AMUSEMENTS

Hawke's Bay Tribune, Volume XXV, Issue 159, 21 June 1935, Page 11

AMUSEMENTS

STATE THEATRE "THE MAN WHO KNEW TOO MUCH.” “The Man Who Knew Too Much,” the Gaumont-British film which screens at the Hastings State Theatre to-day, is a real melodramatic thriller, a British picture that is altogether firstrate entertainment and has been aptly described as good. It was directed by Alfred Hitchcock, who has once again demonstrated his flair for the rapid action story with backgrounds of reality. The story is human although its aspects are, fortunately for peace of mind, unusual. The father (with wife and little daughter) on holiday in Switzerland, obeying the dying behest of a Secret Service agent, finds and holds a vital clue to the intentions of a gang of terrorists who have planned to kill a foreign dignitary when he visits England. He knows too much and his daughter is kidnapped—if he reveals his knowledge, she will die. A particularly strong cast enacts this fine story: Leslie Banks, Edna Best, Nova Pilboam (heroine of “Little Friend”), Frank Vesper, Peter Lorre, and others. ARLISS IN “THE IRON DUKE” Ono of tho greatest films ever produced in any studio, whether British or American, is “Tho Iron Duke,” recently completed by Gaumont-British, and which is the first British screen appearance of the eminent English actor, George Arliss. The Gaumont-British organisation has distinguished itself by the conception, scope and treatment of this inspiring spectacle of European history, vividly depicted by the camera in such impressive scenes as those which occur in the sequence representing the historical Battle of Waterloo. The film comes to the State Theatre tomorrow. The picture is the perfect Arliss vehicle. “The first gentleman of the screen” has excelled himself in this splendid dramatic portrait of Arthur Wellesley, Duke of Wellington. For sheer virtuosity it surpasses his “Disraeli,” his “Rothschild” and every other character-study he has presented. Masterful, grim, remorseful, playful, obdurate, scornful—flashes of all these reactions in the complex character of the great Duke illuminate the interpretation, each as the situation of the moment demands. Behind the soldier and the statesman there is always the man; and it is through his sensitive divination of the human side of Wellington that Mr Arliss has found his way into the very heart of the character. The story shows how Wellington brought about Napoleon’s defeat at Waterloo. measured his cunning against Madame Angouletne, shrewil, . ventrcftil niece of Louis XVHL. when

i sho poured eolumny on his friendship with Lady Frances Webster, forced Louis, against Madarne’s wishes, to sign the Treaty of Paris, following tho execution of Marshal Ney, and brought temporary peace to Europe when he deserted fighting for politics by refusing to allow France to be unmercifully crushed by the Allies. Wonderfully reconstructed are such impressive scenes as the Battle of Waterloo, the Duchees of Richmond’s Ball on the eve of the battle, the many Court scenes and tho final sequence when Wellington delivers his famous speech in the House of Lords. REGENT THEATRE A REMARKABLE PICTURE As has been the experience elsewhere, the Hastings public has given an enthusiastic reception to “Lives of a Bengal Lancer” at the Regent. This film concludes this evening. Taking the attendances so far as a criterion, this remarkable and stirring and extremely beautiful picture will be among the most popular of the year. It deserves all the praise that has been given it. There is some quality in it that defies definition, and that makes it quite different from anything else of the romantic-adventurous kind that the film-producers have yet evolved. There is some comedy in it, and very lightsome and natural comedy too. But that element is merely a leavening to the sincere and restrained drama underlying the story of a handful of British officers serving on the Indian Frontier. Not the least of the finely portrayed dramatic themes is the battle which is waged in the heart

