ENTERTAINMENTS

Manawatu Standard, Volume LV, Issue 244, 12 September 1935, Page 3

ENTERTAINMENTS

STATE THEATRE. . “Oil! DADDY.” Based on tlic successful London stage farce, “Oh! Daddy,” the Gainsborough picture released by Gauinont-Brltish and distributed by Fox Film at the State Theatre to-night is an excellent example of the power of clever direction to develop, from the narrower confines of a stage presentation, a picturesque, kaleidoscopic confection presenting an infinitely more varied entertainment. An atmosphere of infectious gaiety is quickly created by Leslie Henson (Lord l’yc) and Robertson Hare (Rupert Boddy) who, as a screen team are an unqualified success. They appear as a couple of “purity campaigners” who, missing tho train that would have carried them to Birmingham for a convention, become involved with a daring cabaret star (Bonita do Lys), who, unknown to I’ye. is his step-daughter. Determined to teach the killjoys a lesson, she invades their country retreat, accompanied by motor coaches packed with chorus girls and free beer foi all, with results that can be imagined! Leslie Henson fully justifies his reputation as one of tho most popular of English comedians. His facial gymnastics, no less than the expression he g'vcs every point in his satisfyingly large share of tho amusing dialogue, keep . his audience in an almost continuous ripple of laughter. “LADIES LOVE DANGER.”

Murder for profit motivates tho criminal in Fox Film’s exciting mystery, “Ladies lane Danger,” is also at the State Theatre to-night, with glamorous Mona Barrie and Gilbert Roland in the, feature roles. Producer Edward T. Lowe, in developing this story, acted on his favourite theory that crime in fashionable circles is always fascinating. and apt to be more interesting than the common-run type. “THE NITWITS.” “The Nitwits” v. the masked terror, the Black V blow, is the main event at the State Theatre on Saturday next. Bert Wheeler ami Robert Woolscy are the contenders for the sleuthing title in this comedy bout in seven reefs, said to end in a knock-out laugh. Scorning with a killing, the Black Widow hammers out a decisive lead ' in the early reels With a slashing lie-detecting mechanism as a counter offensive. “The Nitwits” even the score in the late cantos, but subsequently are on the verge of being knocked out for a long count, running into three figures. Melody and thrills serve as seconds t: the comedy and mys ley contenders in “The Nitwits.” Betty Grable and Wheeler sing and dance to “Music in My Heart.” Joey Ray and Joan Sanderson, musical comedy favour ites, vocalise “You Open My Eyes,” Woolsev offers cne of his inimitable comedy numbers in “The Black Widow Will Get You If You Don’t Watch Out.” George Stevens directed this RKO-Radio picture with Fred Keating, Erik Rhodes and Evelyn Brent in the cast. The box plan is now on view at the State Theatre. REGENT THEATRE.

‘FLIRTATION WALK.” A thrilling revelation in musical spectacle is “Flirtation Walk,” at the Regent Theatre tc -night. There is an all-star east headed by the inimitable songster, Dick Powell, charming Ruby Keeler, playing the romantic lead opposite him, and Pat O’Brien in the role of a hard-boiled army sergeant, There are two great speciality numbers that are said to ri\ ul anything ever presented before for originality and novelty. One is an authentic Hawaiian Love Feast with its traditional unique native dances performed by 60 Hawaiian beauties and as many men. Age old folk songs are sung to the rhythmic beat of gourd drums in a setting of a moonlit cocoanut grove and a rippling lagoon. Dick also sings Hawaiian numbers to the accompaniment of Sol. Hoopii’s _ famous native orchestra. The second big • spec, ialty is the presentation of West Point’s Hundredth Night Play by members of the cast in which there are more beautifu. girls. In this number Powell sings three catchy original songs. The West Point graduation ceremonies, in which officers and cadets participate, the parade grounds, tho lovers’ promenade, Flirtation Walk, with its Kissing Rock, all come in as a part of the plot. those scenes were all taken on the _ Academy grounds with the full co-operation of the U.S. military authorities. The story is a romance of glorious youth and is tilled with thrilling adventure and dramatic situations. The novel dance numbeis were directed by Bobby Cinnolly, noted Broadway musical comedy producer. Others in the cast include Ross Alexander, Glen Boles, John Eldredgo, Henry O Neill, Guinn Williams and John Arl.edge. “DAVID COPPERFIELD.”

