ENTERTAINMENTS

Hawera Star, Volume LIV, 22 April 1935, Page 2

ENTERTAINMENTS

TALKIE ATTRACTIONS OPERA HOUSE. “CLEOPATRA” A TRIUMPH The spectacular splendour of “Cleopatra,” screened on Saturday at the Opera House, is equalled only by the thoughtful character portrayals given by the leading actors and the featured players. To see the grandeur that i,vas Rome’s, when the city, as a republic, had won dominion over the ancient world after centuries of warfare and sacrifice; to see the clash between the stern upholders of the old order and the ambitions of Caesar., from which the empire was to emerge; to see the over-ripe civilisation of Egypt and the luxury and magnificence of the cities of the Nile; to see all these things presented with unsparing realism and with the unlimited extravagance which such realism demands would in itself make for the utmost enioyment and interest. But the brilliant and thought-pro-voking characterisations of Cleopatra by Claudette Colbert, of Anthony by Harry Wilcoxon, and of Caesar by Warren William, add a dramatic interest to the picture which makes it not only enjoyable to play-goers, but possessed of a rather piquant quality for those interested in the history >1 the times. The latter, even if they disagree with some of the interpretations, cannot but admit them to be valuable and convincing, and provocative of comparison with the all too meagre descriptions given by the ancient writers. A happy choice for the role of Cleopatra was made in Claudette Colbert. Her slightness and her type of attractiveness, not easy to evaluate at first glance, accord vvell with the descriptions of Plutarch. Her compelling fascination is left to he expressed bv her voice and manner; and in both she excels. Artistically and dramatically her best moment is perhaps that when she knows she has won the love of Anthony and in her eyes expresses the mingling of satisfaction as a woman and as queen of Egypt. Anthony himself is acted with remarkable power and ability by Harry Wilcoxon, whose speech and gesture are admirable expressions of the character of the man. Yet in some lespects the portrayal of Caesar by Warren William is most interesting of all. Allowing for a certain emphasis on the spectacular side of the character in keeping with the production, the acting is subtle and compels attention. One wishes to see a little more of Caesar, and his assassination, most effectively acted and photographed, is an artistic triumph, catastrophically swift and impressive. The short and telling sketch of the character of Herod of Judaea hv Joseph Schildkraut is a masterpiece in itself. Gertrude Michael as Calpurnia, Irving Pichel as Apollodorus, and, especially, C. Aubrey Smith as the fine old Roman Enobarbus, all act very well indeed. The spectacles, of course, are on a scale hitherto unattempted; Cecil B. de Mille has excelled himself. The triumphal entry of Caesar into Rome, the barge scene, and the battle in which Antony was defeated by Octavian are among the most magnificent. The settings, obviously constructed with the utmost thought for accuracy and detail, are an artistic treat in themselves and well worthy of such an outstanding picture and the capacity audiences ■which have attended all sessions.

OPERA HOUSE. “ANNE OF GREEN GABLES.” In legally adopting Anne Shirley, the name of the famous fiction character she plays in RKO-Radio’s “Anne of Green Gables,” as her own, sixteen-year-old Dawn O’Day did something new in screen history. Name changes in themselves are not new to Hollywood. Many of the leading stars have come to fame under names other than those with which they were christened. Numerous other players have changed their names after their careers were well launched.

Many and varied have been the reasons for these changes, and as numerous and different have been the devices employed an selecting the new names. Often names have been discarded because they were not considered euphonious, or because they were too long to be used in theatre lights. New,.names have been chosen through contests, sentiments, numerological astrological readings, or for their brevity. Anne Shirley was the first to choose a new' name because it is that of a character she is bringing to the screen. Going a step farther in precedent setting, she legally adopted Anne Shirley as her real, as well as her screen name.

The story of this new departure in Hollywood history goes back several years to the time w'hen Dawn O’Day, then a prominent child actress, first read “Anne of Green Gables.” Anne Shirley became her favourite character of fiction. As the years passed, she dreamed some day of portraying her on the screen, little realising that this was one dream which would come true. When she first read that RKO-Radio was to film the story, she ardently hoped at least to he given a test for the part of Anne. She got the test and won the part over hundreds of other aspirants, among whom w'ere many of the screen’s most popular young stars. Her first decision, after being notified that she had been selected, was to change her name, one which incidentally, she had kept in theatre lights for thirteen years, to that of the heroine she had "so long admired and who had now brought her the mantle of stardom. Playing the male lead opposite Miss Shirley in the famous story is Tom Brown. Others in the cast directed by George Nicholls are Helen West-ley, O. P. Heggie, and Sara Haden, Ken-

neth Macgowan, who brought “Little Women” to the screen, produced the film.“Anne of Green Gables” comes to the Opera House to-morrow for a three night season and one matinee.

GRAND THEATRE. ‘DR MONICA.” In “Dr Monica,” which screens at the Grand Theatre to-morrow and Wednesday, Kay Francis is the featured star, hut in the company are also Warren William, an outstanding screen favmirite, who plays the part of Kay’s husband, and Jean Muir, who enacts the role of the girl who stole William’s love. All three are definite stars. There is also Verree Teasdale, who made her first hit in the Warner Bros.’ “Fashions of 1934.’’ She has one of the important feminine roles as the of Mass Francis. Other players in the east are Phillip Reed, Emma Dunn, Herbert Bunston, Ann Shoemaker, Virginia Hammond, Hale Hamilton and Virginia Pine. The picture is a thrilling story of love and sacrifice.

“IT'S A GIFT.” The new W. C. Fields picture, “It’s a Gift,” which opened at the Grand Theatre on Saturday, presents Paramount’s droll, genius of comedy in a story that fits his peculiar talents better than anything we have seen to date. Supported by Baby Leßoy, who has learned to talk and utters his first dialogue lines in this picture; Kathleen Howard; Jean Rouverol, Julian Madison and Tammany Young, Fields has incorporated the best of his hysterical gags, and some of the funniest routines he has ever perpetuated, in this film. It screens finally to-night.

“HOME ON THE RANGE ” In Paramount’s picturisation of Zane Grey’s outdoor romance, “Home on the Range,” which screens finally tonight at the Grand Theatre, Jackie C-oogan and Evelyn Brent, both of whom have been away from the screen for, a long time, return to Hollywood films again. Jackie Coogan, now .a strapping, six-foot man, makes /his adult debut, and Miss Brent returns after more than two years, in another of her typical “had girl” roles. Randolph Scott, Dean Jagger, Fuzzy Knight and Ann Sheridan are also featured. “Home on the (Range” deals with the efforts of hand of smooth crooks to swindle Randolph Scott and his brother, Jackie Coogan ,out of their ranch and race-* horses.