ENTERTAINMENTS

Manawatu Standard, Volume LIV, Issue 289, 3 November 1934, Page 3

ENTERTAINMENTS

KOSY THEATRE. “A PASSPORT TO PARIS” AND “FREEDOM OF THE SEAS.” It is not very often that there arc two pit turcs of such outstanding qualities as posses: cd in “A Passport to Paris” and “Free dom of the Seas,” tho features which com bine to make a thrilling programme full c hearty laughs, at the Rosy Theatre tc night. Full of gay adventure, comedy am action “A Passport to Paris” should prov to bo ono of the most popular screen hit of the season, presenting as it docs : really delightful team in Sally Ellers, a the pseudo countess, and Bert Lyon, a Wally. This breezy, adventurous story tell the hectic adventures of a happy-go-luck; young man, Wally, who, after a “nigh out,” finds himself in tho wrong flat, ant is mistaken for an international spy. lii received £SOO, “A Passport to Paris,” ant instructions to proceed to the gay city, am there to make lovo to a blonde countess. Ir a spirit of bravado bo continues the do ccption and makes his way across the Chan nol, where he encounters tho bcautifu Molly Malone, an out-of-work actress whe is posing as the Countess with whom he i: supposed to have machinations. The ad venturous couple find themselves entangled in Hctzolburgian politics and thcii position becomes just as funny as it is exciting. A nautical comedythriller, with Clifford Mollison giving a breezy portrayal of a timid clerk who becomes a naval officer and foils a German

sea plot during tho war, entitled “Freedom of the Seas,” is the second feature. Adapted from the play by Walter Hackett, “Freedom of the Seas” relates the adventures of a certain Smith, a timid clerk who although in love with his employer’s charm ing daughter, Phyllis, has not enougl spirit to win her. When he loses his job however, the “worm” turns, joins the navy and obtains a commission, much to the surprise of Phyllis. At sea lie receives in structions to board a tramp steamer sus pected of trafficking with German sub marines, and finds there are passengers 01 board —Phyllis, her father, and an Amcri can chorus girl, who have been picked up shipwrecked, after their ship has been torpedoed. Then things begin to happen. STATE THEATRE. “CHANGE OF HEART.” Eighteen months ago the world-farncu team of Janet Uaynor and Charles Farid, dissolved on the completion of “Teas ol the Storm Country.” To-day, alter an interlude marked by a flood of protests against the separation from screen fans and screen exhibitors throughout the civil Led. world, these two favourites aro appearing in their twelfth co-starring vehicle, “Change of Heart,” which opens at th. State Theatre to-night. Witli them ap pears a brilliant supporting cast, hcadcu by James Dunn and Ginger Rogers. Bcry. Mercer, Gustav von Soyffertitz, Fiske O’Hara, Irene Franklin, Shirley Temple, Jane Harwell and Nella Walker also have important roles. Winfield Sheehan, vicepresident and general manager of production at Fox Film, is the mail responsible tor Janet and Charlie’s professional reunion. In tho new offering which brings them back to the screen, however, ho has introduced two significant changes. “Change of Heart” is the first picture definitely to present Janet in i grown-up role, and it is the first to rereal the two stars in a realistic setting. Ever since the immortal “7th Heaven,”-, the- celebrated duo appeared in films of a purely idealistic type. Since the ’29 :rash in particular, Mr Sheehan las wisely avoided casting them agains. l depression background. But with the lOlintry cheerfully on its way back to prosperity, and the public now in a mood to ook back over the past four years with ■eal relief, Janet and Charlie abandon dealism and present brand-new portrayals o their admirers. It is a new and more nature Janet who appears in “Change ol Icart,” a Janet who has laid aside the

juvenile aspects of her former films in fav- < our of a womanly characterisation. And 1 the story, taken from Kathleen Morris’s 1 vivid novel of romance during the deprca- 1 sion, “Manhattan Love Song,” gives her 1 a perfect vehicle in which to make this ! transition. Dealing in very human fashion 1 with the joys and sorrows of four young ' people who, after leaving college, struggle c against the trials and vicissitudes of a great i city, tho theme and its trenchant handling c of common problems make the picture a I unique one in tho Gaynor-Farrel annals, r J and one that promises to become an out- p standing screen hit of the year. John G. fi Blystone, whose long list of successes in- • dudes such films as “My Lips Betray” and “Tol’able David,” directed the production. The supporting programme includes a delightful travelogue, overseas news reels, Fox Aussie news, including tho arrival of H.R.H. the Duke of Gloucester Australia; also an hilarious Buster Keaton comedy, “The Gold Ghost.”