“David Copperfield,” the prize-winning photoplav which comes to the Regent Theatre ‘on Saturday, is destined to lake its place as one of the outstanding pictures of all .screen history. Boasting a cast of 65 stars and featured players in the major roles, the picture vibratos with, an intimacy that cannot be imagined. It blends every element of entertainment—romance, pathos, comedy, thrills and spectacle—ill such deft quantity that one fairly lives with the charade -s as they work out their destiny on the screen. It is a faithful iranslation of Dickens’ -'bestknown and best-loved story, but it reveals entertainment that never could bo imagained by anyone who lias read Dickens only casually. The romance and comedy especially arc emphasised. .Among the scores of favourites in the cast are Frank Lawton (as David), W. C. Fields, Lionel Barrymore, Maureen O'Sullivan, Madge Evans, Edna May Oliver, Lewis Stone, Elizabeth Allan. Roland Young, Basil Rathbone, and the eminent novelist, Hugh Walpole, who besides adapting the screen play with Howard Estabrook, also plays the role of the Vicar. . Perhaps outstanding in “David Copperfield's” achievements is the development of tlis now child star, Freddie Bartholomew, who plays David as a boy. Reminiscent ot the wistful charm of Jackie t'oogan when ho first appeared with Chaplin in “The Kid,” little Freddie has. suddenly rocketed to a commanding place in the screen world on the strength of his performance as David. He is a superb little actor, and lias a tender charm that is instantly captivating.

KOSY THEATRE. “HAVANA WIDOWS.” It mav seem hard to believe, but Joan Blondell and Glenda Farrell, long engaged by the same motion picture company and working simultaneously in the same studios, have never appeared hi the same production until teamed for “Havana Widows, Viie First National picture at the Kosy Theatre to-night. TV-, sophisticated girls, showgirls who had been around, were needed for the feminine leads and so it came about that Joan and Glenda were cast to play opposite each other. Ann they play practically all scenes together. They have the roles of two Broadway burlesque queens with no scruples about taking over the unsuspecting male for a ! they can get. The two are having a rough time in a cheap New York show when along conics an old chorine pal dressed in the latest glad rags to tell them that she has just arrived from Havana where she has taken a millionaire to the tune ol 60.000 dollars by the breach of promise method. Informed that the Cuban resort is ridden with millionaire suckers just itching to be plucked, they are on thenway, after shaking down a hoy friend for 500 dollars as a grub stake. Discarding the breach of promise method as too long and too tedious a process, they embark on a gct-rich-quick scheme of shaking down the suckers by the badger game. 1 heir adventures in this line of sport lead to situations that are hilariously funny. Never has there been a more potent team of wise crackers together in a picture than Joan and Glenda. “WHOM THE GODS DESTROY.” “Whom the Gods Destroy,” Columbia’s powerful drama of a man’s great love tor his son, featuring Walter (...onnolly, Robert Young and Doris Kenyon, also at, the Kosy Theatre to-night. The Story, briefly, concerns a successful

Broadway stage producer whose one dominating aim in life is to perpetuate his name in the theatre through his son. While en route to London, the ship is wrecked in a collision with a derelict. Courageously the producer helps the ship’s officers battle panic stricken passengers, aids the women and children getting into the lifeboats and even gives his own lifebelt to a woman companion. But in a mad moment of realisation that death means never seeing his loved ones again, he escapes the doomed ship by attiring himself in a woman’s coat anil furs and winning a place in a lifeboat. Branded a coward at his rescue, he gives a false name and retires tc a .il'e of drifting and exclusion —while at home lie is mourned as a hero. Unable to face his family and friends, he watches his son's progress in the theatre from afar, disappointed at the youth’s lack of genius. Through subterfuge, and without disclosing his identity, he wins the confidence of his son and together they conceive and produce the boy’s first hit. The finul scenes mark a highly dramatic climax, which, according to advance reports, attains one ot the .highest points in gripping emotional drama seen on the screen.