ENTERTAINMENTS

Manawatu Standard, Volume LVII, Issue 276, 21 October 1937, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. “A NIGHT AT THE OPERA.” , Those merry madcaps, the Marx brothers ; —Groucho, Chico and Haipo—spent two years in preparation for the filming of their latest comedy, .“A Night at the Opera, which screens to-night at the Mayfair Theatre. It was worth waiting for ! Here is a picture that is not only tops for the screamingly funny comedy you would expect from the Marx brothers, but one that is built around an intriguing plot, an interesting story and some truly brilliant singing by twp Broadway stage favourites. Kitty Carlisle and Allan Jones. The action romps along •at sprightly pace as Groucho, Chico and Ilarpo go into the grand opera business in Italy, dash across the Atlantic and stage an opera in New York that has the city on its ear. It is opera such as has never been seen before, as the Marxes become matchmakers to further the romance of two unknown opera singers. Original comedy, sparkling dialogue, delightful opera and, of course, M-G-M’s madmen, the Marx brothers, vie in the funniest, most delightful funfeast that has come to the screen for some time. Supporting the Marxes, in addition to Jones and Mias Carlisle, who are perfectly cast as the young lovers, are Walter King, who also has a fine singing role, Siegfried Ruinann, Margaret Dumont, Edward ICearnc and Robert Emmet O’Connor. Sam Wood, who has directed more than 40 feature films, must be credited with a job well done. “SHADOW OF DOUBT.” Arthur Somers Roche's baffling mystery story, “Shadow of Doubt,” which kept the readers of Colliers in suspense for so many weeks, and which has created more comment than any story of its typo since “The Thin Man,” is to come to the screen heralded as one of the most novel of all filmdom’s detective yarns. Produced by Metro-Goldwyn Mayer, with Ricardo Cortez and Virginia Bruce heading an imposing cast. As in “Penthouse,” by the same author, “Shadow of Doubt” deals with the interesting people of both Broadway and Park Avenue and those more sinister characters who haunt the streets between. Instead of the usual suave and fearless amateur detective, this story deals with a picturesque, elderly woman, possessor of millions, a recluse in Americas biggest city, who emerges from obscurity to solve a “perfect crime.” Pitted against the cunning of the city’s best detectives and the power of its police, this remarkable character creates something entirely new to both the films and fiction. REGENT THEATRE. THE INSIDE STORY OF DEANNA’S ACTING. Acting is fun to Deanna Durbin. Singing is hard work. But she enjoys the hard work of singing more than the fun of acting. This was revealed by the little 14-year-old soprano during the filming of her new Universal picture, “100 Men and A Girl,” which commences at a special 10.30 session on Friday night at the Regent Theatre. Deanna appears in 292 of this picture’s 376 scenes. She acted four hours a day, every day for six weeks. She sings three songs in the production, perhaps 15 minutes of singing all told. Yet for this 15 minutes of warbling she spent more time and trouble in rehearsal than for her 168 hours of acting. And she loved it. In “100 Men and A Girl,” which is Miss Durbin’s first picture since her hit debut in “Three Smart Girls,” she is starred with Leopold Stokowski, celebrated orchestra conductor. She is cast as the duughter of Adolphe Menjou, a trombonist who has not worked lor two years. Deanna sets the Jun of this sentimental comedy going when she tries to persuade Alice Brady and Eugene Pallctle to back an orchestra composed of her daddy, Mascha Auer, and 98 other jobless bandsmen, and attempts to inveigle Stokowski into leading it. Two of her songs for this part arc popular type numbers. Her third ig an operatic aria sung to the accompaniment of the 100-piecc orchestra. “I sing about three hours every day, now that we are making this picture,” Deanna told reporters on the “100 Men” set. “That is an hour more than 1 do when there isn’t any movie work. 1 start early in the morning before mummy 1 come to the studio. We have a soundproof room at home; so I can practice in that. I don’t have to sing my scales in the shower. Then between scenes here I do my vocal exercises and rehearse my so'ngs rts yon see. Then there is my daily singing lessons from 3 to 5.30. And then I’m through for the day.” Compared to this Spartan course of musical training, acting is just child’s play to Deanna. And that is exactly what director Koster tried to make- it all through the filming of “100 Men and A Girl”—a pleasant gameof make-believe. He filmed all her scenes in short takes, a few feet of celluloid 'at a time. Each take was preceded by a brief rehearsal in which Koster would outline to Deanna what she was to pretend to bo in the scene. Deanna would then rehearse this pretence, with Koster occasionally stopping her and setting her right. Then the scene would be shot. Deanna and her director are great pals, and there was a lot of laughter and gay banter exchanged as they turned their game of “let’s pretend” into a feature film.

KOSY THEATRE. “THE LEAGUE OF FRIGHTENED MEN.” With the shrewd amiability that lias won him a preferred niche m the hearts of detective story readers and movie fans, Nero Wolfe again solves a complicated crime. This time it involves no less than three murders, and its roots are embedded 20 years back in the lives of 13 men. Nero is personified in that extremely fine actor, Walter Connolly, who cleverly manoeuvres the character ’through the engrossing Columbia production of one of Rex fjjtout’s better stories, “The League of Frightened Men,” now showing at the Kosy Theatre. Let it bo said right now that Connolly is the perfect Nero Wolfe. Aside from being a particularly gifted actor, Connolly is so naturally most persons’ conception of the Stout that it is uncanny. And, of course, there is the inimitable Lionel Slander as Archie Goodwin, Nero’s right bower. Apparently it is impossible for these two actors ever to be anything less than excellent. Fine performances are also turned in by Eduardo Ciannelli, Irene Harvey, Allen Brook, Walter Kingsford, Leonard Mudie, Edward McNamara and others. As a mat ter of fact, the cast is uniformly superior, It is a strange story of twisted minds. Twelve fellow students hazed PaulChapin in college, and since then Chapin has been a cripple who hobbles about on two canes. His resentment toward his former classmates is deep and bitter. When the 12 hazel's receive death notes they aie certain Chapin sent them; when two of their number are murdered, they are sure Chapin sent them to their death, brightened, they call upon Nero Wolfe to protect them from Chapin's rage. Nero, always the business man. assesses the “league of frightened men” according to their ability to pay tor his services. With cunning strokes, he uncovers one singular fact after another —it isn’t fair xo disclose them here —until he lays bare the entire diabolical plan. But not before another member of the “league” has / met violent death. , “WEST BOUND LIMITED.’* The exciting incidents of a railroad drama, “West Bound Limited,” are now showing at the Kosy Theatre. From the first toot of the locomotive whistle to the last click of the rails, this movie provides thrilling entertainment.