palace theatre. “WE’RE NOT DRESSING.’’ . Bing Crosby, the famous radio singer, .. is the star of “Wo’rc Not Dressing,” a >- musical comedy romance which eortv i- oronces at the Palace Theatre to-night. The * n & m charm of the picture Jies in the tune,f * u ‘ so|l g numbers rendered by Crosby, the c o3 *' these, being “May I,” “Good-night i Bpyo y Little Lady,” and “Love ’J jiy o Neighbour.” The dialogue is bright arid s amusing, and the humour never tails. The i entire action of the film takes place on a s I luxurious yacht and on a picturesque but s i almost uninhabited South Sea island. Bing s Crosby is cast as a sailor employed' on the i’ yacht, who has been dismi-.sed for importit nonce by the owner, Carole Lombard, a 1 beautiful heiress. However, the party of . pleasure-seekers have the misfortune to be 1 wrecked on an island. Out of touch with 1 civilisation, they find they are helpless, and i turn to the sailor for assistance. Naturally - ho makes his own terms, one being that . all must d’o their fair share of work. Miss I Lombard resents this, but is finally won i over. George Burns and Grade Allen, of ; radio fame, a pair of eccentric explorers already inhabiting the island, and Leon Errol and Ethel Merman provide most of the humour, which never Hags. Also in the cast are Jay Henry and Raymond Millard (who play the part of the two princes who arc in love with Carole Lombard), and an intelligent pet bear. Thu supporting programme includes a Paramount newsreel showing scenes from the third cricket Test match; Screen Souvenirs, an old-time novelty picture; a comedy, and a cartoon, with the favourite “Pop-Eye the Sailor.” REGENT THEATRE. “BULLDOG DRUMMOND STRIKES BACK.” A wedding, a London fog by night, an apparently deserted house with the body ot a murdered man which' disappears in two minutes, and a beautiful girl in distress who falls fainting into the arms of the hero, mark the opening incidents in “Bulldog Drummond Strikes Back,” which commences at t lie Regent Theatre today. And in an air of mystery intrigue, of killing and being killed, the events of that night whirl on. It is rather a tantalising night for one man, the bridegroom of the evening before, but it ends happily as the wedding morn of Drummond himself. It is the detective thriller de luxe, crammed with tense, dramatic scenes, but never far round the corner lurks the infectious comedy that wins through in the end. Hugh Drummond (Ronald Colman) has sworn olf adventure for life, and decided to go down to Sussex to raise hollyhocks. He has come back from South Africa to the wedding of his friends Algy (Charles Butterworth, and Gwen (Una Merkel). Ho becomes trapped in a typical London fog, wanders into an apparently deserted house, finds the body ot a murdered man there, returns with a police man, anti 10, the body is gone, and the sinister Hindu Prince Aehmcd (Warner Oland) appears. Puzzled, Drummond returns home, to summon Algy from the nuptial couch for the job in hand. Tho lady in the ease, Lola -Field (Loretta Voting) staggers into his room, faints in liis arms, and immediately two things become evident—that Sussex and hollyhocks have disappeared from Drummond's, mind for good, and that ho is up against a tough proposition. At this stage the gruff and unimaginative Inspector Nielson (C. Aubrey Smith), of Scotland Yard, comes on the scene. Archmud is playing a desperate game —half a million pounds is in the balance, the value of a cargo of furs from the Orient. Drummond is fooled, outwitted, and cornered time and again, but his irrepressible good humour and self-assurance is equal to all demands. A radiogram is the clue to tho mystery. Drummond secures it, Achmcd’s valuable cargo goes up in flames, and tho Hindu commits suicide in tho face of litter do- \ feat. And tho hero's reward is the hand i of the beautiful Lola. Ronald Colman < takes the lead in his stride, and is the i perfect counterpart of the, famous deteefive of fiction. He is not an orthodox detective, but ‘then such mystery, thrillers ’ are not made nor played by ordinary detectives. He is tho man who even in the j most desperate situation has yet one more 4 card —the trump card —up his sleeve. War- 4 tier Oland as the villain of the piece fakes 4 on the sinister mystery of the Orient. 4 Loretta Y’oung makes a bewitching heroine. 4 The supporting cast is good, and the main 4 picture is supplemented with a number of 4 fine shorts. 4