AMUSEMENTS

Grey River Argus, 11 September 1935, Page 2

AMUSEMENTS

Opera House ‘‘THE BABBETTS OF WIMPOLE STREET” In ‘‘The Barretts of Wimpole Street”, a Metro-Goldwyn-Mayer feature starring Norma Shearer, Producer Irving Thalberg and Director Sidney Franklin have worked hand in hand and achieved the finest filmization of a famous stage piece ever to be recorded in celluloid. For ‘‘The Barretts of Wimpole Street” is a brilliant production—brilliantly conceived, written, acted, directed and framed. Norma Shearer and Fredric March do more than present a tender, poetic love story; they actually bring the invalided Elizabeth Barrett and the poet Browning to life. And as the grim, uncompromising father whose diabolical influence motivates the drama, Charles Laughton turns on a performance which compares well with anything this wonderful actor has ever done. Besides such titans of the dramatic arts, there is also a long string of excellent supporting players, each adding his able touclr to” the glittering whole. They are: Maureen O’Sullivan, Ralph Forbes, Una O’Connor, Katharine Alexander, Marion Clayton. Leo. Carroll and Ferdinand Munier. If you would see a great drama, which lost nothing in tbe transition from footlights to celluloid see ‘‘The Barretts of Wimpole Street to be shown at the Opera House today (Wednesday), Thursday. Friday and mat'inee to-day. I?f 'the picturegoers of Greymouth find they need anything more to attract them to the Opera House, they will find it in ’the programme of short features pmtirularly in the delightful coloured cartoon, ‘‘The Discontente<l Canary.”

Regent Theatre GEORGE ARLISS IN “DISRAELI.” Since he made “Disraeli.” Air George Arliss has gone on from success to success, yet it is doubtful U’ he has ever done better than in his first film, and ce.rt’ain'y “Disraeli” is the production by which all his later work has been measured. It will therefore be very good news to many pic turegoors that “Disraeli” will have a return season at the Regent Theat're to-night. The role of the Jewish statesman who did so much to make England’s great power in the days of Queen Victoria fits the great star like the proverbial g’ove. To every word and to every gesture he gives the fullest meaning. There is not a particle of drama of humour that, he does not extract from the role, which is rich in both these qualities. The story catches perfectly the atmosphere of the period, and it is so strongly constructed that the interest in the plot is never allowed to flag for one minute. The central theme deals with Disraei’s struggle against political opposition at home and plotting abroad to secure rhe Suez Canal for England. Particular interest therefore attaches to the film at fhe moment for the Suez Canal seems likely to play a most important part in the present Abyssinian trouble; and here in the film one can see how Eng'and first gained contro' of it. The film is splendid'y mounted and costumed, and there are many brilliantly spectacular scenes. The supporting cast is one of the s-t’rongest Air Arliss has ever had playing opposite \im. It includes Mrs Florence Arliss-' Joan Bennett and Anthony Bushell, the two last-named providing a charming vein of youthful romance. But dominating everything, and making “Disraeli” a milestone of ihe movie industry, is the magnificent performance of the screen’s greatest actor.