of the colonel of the frontier outpost when he is confronted with his son who has corne unannounced to join his father’s regiment. “SEQUOIA”: FOREST EPIC. A picture may well be remarkable yet fail to provide good entertainment. “Sequoia,” which begins a season at the Regent Theatre to-morrow, is not only a remarkable and unusual film but it also provides entertainment of a - rare character. It is regrettable that more, films of this type are not made. Tho theme of the picture, though gripping and dramatic, is simple in the extreme, and it enchants rather through superb photography and flawless direction than by any continuous story. Tire picture centres around the extraordinary friendship between a deer and a mountain Hon, who are brought up together from babyhood amid the impregnable forests of tlio giant Sierras. Jean Parker, who makes a delightful heroine, finds, at. the opening of the film, a young deei and a puma cub whoso mothers have fallen victims to the fierce wars of the forest. Taking them home, she rears them together until the time comes lor them to answer the inevitable call of the wild. However, the animal friendship formed through human agency does not perish but lives on. In the endless struggle to avoid falling victims to the hunter’s gun, this strange devotion endures, and one of tho most magnificent “thots” in the entire film occurs towards the end when the deer, pursued by her deadly enemy, man, is saved from death by her puma friend. Tho puma leaps from behind upon the hunter and a fierce struggle ensues between them on the edge ol a precipice, a struggle which ends with the death of tbo hunter, who is burled from dizzy heights into a foaming torrent hundreds of feee below. This is an excellent ami thrilling piece of photography. The picture is also remarkable lor some gripping “close-ups” of wild 11 io in tho forests, breath-taking mountain scenery, and the stark drama of forest fire. The appealing love story of Jean Parker and Russell Hardie, a forest ranger, who find romance amid the giants of tho forest, adds further charm to what iq already; delightful enter lainm.ent,

The supports include a Laurel and Hardy comedy (latest release) “Oliver the Eighth,” a Ftizpatrick travel talk in colour, “Zion, Cannon, of Colour,” and the all-colour musical revue, “Service with a Smile.” COSY THEATRE CENE GERRARD IN COMEDY “There Goes Susie,” the British Dominions film which will be at the Coay Theatre to-day, is a sparkling comedy with romance and music. This cheery picture presents genial Gene Gerrard as an impecunious artist (Andre Cochet) in love with a wealthy soap manufacturer’s daughter (Madeline Sarteaur). For patrons who enjoy a good song and plenty of sparkling comedy, here is entertainment of the first water. Gene Gerrard invests the role of Cochet with his customary charm, bringing all his well-known resource to the role. Wendy Barrie is attractive and charming as Madeline, and Gus McNaughton provides much fun as the faithful old servant and valet, whilst Zelma O'Neal gives another first-rate original performance. WESTERN AND COMEDY In Paramount’s picturisation of Zane Grey’s outdoor romance, “Home on tho Range,” which is coming to the Casy Theatre to-morrow, Jackie Coogan 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 “bad-girl” roles. Randolph Scott, Dean Jagger, Fuzzy Knight and Ann Sheridan are also featured. “Home on the Range” deals with the efforts of a band of smooth crooks to swindle Randolph Scott and his brother Jackie Coogan, out of their ranch and racehorses. The new W. C. Fields picture, “It’s a Gift,” which also screens at the Cosy-to-morrow, 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 Rouvcrol, Julian Madison and Tammany Young, Fields has incorporated the best of his hysterical gags, and some of the funniest routines he has ever perpetrated, in this film. ARCADIA THEATRE TWO COOD COMEDIES. “Topaze,” R.K.0.-Radio picture playing at the Arcadia Theatre today, recommends itself on many counts. In tho first place, it stars John Barrymore. In the second, it is a very smooth and brilliant version of the play that was an outstanding success in Paris and New York. Then again, it is comedv.

The English comedy, “Excess Baggage,” which is also on the programme at the Arcadia to-day, starts out by being frankly an extravaganza. It begins on a note of complete and comical absurdity and maintains the absurdity and comicality right the way through to the very end. FILM OF AFRICA One of the most spectacular screen offerings of a decade is promised for the Arcadia Theatre to-morrow when “Baboona,” newest African adventure film of Mr and .Mrs Martin Johnson, screens there. “Baboona” is described as an aerial epic over Africa. Requiring twenty months in the filming, it was made while the Martin Johnsons toured 60,000 miles of unexplored jungle, visiting many sports in the dark continent never before glimpsedby civilised man. This newest screen exploit of the intrepid pair reveals man's most dramatic conquest—the first record of Africa’s remotest secrets filmed from the air. These air adventurers were called upon to battle the elements as well as savages and beasts. One of the most striking sequences in “Baboona” is the detailed record of a flight round Mt. Kenya, offering views of this lonely snow-bound peak never before glimpsed by human eyes. During the making of this footage, a sudden and violent stonn nearly destroyed the air caravan. Also on the Arcadia programme for the three sessions to-morrow is “Rusty Rides Alone,” a thrilling film starring Tint McCoy and his wonder horse Silver King.