ENTERTAINMENTS

Greymouth Evening Star, 18 April 1938, Page 12

ENTERTAINMENTS

OPERA HOUSE. An unusual screen comedy drama with music, “100 Men and a Girl,” starring Deanna Durbin, will be continued to-night (Monday), Tuesday and Wednesday. There are 200 reasons why the people in this town will want to see the outstanding movie. The first 100 reasons are Deanna Durbin herself. Many of the other causes will be set forth in this review. First, there is Deanna’s singing. Her lovely trained voice, clear, round and true, gives her songs fresh beauty. She shows remarkable versatility in the widely varied range of her numbers. It is both amazing and .satisfying to hear her rendering of Mozart’s “Alleluja” and then the aria “Libiamo” from Verdi’s “La Traviata,” after she does the popular offerings, and the new popular song “It’s Raining Sunbeams,” and “A Heart That’s Free.” Another reason for the entertainment value of the picture is Leopold Stokowski, who conducts the orchestra of 100 musicians through several offerings of stirring appeal. World famous as the leader of the Philadelphia Symphony, he now presents music through the medium of lbe screen, so that all audiences may know how beautiful great music can be. Adolphe Menjou gives an enjoyable performance as Deanna’s father. He, like 100 other musicians who are his friends, is almost penniless because of the. scarcity of musical engagements. He finds a well-filled purse belonging to a rich woman and Deanna returns it to the giddy society matron. That lady is given flattery, dizzy, humorous animation by Alice Brady. Deanna sings at Alice Brady’s tea. party and the flighty woman says she will do anything to show her appreciation. Deanna gets an inspiration and obtains Alice Brady’s promise to sponsor an orchestra. Deanna rushes home to her father and he organises 100 mein for rehearsal, Incurring obligations. Just when Deanna, becomes enthusiastic over the turn of events, she learns that Alice Brady has sailed for Europe and forgotten her agreement. Deanna visits the rich woman’s husband, played with a light, sure touch by Eugene Pallette. He says, “Get Stokowski to conduct this orchestra and I’ll sponsor it.” Off goes Deanna, and she .finaly geks the noted conductor to listen to her 100 musicians. Then comes the climax, filled with a crescendo of instrumental music, and .Deanna’s singing, and a whole world full of good feeling. This production Holds the prescription for human hap- . piness.

REGENT THEATRE. “Calling All Stars,” is a variety entertainment of the brightest kind. I held together by a link up theme that presents the grandest, musical and humorous acts of to-day to the very best advantage. The gramophone factory of Carroll Gibbons and the Savoy Hotel Orpheans and the Canadian Bachelors in “Painting Rainbows” are also under contract, also Arren and' Broderick. Flotsam and Jetsam, comedians, are visitors to hear the master-discs- But the messenger breaks all the records. This leaves Mr Katz frantic—for how can he release his product on time now? Flotsam and Jetsam decide to lend a helping hand and, clad as traffic cops, jump into a police car and broadcast a Calling All Stars message. Travelling around in search of artists to help re-record Mr Katz’s losses, they go way down East, stopping to watch a procession of pearlies escorting a Cockney and his bride into their home. It’s Leon Cortez! Ethel Revnell and Grace*West go into their own songs and dances. Full speed to Aidershot, where army cook Billy Bennett is stirring up a pudding for the troops, and trouble for himself with the sergeant major. The martial note is struck again with “Changing of the Guard,” sung by Jetsam. Next stop is a. Hungarian cafe, where those spirited dancers, the Bega Four, fly through the air to the music of Eugene Pini and his Tango Band. Over to New York to a Harlem night club, where the club porters, Buck and Bubbles, are taking it easy. Buck tap-dancing and Bubbles playing the piano on the floor. Soon people are drifting in to hear Turner Layton sing “These Foolish Things.” Buck and Bubbles come in to explain that “The Rhythm’s Okay in Harlem,” and are followed by the inspired gibberish of the Nicol Brothers.

Back in London again! We find Larry Adler checking in at an hotel, where in a crowded lobby he helps out Mr Katz by flourishing his harmonica and enriching us with “Stardust.” Then we sweep into the crowded ballroom of the hotel to the twelve aristocrats. Now Ambrose and his Orchesi.a hold our attention, with Ambrose himself playing a solo for “Serenade in the Night.” Following this, the Whirlwind Skaters enter and provide not a few thrills. They are followed by Max Bacon who tells what happens “When Gimble Hits the Cymbal.” That classic of jazz, “The St. Louis Blues,” follows, harmonicised by Larry Adler. Evelyn Dall now takes the floor with “I Don’t Wanna Get Hot. When she’s done, Ambrose’s band finish up with re-record-ing tor Mr Katz a medley of tunes they have made famous, choruses sung by Sam Browne and Leslie Cerewe. Jheso include “Body and Soul,” Eleven More Months and Ten More Days.” “Peanut,” and “When Day is Done,” all outstanding hits. Havingdone their job and helped' Mr Katz to re-establish his new season and popular success recordings, Flotsam and Jetsam retire and leave the studio in the hands of Ambrose and his orchestra.