ENTERTAINMENTS

Manawatu Standard, Volume LV, Issue 87, 11 March 1935, Page 3

ENTERTAINMENTS

REGENT THEATRE. “WE LIVE AGAIN.’’ A world that is now only a memory comes to life again 10-niglit as Anna Sten and Frederic March make their appearance at the Regent Theatre in Samuel Gcldwyn’s presentation of “Wo Live Again,” retitled from the “Resurrection” of Leo Tolstoy. . An idyllic courtship between an aristocratic young cadet and an apple-cheeked peasant girl becomes a grim struggle through misery and despair toward happiness and peace in the screen play by Preston Sturgcs, Maxwell Anderson and Leonard Praskins. This best-loved of all Russian stories lias the countryside in the days of the Czars as its cai-Jy setting. Colourful religious festivals, gypsy songs, breathtaking cavalry manoeuvres; Moscow, heavy with food and wine and debauched gaiety; sombre grey prisons, tho' taut trial that gambles with human lives, tho exile with which criminals were punished in that distant day, arc details in tho patchquilt panorama that Director Roubcn Mamoulian lias taken out of Tolstoy’s great humanitarian novel as a setting for the screen version, released through United Artists. Miss Sten and Mr Marcli have as follow protagonists in the new Reuben Mamoulian picture, lovely young Jano Baxter, newly arrived from England, C. Aubrey Smith, Jessie Ralph, Sam Jaffc, Mary Forbes and a huge cast of Russians recruited from tho Slavic colonies along the Pacific coast. Most of the Russian players in the east arc members of the Dukhobor colonics in California and Canada;- All of them are followers of tho teachings of Tolstoy. Their migration to America was financed out of the money realised by Tolstoy from the sale of “Resurrection.” Tho 42,000 roubles he received for tho work was tho only money ho ever mado from his writings. Forty years after ho turned it over to the people who believed as ho did, and sought escape from tyranny and oppression. Tho children of those people took part in tho filming of Tolstoy's greatest story , in the, land in which they had taken refuge.

STATE THEATRE. “THE WHITE PARADE.” One of the most human, compelling and dramatic screen narratives in years is Jesso L. Lasky’s “The White Parade,” which is now being screened at tho State Theatre. It is a story with a soul! “Tho AA’hite Parade” may safely bo described as an extraordinary picture. Extraordinary not only in its material, but in the approach of Director Irving Cummings and Producer Lasky to the telling of their story. It is a gripping and 'a poignant drama, and tnc manner of its presentation—buoyant, easy, skilful—is a distinct contribution to screen history. In keeping with the theme . and spirit of the production, “The White Parade” is dedicated to the memI ory of the immortal Florence Nightingale, . founder of modern nursing, and the idol I and pattern of those who pursue this profession. Loretta Young offers a masterIly performance as tho yoimg student nurse who is the heroine. The film follows her schooling from the day of her enrolment, until, just graduated, she lias to make tier choice between the man she loves, John Boles, and tlie service whoso true meaning has become everyday more clear to her. John Boles contributes a splendid characterisation as the rich young suitor who, baffled by tlie elusive secret of these girl nurses, seeks to persuade her that her life lies with him. There are memorable performances also by Dorothy .Wilson, Muriel Kirkland and Astrid Alhvyn, among the heroine’s comrades, a'nd by Jane Darwell and Sara Iladon, as veteran nurses who are their superiors. “The White Parade” __ lias been adapated by Sonya Lcvien and Ernest Pascal from a screen story by' Rian James and Jossc Lasky-, junr. This last in turn was based on Rian .James's novel cf the' same title. Jesse L. Lasky lias always been a pioneer. Ilis own career parallels in many respects the history of tho motion-picture industry. It. was Lasky who gave such a picture as “The Covered AVagon,” tho first great picture of the west, and “Wings,” the first great picture of the air. Now, in “The White Parade,” he has created a picture which for originality and drama will, wc think, stand unsurpassed when it is as old as “The Covered AA’agon.” If it is something new you want, and something enthralling, do not miss “Tlie White Parade.” KOSY THEATRE. “GIRLS WILL BE BOA’S.” One of the most hilarious and entertaining screen attractions offered for a long time is tlie 8.1. P. production “Girls Will Be Boys,” which screens at -. the Kosy Theatre to-night. Tho story centres around Pat Cavcrley, a vivacious young bundle of femininity whose grandfather is the Duke of Bridgewater. The Duke is an eccentric old boy to whom the mere thouehi of a woman about the plaeo is poison itseif — let alone have her as an heir. Consequently, when lie receives a letter addressing liim as “Dear Grandfather.” which is signed “Pat Caverley,” bo yells “Hurrah ! a male heir,” jumps for joy and immediately despatches liis secretary, Grey, to fetch the young fellow from Paris. But when Grey reaches Paris too “young fellow” is in skirts, and rightly so, for Pat turns out to bo Patricia and not Patrick at all 1 Grey knows that it would be quite impossible to take the Duke’s relative back in this form so ho decides that she must become a boy for her own sake as well as that of the Duke. She does, and what fun ensues ! The Duke resolve’s that bis heir is not manly enough and hands her over to his young estate manager, Geoffrey Dawson, a notorious woman hater, for athletic exercises and hard work in order to make a man of Pat. ■ They indulge- in boxing bouts but the lieir lias an irrevocable and bewildering objection to having the customary cold shower afterwards. The “horrible” truth dawns on Geoffrey, after be bad saved her from drowning, lie warned her to drop the subterfuge immediately, and when the Duke, about to entertain some distinguished guests, finds _ himself short of,, a hostess, she quietly slips into the vacant position. The star is Dolly Haas, a, delightfully captivating Continental artist while a spiendid cast comprises Cyril Maude Irene Vanbrugh and Edward Chapman. Episode 7 of the thrilling Western serial, “Red Rider,” featuring Buck Jones, together with pictorial, scenic and novelty, complete an excellent programme.