AMUSEMENTS

Hawke's Bay Tribune, Volume XXIV, Issue 234, 15 September 1934, Page 3

AMUSEMENTS

STATE THEATRE “STINGAREE;” RICHARD DIX “Stingaree,” at the State Theatre at 8 p-m., a spectacular dramatisation of the career and personal romance oi the lovable Australian bandit of that name, reaches the talking picture screen this season as a venture into a picturesque new locale and as a recognition of the popularity ol heart-interest melodrama. Those two high calibre stars, Irene Dunne and Richard Dix, who scored so prodigiously several seasons ago when teamed in “Cimarron,’’ a production of similar great scope, play the heroine and the hero. Adapted from the vividly colourful stories by E. W. Hornung, creator of “Raffles,’’ and laid in the Australia of the Seventies, ‘‘Stingaree’’ is the tale of a dashing adventure of the Robin Hood type, who steals from the rich in order to finance his benefactors. The film deals with his supreme adventure, his love for a poor girl whom ho promotes into a world-famous operatic success. “Stingaree” has as one of its outstanding features vocalisation by Miss Dunne. She sings two new songs composed by Franke Harding, with lyrics by Gus Kahn, and several classical opera selections, her cultured voice, formerly heard to advantage in Ziegfeld’s “Show Boat.” In the supporting cast of “Stingaree” are such featured players as Conway Tearle, Andy Devine, Henry Stephenson and Una O’Connor. ARCADIA THEATRE “ROMANTIC NEW ZEALAND” A New Zealand ’film production, which is positively outstanding in every way, is “Romantic New Zealand,” which screens at the Arcadia Theatre to-night. “Romantic New Zealand’’ is distinctly refreshing in every way. It opens with a prologue embracing historical developments from Maori days through the tensely anxious colonisation period to the present day. The cameraman has covered a wide field, and no section of the community could complain that their favoured beauty spots have been disregarded. Even city views enter into the picture, which is a striking panorama of New Zealand’s untold beauty and wealth, both natural and physical. One is stirred to a sense of thrilling pride in the heritage left us by the hardy pioneers who were responsible for carving their homes from the wilderness. In dramatie fashion, “Romantic New Zealand,” now being released for the first time in this country, unfolds

the life story of “Aotearoa,” “The Long White Cloud’’ of Polynesian navigators. The coming of the great Captain Cook in his historic ship the Endeavour is followed by ninny colourful phases of pioneer life. Bushfelling, surveying, road making in the back country, the hectic life of the early gold-diggings all come to life agaiu on the silver screen, with sound, colour, and bright descriptive talk to give the absolute atmosphere of the period depicted. Stage by stage the picture leads one on through the country’s development to the New Zealand of to-day with its progressive cities and busy ports. As a wonderful background, the mnjestie splendour of our scenery runs through the whole picture. Towering alpine peak and dazzling glacier, stupendous (lord walls and grim volcanic peaks form the setting for the human interest that makes the film a living story throughout. Technically, the film is a credit to New Zealand enterprise, which is also responsible for the presentation of many beautiful scenes in their true col ours by a process which is the inven tion of this country. “Romantic New Zealand” should not be missed bn any account, and it can be unhesitatingly recommended as ideal film fare for chil dren, who are to be catered for at the matinees with supporting pictures specially selected to suit the juvenih mind. COSY THEATRE CHILLS AND COMEDY The grim starkness ot “Frankenstein” and the cold chills of “Dracula ’ were but delightlul pranks, compared to the weird and uncanny theme oi ‘‘The Black Cat,” Universal’s master horror picture screening at the Cosy theatre to-night. Imagine if you can, the iirst time on the screen together, Karloff, the monster of “Frankenstein ’ and Bela Lugosi, the vampire of “Dracula.” Two demons in human guise meet on the ground of ten thousand dead souls. Grim hatred and bitter revenge flame their hearts as they clash in what seems immortal combat. Based on that lamed tale of Edgar Allan I’oe, America’s greatest mystery writer, this picture is said to lie the last word in melodramatic thrills. It abounds with intense suspense, intrigue and super-dramatic highlights. “Let’s Be Ritzy,” also showing, concerns the financial trials of Jimmy Sterling (Ayres) because of the extravagances of his wife (Patricia Ellis) who has a penchant for tine silk underclothes, diamonds, and the company ol her employer, a wealthy lawyer, at tea at the Ritz. Jimmy gives his v/fe, played by Patricia Ellis, a taste of high We by posing as the son of a wealthy South American rubber magnate. Complications follow their entry into society, but iho author brings the tale to an unusual ending.

REGENT THEATRE “SADIE McKEE” TO-NIGHT. You can’t afford to miss seeing Joan Crawford as Sadie McKee, Vina Delmar’s famous character, lor it is the finest portrayal the star has ever essayed. This new Metno-Goldwyn-Ma.ver championship picture, “Sadie McKee” screens to-night at the Regent Theatre. Briefly, the story concerns itself with a girl and three men, each man playing a significant part in the dynamic Sadie’s successful Uimst for lame. Sadie, daughter of a cook in a small town, finds herself confronted by the cruel indifference of a great city. Hardship and struggle leads to marriage to a dipsomaniac millionaire, which sets the stage ftir the intense drama which follows. Franchot Tone, as a romantic male lead, for the first time wins Joan Crawford in the final sequence—a change of luck for the gracious young actor, whose romantic success in private life is well known. Gene Raymond as the weakling crooner, and Edward Arnold as the millionaire Brennan, are excellent in their parts, contrasting one another’s personalities as they do.