PICTURE THEATRES

Evening Star, Issue 23723, 2 November 1940, Page 7

PICTURE THEATRES

THE NEW PHMMES

SPARKLING PRODUCTION * FRENCH WITHOUT TEARS ’ AT REGENT ' As sparkling and as stimulating as a glass of champagne, ‘ French Without/ 'Fears ’ leads the new bill at the Regent. A bunch of grown-up men, sitting at desks and learning .French in Professor Mainnrot’s “ School of French for English Gentlemen.” the professor himself and a piquant brunette daughter, a glamorous blonde interloper with designs on all men, such are its principal ingredients. All ot the finest elements of English comedy are preserved. Indications are that the film will be extremely popular, and it certainly deserves to be. Terrence Rattigan’s play, from which the film has remarkably few differences, was seen by every member of the Royal Family, as well as by everyone who could get into, the London theatre during the course of a long season. The screen version of the play which caused such a sensation in England and on Broad-, way, has received better treatment as a. screen play than as a stage success. Handsome Ray Milland had the leading role, while Ellen Drew is outstanding as the blonde who causes all the trouble.. ‘ French Without Tears,’ partly written while Rattigan was still at Oxford, was directed by Anthony Asquith, and he has produced distinctly palatable f are > unfed intriguingly, with a little French mustard. The cast assembled by Paramount is a brilliant one. It is a mixture of old favourites and new players who_will arouse curiosity. Ray Milland and-Ellen Drew were sent from Hollywood to Sfiepperton “Sound City,” near London, tq play the leading roles, and Janine Darcy was sent from Paris studios for her first part in an-English film, that of Professor Mamgot’s daughter. Jim Gerald, the English comedian, nob to be confused with his namesake, plays the professor with commendable and delightful understanding. • French Without Tears ’ tells what happens when -the beautiful sister of one of the students at a French school for adults decides to sojourn at the school. She is a designing young woman, who likes to have all the available men at her feet. There is keen competition for her company, and an amusing passage of jealousy, between two men, one a British naval officer; who has to learn French for an interpreter s p examination. The two rivals eventually decide to fight it out in a wine cellar, but eventually adopt the more sensible procedure of drowning their differences in wine instead. It is no. criticism of Milland and-Miss Drew to say that the personal triumph is reserved for a newcomer to the films, Ronald Culver, who, as the cautious, ultra-dignified naval officer who gets gloriously inebriated following a romantic reversal, brings down the house. The entire male population of the pocket academy places its collective head beneath the foot of their provocative visitor with one notable exception, played by Ray Milland—and even be is forced to capitulate eventually. Janine Darcey as Ellen Drew’s foil is excellent, while David Tree and Guv Middleton strike happy notes as two of the students. , The supporting programme features George Olsen and His Music, ‘ Bowling Skill ’(a sportlight), a “ Popeye cartoon, and ‘ Not so Dumb ’ (another interesting feature). ABSORBING DRAMA TRIUMPH FOR BRIAN AHEF.NE In contrast with most of the film features now screening in Dunedin My Son, My Son!’ in its second week at the Octagon, is drama, and excellent drama at that. In fact, despite a tendency towards sentimentality about halfway through the film, this is a really absorbing picture. It is founded on a widely-read Howard Spring novel, and the producer, Edward Small, has given it the benefit of a discerning touch with character. In addition, Brian Aberne has illuminated it with some fervent and delicate acting as William Essex, the-father in the story. The tale of ‘My Son, My Son!’ travels through several cities and 'country sections of England, and is spread over more than 25 years. Naturally, then, it is an elaborate production; but there is * nothing more impressive in it than Aherne’s etching of the portrait of a high-minded and good-humoured man. . Undoubtedly Hollywood hae done a very fine job of work in reproducing so much of England. A worthy English atmosphere has been materialised. The story revolves round the dreams of two life-long-friends—-the novelist, played by Aberne, and the furniture designer, played by Henry Hull. Both are married while they are still poor , and unknown, and their ways part temporarily. Both have children, and when the son of Essex, the writer, is born, his father , swears that he shall not endure the hardships through which his father had to fight ■ his way. They are brought up together, and young Oliver is. not very old before he. shows the first signs of dishonesty. His college days show that he has been very thoroughly spoiled by his father. Complications develop when Essex seeks material for a new book and meets another woman. Immediately they have parted ho learns of his wife’s death, and the complications thicken when young Oliver, now a handsome but quite unscupulous man-about-town, brings a friend to a party after the first night of a successful Essex play in which the daughter of his father’s old-time friend is the star. Everything has been a huge success, but Oliver's girl friend proves to be the woman with whom his father has fallen in. love. Then the run of tragedy begins in earnest. Aherne’s performance is brilliant, and Madeleine Can-oil is a success as the artist who came into the lives of father and son. There is a consistency about the cast that is admirable. Supporting features on the programme are excellent. TWO THRILLING DRAMAS WELL-BALANCED GRAND BILL An exciting drama of eight lives that are changed forever during eight hours behind tiie bolted bronze doors of an exclusive gambling club is at the Grand in ‘ City of Chance,’ the Twentieth Century-Fox film featuring Lynn Bari, C. Aubrey Smith, Donald Woods, and Amanda Duff. Lynn Bari is cast as a daring girl reporter, who risks her life in the club to get information to be turned over to the district attorney’s raiding squad. But Donald Woods, the proprietor of the place, turns out to be a childhood sweetheart. Added to all her other problems is the problem of getting him out of this dangerous business. In the course of a series of amazing adventures, during which she sees danger lurk near and death strike, she finds enough excitement to last her a lifetime —and she wins a fortune and love besides. C. Aubrey Smith is seen as ‘ The Judge,’ a gentleman gambler of the old school and right-hand man tc- Woods. In the associate feature, ‘ The Mau Who Wouldn’t Talk,’ from the time a murder is committed the audience and the police know at once who committed the crime; the mystery is the identity of the killer and his motive. Confessing to the slaying, the murderer refuses to speak another word even in his own defence. The result is a highly .. exciting story well played by Lloyd Nolan, in the title role, Jean Rogers, Richard Clarke. Onslow Stevens, and Erie Blore.