AMUSEMENTS

Gisborne Herald, Volume LXVII, Issue 20261, 31 May 1940, Page 3

AMUSEMENTS

REGENT THEATRE DOUGLAS FAIRBANKS, JUN., IN “RULERS OF THE SEA’’ Amongst the best films of the year must be placed "Rulers of the Sea," 1 which will commence its Gisborne ! season at the Regent Theatre to-day. The story deals with the beginnings of the conflict between steam and sail for ; tlie world’s seaborne trade, and par--1 ticularly with the dreams of a Scottish engineer who knows he can build a steam engine that will drive a ship ; across the Atlantic. He is encouraged in his dreams by the enthusiasm of a young ship’s officer, who has left his berth through disgust with the methods of sailing skippers who drive their ships through storms regardless of the lives of their creWs simply to save time and money for the owners. The necessary touch of romance is provided by the appearance in the story of the old engineer’s beautiful daughter, whose love for her father and growing interest in his young associate conflicts with her belief that to pursue the dream of steam power must bring disaster upon her home. Will Fyffe is the old engineer and the young officer is played by Douglas Fairbanks, jun. The daughter is Margaret Lockwood. The supporting programme is exceptionally good arid includes the "Battle ol' Narvik,” Popeye cartoon, “A Colour Cruise,” “Catching Whoppers,” and the National Philharmonic Orchestra playing the “Blue Danube.” —Saturday, 10.30 a.m.: Semi-finals of “Neddo’s” Talent Quest— At last the semi-final stage of the popular talent quest conducted by “Neddo” has been reached, and oh Saturday the children who have been placed in the trials will be judged for a place in the finals. “Neddo” also will render news items. The picture will be "Little Orphan Annie.” starring that delightful child, Ann Gillis. Intending patrons are advised to reserve immediately. MAJESTIC THEATRE “DEAD END KIDS” in “CALL A MESSENGER,” AND “MISSING EVIDENCE” j That the “Dead End Kids” and the terrible "Little Tough Guys” reformed —to a certain extent —can be just as entertaining, even perhaps more so, as before is proved by Universal’s latest, “Call a Messenger,” which is now at; the Majestic Theatre. This time the gang is prettily trapped by the police in the first few feet of tlie film, though only the ringleader, vigorous Billy Halop, is caught. For him it is reform school or a job as messenger for a telegraph company, and with a sister to look after, ■ he elects for the job. Willy-nilly the gang become messengers too, to the accompaniment of much uproarious humour. Halop’s position is complicated with an elder brother released from flic penitentiary on parole and mixed up with criminals, but the gang brings about the lawbreakers' downfall in a thrilling climax. For those who have seen their pictures before the gang needs no recommendation; for those who have not. now is tlie time to start, j They are bright entertainment in a serious world. With a strong cast, headed by Preston Foster arid Irene Hervey, ‘ "Missing Evidence,” the associate feature, depicts the methods used by the F. 8.1. in smashing crime rings. In the film, Foster is cast as a “G.Man” who heads the United States j government's campaign against the racketeers. Miss Hervey appears first as an unwitting underworld accomplice. Later she becomes an F. 8.1. operative who is planted in the midst of a counterfeiting ring to ob- j tain evidence. “The Green Hornet 1 '! opens the afternoon sessions, but is; screened by request just before the interval at the evening sessions. The box plans for Saturday are filling up and patrons are asked to collect reserves before G p.m.

KING’S THEATRE “RAFFLES" AND “MARCH OF TIME" Samuel Goldwyn will play second fiddle to no man, and certainly to no producer. If he makes an adventure epic he will do his best to see that it is more adventurous and more epic than any other on the market; if he produces a musical it will be more lavish and more densely populated with famous names; if it is a comedy to which he turns his talents you can be sure his aim will be to have more laughs than any of its predecessors. When, therefore, Goldwyn decided to produce “Ragles,” now showing at the King's Theatre, with David Niven and Olivia de Havilland in the starring roles, he found himself up against a dilemma—of having to improve upon himself. When he produced the Ronald Colman "Raffles” in 1930 he labelled it perfect and proceeded to other, just as perfect, productions. The way Goldwyn solved this problem of his. not only successfully took care of the little matter of self-esteem, but assured the new production a freshness ahd originality that few “remarks" have. For Goidwyn decided to consider the Niven “Raffles" as an entirely new and different picture, and planned this production accordingly. Where the Coiman job. for instance, emphasised the melodrama of the plot, the new “Raffles” accents the elements of comedy, and as the script has been written by John Van Druten, one of the major wits of the British stage, and the late Sidney Howard, it is bound to be very modern and v<iy gay. It is even said to be a new story, with novel twists in the plot. The original “Raffles” remains the best romantic melodrama Golciwyr. produced. The David Niven picture is the best melodramatic romance. The associate programme includes the sensational "March of Time,” featuring “Crisis in the Pacific." The box plans are filling rapidly.