above all, of that Christian charity without which all else is as sounding brass and tinkling cymbals. KARLOFF THRILLER CHINESE DETECTIVE AGAIN AT STRAND The huge star sapphire used as the fatal “ Eye of the Daughter of the Moon ” in Monogram’s ‘ The Mystery of Mr Wong,’ now showing at the Strand, is from the collection of a very wealthy, Pasadena art collector, personal friend of Boris Karloff, star of the film. This man, who requested that his name be withheld, lent the jewel to Monogram for the picture when ho learned from Karloff that no “ fake ” gem could be found that would look authentic enough because of the huge size needed. In ‘ The Mystery of Mr Wong ’ the jewel plays an important part in the story. It is cursed, and leads James Lee Wong, Oriental detective, down a trail of death before ho lifts the curse and sends the stone back to China wth its mystery solved. Prominent in the east of ‘ The Mystery of Mr Wong ’ are Grant Withers, Dorothy Tree, Holmes Herbert, Lotus Long, and Craig Reynolds. Associated is ‘ The Arkansas Traveller.’ The title-player is a happy-go-lucky itinerant printer who stops his wanderings in a small town to help a lady in distress, Mrs Martha Allen, the widow of a man he once know. She is having great difficulty running the country newspaper left her by her husband. Another arrival at the same time is Johnny Daniels, the son of the local mayor, who split with his father a year before because the elder Daniels was content to take orders from the local political boss and financial giant, Matt. Collins. Seeing his chance to help Mrs Allen and the youngster at the same time, the traveller convinces the young man to stay in town and help him run the Allen newspaper. Johnny’s love for Mrs Allen’s daughter, Judy, helps him make up his mind, and he stays. ‘ The Traveller’s ’ courageous editorial policy stirs up a hornet’s nest. Collins hates the newcomer on _ two points; first, for attacking his political machines, and second, for helping Johnny win Judy, with whom he, too, is in love. When ‘ The Traveller ’ comes out against a big bond issue, from which Collins hopes to reap a fortune, it is open war between the two men. Collins almost succeeds in wrecking the newspaper by putting pressure, on local businessmen to withdraw their advertising. When be seizes the presses for unpaid debts and eenrlv has the paper hacked against the w.all, the traveller

discovers that Mrs Allen has an old permit from the Federal Radio Commission to build a broadcasting station. On the eve of the local election, in which bond controversy is to bo the main issue, the traveller and his friends go into action against Collins and the puppet Mayor. Fay Bainter, Bob Burns, Jean Parker, and John Beal portray the leading roles. JANE WITHERS RIOT COMEDY OF SPOILED CHILD A poor little rich girl, trying her best to -get the family hack to those happy days before wealth and social position spoiled home life, is the role boisterous child star Jane Withers plays in her latest comedy attraction, ‘ Always in Trouble,’ which is now at the Grand. An ideal role has been chosen for Jane.

Again she thinks out the brightest of plans, and again they go astray, causing many amusing situations at the same time. Tall, saturnine Arthur Treacher contributes another of his usual impeccable characterisations. Others in the cast are Jean Rogers, Eddie Collins, and Robert Kelland.

In the course of her saving mission Jane is shipwrecked, marooned on a desert island, and threatened by smugglers before a solution to her problem is found. An insurance bond scandal entwined with a few murders is the matter dealt with by the “ Roving Reporters,” Michael Whalen and Chick Chandler, in ‘While New York Sleeps,’ which is the associate feature on the programme. It has excitement, humour, and a slight flavour of romance, which for once does not reach a happy ending. FANTASTIC COMEDY SEQUEL TO ‘TOPPER' The success of ‘ Topper,’ one of the surprise comedies of last season, is repeated in ‘ Topper Takes a Trip,’ which is in an extended season at the State. The personality of the respectable, and repressed, city banker, Cosmo Topper, made a strong appeal to film audiences, and the fact that Roland Young is once more in the role and) is involved in even more distressing and scandalous situations by the gay ghost of Marion Kirby, will be a sufficient recommendation that here is excellent entertainment well off the beaten track.

‘ Topper Takes a Trip _’ is the logical sequel to ‘ Topper ’ —if such a fantastic production can be saidl to have any connection with logic. The repercussions of that first bewildering adventure were boundl to be serious both in the banker’s domestic and his business relationships. Here we find the rightfully indignant Mrs Topper dragging her reluctant spouse into the divorce court, but Marion, responding to some elementary promptings of conscience, combined with her natural love of mischief, causes an hilarious riot in the courtroom, and the case is thrown out. The next effort is made in Paris, but the faithful Marion is again in attendance, accompanied by _ a delightful new character, the terrier Mr Atlas, who, not being able to comprehend the behaviour of ectoplasm as his mistress does, is rather bewildered by his periodic and sometimes only partial disappearances. Marion determines to reunite the Toppers, and the absence of her husband, George, on some more or less disreputable astral wanderings, allows her full scope for her activities. But good though Marion’s intentions are, her plans are not, and the distraction of the unfortunate Topper, which is barely relieved by the occasional delights of escaping into irresponsibility, approaches an almost pathetic state before the climax is reached in which Marion justifies her extended leave on earth.

