ENTERTAINMENTS

Manawatu Standard, Volume LVII, Issue 100, 30 March 1937, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. “SHOW BOAT.” 1 Music, romance and drama, fused together by .magic that weaves an enchanting spell. This briefly describes “Show Boat,” screening finally to-night at tho Mayfair, which will sweep across your emotions like the rushing tide of the Mississippi. What memories the Kcrn-Hammer-stein songs bring hack. What thrills in the love story of Magnolia and ltavenal, portrayed by Irene Dunne and Allan Jones. There is the convincing throb of life in the narrative, peopled with 3500 players on the screen. There is the rhythm of the ages in Paul Robeson’s songs, “Old Man River” and “Ah Still Suits Ale.” Behind his splendid robust baritone there arc pulsing waves of harmony, swelling from 200 resonant voices that rise and fall and heat like tree branches vibrating in the wind. Or like ship’s sails, billowing full, thrusting against a swift-running sea. 'There’s Helen Morgan, the Julie who captured nudiences when she sang “Bill,” and “Can't Help Lovin’ That Alan” on tho stage. She gives her screen role the same appealing charm. Charles Winningcr, the show boat captain, possesses a warm human friendliness that seems to reach out and cheer up the whole world. His wife, Helen Westlev, is a sharply etched characterisation of a lady with a talent for uttering words that, burst like tire and brimstone. There is the smart dancing of Quccnic Smith and Sammy White, emphasised by a chorus of 48 beauties who probably • learned to dance as soon as they could walk. Sunnic O’Dea offers a winsome performance. “Show Boat” is a big picture. KOSY THEATRE. “FLYING HOSTESS.” A film story as fast moving and as typical of the modern age as the mighty airliners which served as its background in Universal’s “Flying is ; screening linally to-day at the Kosy. It in a picture with a wide appeal. Besides romance, it embodies the additional appeal of the epic of transportation and man’s age-old conflict with the elements, in a modern setting. “Flying Hostess” is reminiscent of the grand plays that have been written in the past around the ‘ covered wagon, the railroads and, more I recently, the automobile. It is the ntory, absorbingly told, of America's new modern era of trans]>orlation —the aeroplane. In highly interesting style, it points up the courage, the bravery, the idealism and the glamour of the men ami women who operate the nation’s great airliners. In the leading role and giving one of the best performances of his notable career, William Gargan portrays Hal Cunningham, tile air line superintendent, in whom is epitomised the fearlessness and idealism which stands as a guiding beacon to those who fly the airways. Through the story runs the stormy romance of Judith Barrett, us Helen Brooks, and ol \\ illiam Hall, as Guy Edwards, the ace pilot. She wants so greatly to be an air hostese that she risks her life to get the job. He falls in love with her, but he thinks there is no place for women in tho air. Their love runs a turbulent course before she proves to him that woman’s emancipation extends' to the air as well as land. Andy Devine and Ella Logan, the radio star | making hei first screen appea;ancc, contribute many delightful comedy situations. "Flying Hostess” is based on a story written by George Sayre. The screen play was written by three of tho best screen writers in Uollvwood —Brown Holmes, Harvey Gates and Harry C'lork. It was deftly directed by Murray Roth, the mail who co-ilirceUxf the (iiv-t all-talking picture, and was produced by Edmund Grainger. “MILLIONS.” Admirers of Frank I’cttingell’s rendering of Yorkshire and Lancashire characters wilt lind in "Millions.” tho new Herbert \\ llj cox production, that he has another siting lo his how. He plays the part of Sir ] Charles a linaiicial magnate and society, man, and his accent in this part max tie described as distinctly “County.”