ENTERTAINMENTS

Manawatu Standard, Volume LIV, Issue 119, 19 April 1934, Page 3

ENTERTAINMENTS

KOSY THEATRE. “TORCH SINGER.” Excellently acted, superbly produced and told through the medium of a powerful story that never lacks suspense and dramatic fervor, Paramount’s picture “Torch Singer,’’ featuring Claudette Colbert is now being shown at tho Ivosy Theatre, “Torch Singer” presents Miss Colbert in a dual personality role —first as a deserted mother who finds the social barriers too difficult to overcome, and later as tho brazen hard-hearted cabaret entertainer, who still Jongs for the baby she has been forced to give up. A splendid supporting cast assists Miss Colbert immeasurably to make the picture the gripping emotional drama it is. Ricardo Cortex is excellent as Tony Cummings, the radio impresario, who falls in love with Miss Colbert only to step aside gracefully when he finds that her eventual happiness depends upon another man. David Manners is cast in the role of the man who deserted her; but nevertheless, m his repentance, ho wins tho audience s sympathy. Comedy relief comes from the over-popular Lyda Roborti and the charming Baby Le Roy who created such a nation-wide sensation in his initial screen appearance with Maurice Chevalier in A Bedtime Story.” But, all in all, it is Aliss Colbert’s picture and we who leel that we can’t see enough of her are glad of that. Tender, wistful, appealing in the early part of the picture, the character she plays undergoes a complete change. The transition is most deftly accomplished and for that alone, the lovely Claudette wills tlie laurels. The lengthy and entertaining programme of featurettes comprises a Eugene I’alette comedy, entitled “One Awful Night”; a new Betty Boop cartoon; a “Screen Souvenirs’ Old lime novelty, and Parainount-British and American Newsreels. new palace theatre. “LOVE’S OLD SWEET SONG.” In the pretty, old-world 'cottage where she is holidaying, Alary Dean, a young concert artist, comes across a copy ot “Love’s Old Sweet Song.” Jimmy Crott, the' susceptible young farmer .who owns the cottage, begs her to smg it for hmi. and half - laughingly . she consents. Her singing proves she is a true artist, and brings Jimmy to his knees m a passionate declaration of love. I has starts “Love’s Old Sweet Song” at the 1 alaco to-day and to-night. Alary s manager, Paul Kingslako, arrives l ° take her back to London, v'here she has an important contract to iultil. Elated, she bids Jimmy good-bye, but he prophesies that some day she wilt come back to him. At her radio debut, Alary sings the old ballad once again. At the village inn, Jimmy joins the rustics who crowd around the loud-speaker, while in the distant studio Paul is also deeply moved. Next morning Ins half-brother, Eric Kingslake, drops into his office to borrow some cash, and Paul reluctantly introduces him to Alary. Tho two are instantly attracted, and during the summer see much of eacii other. Paul is disturbed for he lias come to love Alary and he knows Eric is utterly worthless. He threatens to stop supplies unless Eric leaves the country, and is dumbfounded to discover that he and Alary have boon secretly married. Is Alary once again to be cheated of happiness ? But destiny has. still a card or two to play, and tho last hour of this fateful day are closely packed with drama and surprise. _ ~ “AFTER THE BALL.” “After the Ball,” which commences at the Palace on Saturday, is an excellent example of British humour, and a brilliant satire, which pokes fun at the League of Nations. Laid in Geneva, the plot enters unassumingly into the atmosphere of farce when anything can happen—and nearly everything does. r I he scenes flit from tho stern pomposity of tho conference hall to the brilliance of the ballroom, where such complications take place. Esther Ralston is excellent as the wifo neglected by her husband for tho pressing affairs of state, and Basil Rathbonc, as the amorous courier with whom blondes seem to bo an obsession, participates in .much witty dialogue and humorous incident.

STATE THEATRE. “LONG LOST FATHER.” Romance, sparkling comedy and human interest drama are combined to a raro degree in “Long Lost Father,” John Barrymore’s latest starring picture for RKORadio, which opened last night at tiio State Theatre, with Helen Chandler and Donald Cook. Barrymore, starred in the title role of this vivid, smoothly moving production, gives one of the finest and most convincing performances of his entire career. Tho character is supremely to his liking, and his relish in depicting it is evident in every scene. Equally brilliant is the performance of Aliss Chandler as the daughter, while Cook, in tho romantic lead, and Alan Mowbray, in a menace role, are convincing. Tho unusual slant of “Long Lost Father” centres about a father’s overtures to the daughter he deserted when sho was a baby. A youthful romance, involving Aliss Chandler and Cook, shares interest with this main theme, and, while most of the story is told in a delightfully amusing vein, it has its serious moments, which appeal powerfully to the emotions. After tho years of adventuring, which followed the desertion of his wifo and baby,i Carl Bcllairs is settled as tho debonair manager of a London cabaret. His past catches up with him here when his daughter, Lindsey, a beautiful and spirited young dancer, is hired as a featured entertainer for the club. It is an embarrassing situation, and Lindsey does not make it easier by flaunting her contempt for her parent. At first annoyed in an amused way, Carl becomes genuinely concerned when Lindsey begins to run around with a wild crowd. His efforts to exert parental authority get exactly nowhere, until Lindsey is innocently involved in a serious crime. Carl’s opportunity for a reconciliation is here, although it may mean his banishment and her loss forever. Ernest B. Schocdsack lias handled the directorial reins expertly, and the screen play, by Dwight Taylor, based upon G. B. Stern’s new novel, is exceptionally clover. Outstanding support is given the principals by Reginald Sharland, E. E. Clive, Natalie Moorhead Phyllis Barry and Ferdinand Gottschalk. REGENT THEATRE. “PADDY', THE NEXT BEST THING.” Having proven to be one of the most popular attractions tho Regent Theatre has ever presented, “Paddy, The Next .Best Thing,” featuring Janet Gaynor and Warner Baxter, screens finally to-night and to-morrow night. “Paddy,” the madcap Irish lass, oilers Jffiiet Gaynor something absolutely new. For in addition to her well-known wistfulnoss she is here required to display her newly-found spirit. Sho is a rogue—and she is irresistibly charming. As the man who brings her down to earth and convinces her of his love, Warner •Baxter is said to bo in hie most popular element. He is suave, handsome and the gentlest of lovers. The notable supporting cast includes Walter Connolly, Harvey Stephen, AJargaret Lindsay, Mary AlcCormic, Joseph Al. Kerrigan, Fiske O’Hara, Claire McDowell, Alerlc Tottenham, Roger Imhof and Trevor Bland. The locale of the film is the rugged coast of Ireland. Plans are on view at the Central Booking Office, and at tho theatre after 6 p.m., where reservations can bo made at no extra charge. “CINDERELLA’S FELLA.” Marion Davies plays one of the most entertaining roles of her film career in the novel musical production, “Cinderella’s Fella,” the new Metro-Coldwyn-Mayer championship vehicle which is to commence a season at the Regent Theatre on Saturday. Tho picture, an original story from the witty pen of Donald Ogden Stewart, actor, humorist and playwright, is a romance of the real Hollywood, yet one spiced with catchy song hits and bizarre danco ensembles which make it one of the most entertaining films of the year. Bing Crosby, noted crooner of radio and motion pictures, plays the radio crooner role opposite Aliss Davies. Others in the exceptional cast aro Fifi D’Orsay as Lili Yvonne, the French actress; Stuart Erwin, as tho sympathetic picture producer; Nod Sparks, as the hard-boiled director; Patsy Kelly', as JiTI; Bobby Watson, as Crosby’s manager, and tho Three Radio Rogues.