The scene changes from Paris to the luxurious life of the Riviera. On the golden sands, in the casino, andl the hotel, diverting scene follows diverting scene as husband and wife make efforts at reconciliation only to be torn apart again by the bewildering appearances and disappearances of Topper’s glamorous blonde friend, who seems to have no understanding of the meaning of the word “ compromising.” The episodes of the disappearing bathing trunks, the erratic behaviour of the roulette ball, Mr Topper’s solo performance on the dance floor, and the riot in the dining room are only a few of the joyous sequences. The supporting programme Includes ‘ Fox Hunting on the Roman Campagna,’ a ‘ Windows of the > World ’ travelogue in technicolour, which is accompanied hy highly effective music in place of a commentary, another travelogue, ‘ Marseilles,’ a topical gazette, and a Fox newsreel. STARTLING ESPIONAGE DRAMA EDWARD ROBINSON'S EXACTING ROLE ‘ Confessions of a Nazi Spy,’ being presented for a further week at the Empire, is essentially and vividly a spy melodrama, but no mere story of international intrigue, this film, dealing as it does with Nazi espionage activities in America, presents a screen narrative of events which made headlines only a few months ago, following the discovery by Leon G. Turrou, a former G-man, of an immense German spy ring encircling the whole of the United States. Uncompromising as it is, the narrative has been set forth with singular skill and realism. Here and there an unseen commentator makes brief but searing remarks about the Nazi ideology, but it is by means of drama and acting that most of its message is conveyed. Beyond the story lies a deeper and fuller menac©._ Inspired by revelations _ which emerged from the recent spy trials held in New York, Los Angeles, and the Canal Zone, ‘ Confessions of a Nazi Spy ’ is the story of the widespread espionage activity conducted in close connection with intensive, energetic, and closely - controlled propaganda through the Nazi-American bunds. The film’s overriding note is a plea for the defence of democratic principles, and its theme is that Nazism and Nazi propaganda constitute a serious threat to these principles. Its aim is to create an awareness of the menace in time to prepare a crushing defence and attack against it. Paul Lukas makes a brilliantly living character of Dr Kassel, who becomes the leader of a great espionage agency in the United States. At first Kassel emerges simply as a ranting orator, arousing Americans of German descent to what he describes as “ a new consciousness of fatherland and Fuhrer.” As the story proceeds Kassell shows clearly that he is prepared to bluster and bully only so long as the firm organisation of Hitler’s Reich stands behind him. His simple-hearted joy when Gqebbels places him in charge of

propaganda is pitiful to behold, and reveals with amazing clarity the limitations of his sycophantic mind. The Germans and German-Americans in the film are shown being coerced through fear and a desire to show an aggressive front to others into performing actions which are repugnant to them. The brutal force of the Gestapo is shown in all its implacable unloveHness. In the role of the Federal investigation agent Edward G. Robinson suggests a level-headed shrewdness which makes his characterisation a particularly telling one. In support of this thought-provoking film is a programme of interesting secondary subjects, which includes a full budget of current news items. ATTRACTIVE FILMS GOOD ENTERTAINMENT AT ST. JAMES An unusually entertaining range of features is being screened at the St. James in the new programme which commenced yesterday. Drama, comedy, and another instalment of ‘ The Lone Ranger ’ combine to give picture patrons a bill calculated to suit all tastes. The feature attraction is ‘ Cowboy From Brooklyn,’ with Dick Powell, 1 at O’Brien, and Prioilla Lane in the leading roles. It is the story of a Brooklyn, New York, crooner who goes West in order to make good _in the East. Blended with the amusing story are melodic interludes in which Powell, Miss Lane, and several other members of the cast sing the five new songs written for this production, as well as some old-time cowboy ballads. At the outset, Powell is seen as an indigent musician from Brooklyn beating his way to the west coast of the United States with two friends. They all get stranded at a Wyoming ranch. Daughter and son of the owners of the ranch are Miss Lane and Johnnie “ Scat ” Davis. There the three musicians obtain work entertaining the guests. A Broadway theatrical producer, played by Pat O’Brien, thinks he has discovered in Powell a “ natural ” cowboy crooner and rushes him back East, where he wins huge success. His deep, dark secret, however, is that he is scared to death of a horse. When Powell has become famous on the radio as “ Wyoming Steve Gibson,’ Dick Foran proclaims that “ Gibson ” is a fake. Foran is motivated by jealousy over Powell’s success and over Priscilla’s obvious preference for the Easterner. To convince the public that. Powell is a genuine cowboy, O’Brien arranges for him to ride a bronco and bulldog a steer at a rodeo at Madison Square Garden. That begins a series of complications. Virile drama comes to the screen in ‘ Street of Missing Men,’ the associate feature. A cast of favourite stalwarts enacts the story of a gangster released from prison, seeking revenge on the managing editor of the newspaper which was responsible for sending him to gaol. Charles Bickford is cast as the hero. Harry Carey, Tommy Ryan, Guin Williams, and Ralph Graves, former silent star, are in prominent support roles. Mabel Todd supplies comedy as Dave, the wife of “ Big Boy.” Young Ryan, as the newsboy whose worship regenerates Bickford, is outstanding. The film has action and excitement when Bickford decides to accept the job of circulation manager of a newspaper when a mob seeks to ruin it. THRILLING BOXING DRAMA • TEXANS ' AN EPIC WESTERN Outstanding entertainment is offered in the attractive double bill which opened a season at the Mayfair this afternoon, a tale of pioneering in Texas being associated with a story of the boxing ring. Rarely has such a stellar cast been billed for a programme, for Robert Taylor, Maureen O’Sullivan, and Frank Morgan are starred in ‘ The Crowd Roars.’ and Joan Bennett and Randolph Scott take the leads in ‘ Tho Texans.’ Action dominates the latter production, which paints a graphic picture of the triumphs and disasters of a brave band of pioneers who go out to settle in a new world. It is a masterpiece of the old west which has captured every significant detail of these adventurous days. . ‘ The Crowd Roars ’ provides unusual entertainment. Boxing as a scientific art has long been acknowledged as firsts class entertainment, and it loses none of its attraction through being transferred to the screen. Especially is this so when an appealing story has been spun round the basis of the film—the ring career of Robert Taylor, who makes his debut as a boxing character in this role.