ENTERTAINMENTS

Manawatu Standard, Volume LVI, Issue 45, 22 January 1936, Page 3

ENTERTAINMENTS

KOSY THEATRE. . . Drama so real and so human llint it appeals to" every spectator is presented in “Housewife,” the Warner Bros, production which has its local premiere at the Rosy Theatre to-morrow with George Brent, Bette Davis and Ann Dvorak heading an all-star cast. The story by Robert Lord arid Lillie Hayward concerns tlie age old love triangle, but Warner Bros, have given Hie theme new and novel treatment. The picture glorifies the woman of the home, for if is the wife, in this instance, who is the inspiration for her husband’s success, and who, after she has made “her man,” stands by with an aching heart the while he makes love to a more flashy rival. Brent lias the role of the husband with .Mins Dvorak in the part of his wife and Miss Davis an the home wrecking siren. A former football hero but now a cringing clerk, Brent is finally aroused by his wife into quitting his job and going on his own. His old spirit is revived and lie wins to success. After which Miss Davis conics on the scene and tho two women engage in a bitter buttle for his love. The result of tiiis battle is revealed in tlie most unusual divorce court fight, on record, bringing the play to a smashing climax. To this picture, Brent brings a new fire, a new dominance to his characterisation, lie has come into bis own with a distinctly added vigour. Bette Davis gives a fine portrayal of a woman who takes what she wants in the way of love regardless of the homes and lives she wrecks. .Miss Dvorak in the title role, has the finest part she has had since her return to the screen and she enacts it with all her sparkling brilliance. John Halliday is excellent as the fourth party in tho love tangle, being infatuated with the neglected wife. While the story is powerfully 7 dramatic, it is not without its lighter moments, rollicking humour being supplied by Ruth Donnelly. Hobart Cavanaugh and -Leila Bennett. Phil Regan, radio’s “Singing Cop,” plays the part of a radio singer and warbles some catchy airs written by that ace song loam, Mort Dixon and Abie Wriibel. Other principals in tlie cast, all of whom do excellent work, include Robert Harrat, Joe Cnwthorne. Willard Robertson, Ronnie Cosby, Harry Tyler, and Charles Coleman. Alfred 1 7 .. Green, noted for his direction of virile human stories, has handled the situations with exceptional understanding and ability, turning out, an unusually strong drama. The story was dramatised with great skill by .Manuel Seff and Miss Hayward. “Murder at .Monte Carlo” is the second attraction.

REGENT THEATRE. “TIIK LAST OUTPOST.” With “The Lives oE a Bengal Lancer,” Paramount definitely proved the- public s liking for red-blooded, adventurous stories set in colourful corners cf the earth. In “Tho Last Outpost,” which will bo shown to-morrow at tlie Regent Theatre, tlie same company lias produced a worthy successor to “Bengal Lancer” and there is every 7 indication that it will bo equally popular with the public. Although entirely different in plot development, “The Last Outpost” is strongly reminiscent in theme and treatment of “Bengal Lancer” for it deals with British military valour, daring and chivalry in savage parts of the world.. Whereas, however, “Bengal Lancer” was an all-male picture, this new production has the advantage of a heroine (Gertrude Michael) to give it romantic and feminine interest, though her presence docs not detract in the least from the virile and thrilling action which fills almost every foot of the entertainment. 7 “The Last Outpost” impresses immediately with its air of authenticity 7. Indeed, the character and career of the famous Lawrence of Arabia was obviously tlie inspiration of the role brilliantly played by Claude Rains. Ho is John Stevenson, a British secret service agent in Kurdistan, who saves the life of Captain Michael Andrews, of the armoured car division (Cary Grantj, when the latter is captured by Turkish irregulars and about to bo shot. The two British officers then join forces to save an entire Armenian Balkan tribe, friendly to the British, from massacre by the Kurds, by taking men, women and children and cattle across a flooded river to Mesopotamian mountains, at the same time averting a surprise attack on tho British army stationed there. Tho scene then shifts to Cairo, where a romantic side issue is introduced by Gertrude Michael, as a nurse in a hospital to which Andrews has been sent with an injured leg, and with whom ho falls in love, not knowing her to be the wife ot his comrade-in-arms. When Stevenson learns of this, his friendship for Andrews tnrns to hato and ho swears vengeance. Chance brings tho two men togethu 7 again, this time in an isolated fort in tho Sudanese desert near the Abyssinian border, which hordes of fanatical tribesmen arc planning to attack. It is in this lonely outpost of the Empire that tho film reaches its thrilling climax and the strange human problem, involving the conflict between love, friendship, and duty to country, is finally solved. The scenes of native warfare are particularly exciting and interesting, in view of current events in North Africa. The acting of the principals captures per fectly the adventurous spirit of the story which is filmed throughout on a most spectacular and convincing scale; while tho name of Colin Taplcy, tlie New Zealand actor, is prominent it, the strong supporting cast.

STATE THEATRE. “FRECKLES.” -A soul-stirring drama o£ love and action, filmed against a background of scenic splendour, will be offered at tlio opening performance of “Freckles” at tbc State Theatre to-morrow. For the lovers of the out-of-doors, the film is a pictorial feast of towering tress, rushing streams, fertile valleys and glimpses of wild life rarely eonailed on the screen; the camera captures all the beauty described in Ceno Stratton-l’orter’s book. To those who enjoy thrilling action the picture offers a spectacular fight between rivals for the love of a girl, the rescue of a little child from a terrible death beneath a crashing monarch of the woods and a battle to the death with deperadoes to save the life of a young girl. The golden thread of romance runs through the picture in the love of a lonely orphan boy for the country schoolma’am, and delightful comedy is supplied in the situations created by the innocent meddling of an adorable chatterbox, Laurie Lou. “Freckles” is' a friendless orphan boy who wins an enviable place in the business world and the heart of the girl he loves through his courage and loyalty in the face of desperate odds. Tom Brown gives to the title role an interpretation whoso subtle understanding and dramatic strength stamp him as one of the most capable of the younger screen players. Virginia Weidler, eight years old, gives a performance that is uncanny in its charm and realism. It is not acting, but the natural reactions of a mischievous youngster under given circumstances, as portrayed by this talented child. As the girl beloved by “Freckles,” Carol Stone, who makes her screen debut in the picture, gives all the sweetness and beauty that is required by the role. Characterisations which are worthy of praise are given by Lumsden Hare, James Bush, Addison Richards, and Dick Alexander. The sympathetic direction of Edward Killy and William Hamilton evidences a fine understanding of young people and their problems and reactions, and places their names on the roster of talented directors. Dorothy Yost wrote the screen version of “Freckles” and the picture is a Pandro S. Berman production for RKO Radio.