ENTERTAINMENTS

Manawatu Standard, Volume LVI, Issue 47, 24 January 1936, Page 3

ENTERTAINMENTS

REGENT THEATRE. "THE LAST OUTPOST." With “Tho Lives of a Bengal Lancer,” Paramount definitely proved the public s liking for red-blooded, adventurous stories set in colourful corners qf the earth. In "The Last Outpost,” screening finally to-night at the Regent Theatre, the- same company has produced a worthy successor to “Bengal Lancer” and there is indication that it will bo equally popular with the public. Although entirely different in plot development, “The Last Outpost” is strongly rcininisocnt ill 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-malo picture, this now production has the advantage of a heroine (Gertrude Michael) to give it romantic and feminine I interest, though her proscnco docs not detract in the lcyist from the virile and thrilling action which fills almost every foot of the entertainment. “THE CRUSADES.” Not excepting even “The Ten Commandments’' and “The Sign of tho Cross,” the Paramount film “the Crusades,” wh'eh will begin at the Regent Theatre to-morrow is Cecil B. De Hide's finest achievement. The critic of “Variety” describes it as “great entertainment from every angle and for every kind ot audience.” No less majestic and spectacular than other De Mille productions, this one is the most warmly human of them all, with a powerfully moving lovo story to give it romantic interest. As a whole jdie picture sweeps forward with majestic pageantry and cumulative suspense, while individual scenes and intimate detail aro superbly developed by De Millo’s best d reclion. Regal pomp, intrigue which threatons the crusaders’ unity, spectacles which dazzle the onlooker, and the crashing impact of battles have been so skilfully balanced that they never overshadow the simple lovo tale between Hoiiry Wileoxon as the English king, Richard the Lion-ITearted, and Loretta Young as Bcrcngaria, princess of Na\ • arre, whom he makes lus queen. These two roles,and that of lan Keith as Saladin are magnificently piayed, and tho many other lending roles are scarcely less impressive. Miss Voung enacts with fine spiritual power hor ardent and sacrificial dovotion to her royal husband, and has never looked more beautiful. Her scenes us the captivo of Saladin are done with delicate skill. V ilcoxon’s portrait of tho Lion King is superb in its genuine, appealing immunity, its sense of power among his men and fellow . kings, and of tenderness to the woman who he married by proxy of tho sword. Physically lie fulfils the qualities that made Richard the legendary hero of Armageddon. lan Keith in the role of Saladin gives a memorable, performance in some respects overshadowing all the others. He bears himself with the dignity and gal" lantry that made this sultan respected by his loes and tho idol of all Islam. C. Aubrey Smith makes an outstand-ug figure of the zonlous hermit who musters the crusaders and dies in the siege of Acre. Joseph Schiidkraut adequately plays Conrad of Montferrat, the treacherous tool of Prince John of England. Alan Hale inserts gay clowning as Blondel, the troubadour of Richard, Montagu Lovo is splendid as the kings sword-maker; C. Henry Gordon skilfuby enacts Philip of Franco; and Katherine De Mille is colourful as Alice, the French king’s sister who fails in her attempt to win tho hand of Richard. George Barbier brilliantly plays the old King of Navarre. Tho photography is a thing of beuuty and magnificence in composition and movement, ranging from eloquent ciose-ups to the sweep ol cavalry charges and the terror of the medieval war machines before file walls at Acre. Of all the De Mille pictures dealing with subjects of religious significance, this one lias best adjusted the elements of dovotion and drama to make outstanding _ entertainment for all classes of the public. STATE THEATRE. "FRECKLES.” “Freckles,” a soul-stirring drama of love and action, filmed against a background of scenic splendour, will be offering at the State Theatre to-day. 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 coualled on tho scleen; the camera captures all the beauty described in Gene Stratton-Porter’s book. To those who enjoy thrilling action the picture otters 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 oi a young girl. Tho golden thread of tornance runs through the picture in the love of a lonely orphan boy for tho country schoolma’am, and delightful coihedy is supplied in the situations created by the innocent meddling of an adorable chattel box, Laurie Lou. The sympathetic direction ol Edward Killy and Wiiliain Hamilton evidences a fine understanding of young people and their problems on the rooter of talented directors. “IN OLD KENTUCKY.”

