TALKIE ATTRACTIONS

Hawera Star, Volume LIV, 7 March 1935, Page 2

TALKIE ATTRACTIONS

OPERA HOUSE “LOST PATROL” Grimly and magnificently realistic in background, powerful in theme, and swift and dramatic in action, “The Lost Patrol,” showing at the Opera House to-night and to-morrow, is one of those pictures W'hieh come along ever so often to jar screen entertainment out of any semblance of a rut. Strikingly different is this epic of gallantry, and reason tottering, on the desert. Played with tremendous virility by a great cast including Victor McLaglen, Boris Karloff, Wallace Ford, Reginald Denny, and a notable array of supporting artists, the production is directed with a masterful hand bv John Ford.

RKO-Radio Pictures wisely decided to film this entire production on an actual desert locale, and the hardships endured by cast and company pay ample dividends in Authenticity of mood, and rare—often savage—beauty of scenery.

The story is that of a patrol of British cavalrymen who are lost on the Mesopotamian desert when their officer is killed by Arabs. Under the command of their iron-nerved sergeant, they take refuge in an oasis, where they become the virtual prisoners of their invisible but ever vigilant enemies.

Lightened frequently by comedy, tinged with romance, and often touched hy pathos, the record of the doomed patrol is mostly one of sheer drama, which reaches stirring heights in a surprising climax. Standing out among the superbly portrayed characters are the heroic figure of the sergeant, played by McLaglen, and the pathetic and somehow noble religious zealot made to live and breathe by Karloff.

“BARRETTS OF WIMPOLE ST. ’ Superbly acted, “The -Barretts of Wimpole Street comes to the screen as powerful, absorbing drama, off the beaten track of picture entertainment, and having both the requirements of fine artistry and the earmarks of a smashing commercial success, says Variety, of the attraction coming to the Opera House on Saturday at 2 p.m. for a season of three nights and matinees daily at 2 p.m. It has the basic emotional elements which usually spell mass appeal, and at the same time makes special bid for discriminating patronage. Norma Shearer as Elizabeth Barrett, Charles Laughton as the monstrously tyran-. nical father, Fredric March as Robert Browning, and Maureen O’Sullivan, another of the Barrett sisters, magnificently lead the cast. This group of performances, with Una O’Connor in the same rank, and others not far behind in their lesser will unquestionably get high critical praise. The box plans are now open at Miss Blake’s sweet shop.

GRAND THEATRE “HIS GREATEST GAMBLE” Cast in an emotional role which promises to bring new histrionic honors to this virile star, Richard Dix brings to the screen the characterisation of a wastrel father, whose great redeeming trait is the protective love he bears his little girl. His anxious and pathetic guardianship over her, even when separated from her in prison, provides terrific suspense in his new starring vehicle. “His Greatest Gamble.” It is relieved at the end in a sensational episode of self-sacrifice in which he scores a laudable paternal triumph.

That gifted child actress, Edith Fellows, plays the daughter in the early scenes; Dorothy Wilson plays the daughter in the adult episodes. ErinO’Brien Moore is the selfish mother. Bruce Cabot is the girl’s worthy lover. Shirley Grey is the ill-fated woman with whom Dix has an affair. John Robertson, noted for his sympathetic treatment of stories, directed this RKO-Radio picture. “His Greatest Gamble” is from Harry Hervey*and Sidney Buchman’s adaptation of Salisbury Field’s original story. “His Greatest Gamble” will be presented to-nighi and to-morrow.