ENTERTAINMENTS

Manawatu Standard, Volume IV, Issue 218, 15 August 1931, Page 3

ENTERTAINMENTS

AT THE REGENT. “EAST LYNNE” SEASON. What is described as the finest glorification of the audible screen will bo given its premiere to-day at the Palmerston North Regent Theatre in Frank Lloyd’s production of “East Lyno,” with Ann Harding, Clive Brook, Conrad Nagel and a brilliant cast of truly popular players. There is sc much to commend this Fox Movietone_ that to attempt to describe it with a single phrase is a great injustice. In the first place, “East Lynne” in this caso becomes the screen’s most notable achievement, an accomplishment that vibrates with raro cn tertainment from beginning to end. Secondly, the story, adapted from Mrs WoodV novel by Tom Barry and Bradley King, moves swiftly and develops with such dramatic power and consistency that tho two hours consumed in unfolding it seem but mere minutes. Thirdly, Ann Harding achieves new laurels and justifies the characterisation of tho screen’s “greatest emotional actress.” A lovelier Isabel, certainly, has never been seen on stago or screen. She lives the rolo every inch of the way. She radiates with an incomparable beauty and sincerity that contributes importantly to the success of tho picture. In tho fourth place, Conrad Nagel and Clivo Brook give characterisations that will add much to their popularity. The latter does the outstanding work of his career as Levison. Conrad Nagel is at his best as tho ambitious young lawyer, influenced by his spinster sister, who makes an outcast of his wifo. The supporting cast is an unusually important one, including Beryl Mercer, Cecilia Loftus, O. P. Hoggio and David Torrence. Tho direction of Frank Lloyd is flawless, and tho settings by tho famous Joseph Urban enhance the picture. Box plans arc available at the Central Booking Office, Broadway; ’phone 7178, or at tho theatre after 6 p.m., 'phone 6776. KOSY THEATRE. “IRON MAN” TALE OF BOXING ARENA. In “Iron Man,” which is now at tho Kosy Theatre, Universal has given Lew Ayres a picture of power, strength and sincerity, at is to tho credit of tho star—and it is Lew Ayres’s first real starring picture —that he rises to the occasion and proves himself an actor, and one which makes no concessions to the situations or solutions which arc “typically movie.” It proves with incvitablencss from start to finish. Strangely enough, this story, taken from W. 11. Barnett’s novel, is tho love story of a man, but not of a woman. Perhaps, as such, it has more appeal to feminine audiences than to masculine, although it is a picture that deals with fights and fighters, and resounds with the thud of punches in the squared arena. “Iron Man” is the tale of tho development of a fighter until he wins tho lightweight crown. The man directly responsible for this result is the fighter’s manager, played by Robert Armstrong, who gives a portrayal which proves again what an excellent actor he is. He knows how to handle his young fistic arusr, how to nurse him through his moods, how to deflate his ego at tho proper time, and how to inflate it when it means success. PALACE THEATRE. LAWRENCE TIBBETT IN “THE PRODIGAL.” In “The Prodigal,” which is now at tho Palace Theatre, Lawrence Tibett abandons his erstwhile swashbuckling lines and gay uniforms to appear for the first time in a strictly modern role. Information is that Metro-Goldwyn-Mayer, anxious to get away from typical musical comedy plots, selected an original story which centres about the question of divorce in an aristocratic southern family. This in no way deprives music lovers from hearing tho Metropolitan iOpera favourite sing, for the circumstances of the plot are such as to contrive various episodes in which Tibbett sings a variety of songs as a natural part of tho gripping story. Tibbett is seen as a prodigal son who has been roaming the country with a band of tramps. He stops off at his home to see his mother and for tho first time becomes acquainted with his brother’s wife, Antonia. Antonia is miserably unhappy with her _ tyrannical husband and is about to elope with a former lover. In his attempts to preserve the family integrity, Tibbett succumbs to the charms of tho bewitching Antonia and finds himself in a compromising position. Tho unravelling of the situation makes for an extremely dramatic screen plot. Scenes in the tramps’ camp are among tho novelties of the production, it being probably the first time that this species of humanity has boon exploited in motion pictures. In these sequences Tibbett sings “Do Glory Road,” a number which he hus made famous on the concert stago. Another unusual phase 6f the picture is a spectacular negro barbecue scene in which Tibbett, together with a chorus of several hundred voices, sings “A Child is Born” and “Chidlins,” written by Herbert Stothart and Howard Johnson. Other songs sung at various points in the story are “Life Is a Dream,” by Oscar Straus and Arthur Freed; “Without a Song,” by Vincent Youmans, and a comic ballad called “Look Like Fappy.” Much of tho charm of this picture is credited to its picturesquo locales, duplicating the languorous beauty of the old South American plantation estates and colonial mansions. A colourful fox-hunting scene is said to be a particularly artistic photographic achievement. Esther Ralston, remembered for “Fashions for Women” and “Peter Pan,” has the feminine lead. Roland Young, last seen in “New Moon,” and Cliff Edwards 6hare comedy roles, as two of the tramps. Others include Purnell B. Pratt, Hedda Hopper, Emma Dunn, the comic coloured player Stepin Fetchit, Louis John Bartels, Theodore Von Eltz, Wally Albright, junr., Suzanne Ransom, Gertrude Howard and John Larkin.