Will Rogers’s last—and greatest—picture, “In Old Kentucky,” comes to-morrow to the State Theatre. Adapted from the play whose humour, sunny romance and tingling horse race drama have made it a favourite of three generations, “In Old Kentucky” stars Rogers in a role that piesents his -rich down-to-earth character in its moat lovable light. Sum Heilman, famous humorist, and Gladys Lehman adapted the play to the screen in modernised form, but preserved all of its drama and its rich comedy of character and incident. In the picture, Rogers enacts a shrewd and genial trainer of horses, whose homely philosophy and keen wit acts right all the troubles of the impulsive people about him. Russell Hardie and Dorothy Wilson play the romantic youngsters of “In Old Kentucky. She is the daughter of old Charles Sellon who is feuding with Charles llichman. Although his daughter fights to win Hardie for herself, it is Rogers’s shrewd aid that finally brings the boy to Miss Wilson. Rogers’s able assistant in the picture is Bill Robinson, the tap dancing genius, who teaches the comedian enough of lus foot artistry to win a handsome widow, and thus provides one of the comedy punches of the picture. Although “In Old Kentucky” is full of humour and drama in the feud situations and. the wrangle with the crazy rainmaker, it reserves its great thrill for the pounding climax in which racing thoroughbreds pound down the stretch carrying romance and drama in their saddle. Louise Henry, Alan Dmohart, Esther Dale and . Etienne Girardot are the principal supporting players in “In Old Kentucky,” which was directed by George Marshall

KOSY THEATRE. “HOUSEWIFE.” Drama so real and so human that it appeals to every spectator is presented in “Housewife,” the Warner Bros, production; which is finally screening to-night •at the Kosy Theatre, with George Brent, Bette Davis and Ann Dvorak heading an all-star cast. The story by Robert Lord and Lillie Hayward concerns the age . old love triangle, but Warner Bros, have given the theme new and novel treatment, ihe picture glorifies the woman of the home, for it 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 Rushy rivlil. “SHIPMATES FOREVER.” Dick Powell and Ruby Keeler are again co-starred in the new Cosmopolitan drania-with-music, “Shipmates Forever,” which opens at the Kosy Theatre to-morrow. The famous screen lovers who made their first hit in “42nd Street,” following it. with “Gold Diggers of 1933,” “Flirtation Walk” and other screen successes, appear in their most pretentious picture in “Shipmates Forever,” a thrilling drama of midshipman life. Dick sings a number of catchy songs, which fall naturally into the plot, he being a crooner at a New York park casino be-

fore becoming a naval cadet. Bliss Keeler, who plays the part of Un orphaned daughter of a navul officer, compelled to earn her living dancing in a night club, given an exhibition of fancy tap dancing with the famous Mcglin Kiddies. Glumoroua sequences have been taken with tho Academy as a background, tho film company having spent moro than a month at Annapolis to get tho real sotting. Moro than a thousand cadets tako part in tho scenes, while as many other officers and men of the Navy work with tho screen players. Tho traditional customs of the Naval Academy are all woven into the romantic and exciting plot, which soars in suspenso to tho breath-taking climax when Rowell dashes through flame and scalding _ steam to rescue a shipmate, thereby winning a bride. Thcro is a talented supporting east in the picture, which is a Warner Bros, release, including Lewis Stone, Ross Alexander, Richard (Dick) Foran, Eddie Acutf, John Arledge, Joseph Grehan, Robert Light, Martha Merrill and Mary Treen. Special songs were written for the production by tho famous team of Warren 1 and Dubin. Frank Borzage directed it from the screen play by Delrner Daves.