ENTERTAINMENTS

Manawatu Standard, Volume LVIII, Issue 77, 28 February 1938, Page 3

ENTERTAINMENTS

STATE THEATRE. “KING SOLOMON’S MINES.” During the last six months or so there has been a dearth of brilliant film adaptions of story classics. “I.es Miscrablcs.” “David Copperficld,” “Little Women,” are but three' productions that come to one’s piind. Strangely enough. England- has contributed but lit tie to the really excellent classic productions to dale, but now at last wo have seen an English film that will rank with any previous clnssic brought to the screen. Eor sheer entertainment and unexcelled pictorial presentation of the author’s original ideas, “King •Solomon’s ' Mines,’ screening tonight 1 at the State Theatre, takes first place in to-day’s film world. H. Rider Haggard has been responsible for adventurous, imaginative talcs that have thrilled readers since the ’eighties and will continue to do so for years to come. These stories have all the glamour and romance that appeals to any imagination, and “King ‘ Solomon’s Mines”, is probbaly the best of these. It is ideal film material, and as .adapted and presented by G.-8.-D. under ' the direction of Robert Stevenson, it _ is Britain’s film triumph and intense, exciting entertainment. The story of Kathy O’Brien and her diamond-mining father who obtain a wagon lift from a hunter, Allan Quartermain, and who are later joined by Commander Good and Sir Henry Curtis, explorer and adventurer, with tho powerfully built_ Umbopa for driver and guide, makes interesting material. O’Bricji then disappears with a map ho :has obtained, supposedly locating _ the fabulously rich diamond mines—King Solomon’s Mines —and tile party, following in tho wake of Kathy who has gone in search of her father, takes an interest in the proceedings. From the moment they are captured by Zulus and Umbopa reveals himself as their rightful king, the story builds up to a thrilling and powerful climax that involves fierce tribal wars, grueEomo mischief by witch-doctors and an enormous volcanic upheaval. These scenes have been brilliantly and realistically produced, and tho tribal war and celebration Beenes in which thousands of natives take part are both impressive and spectacular. As Umbopa. Paul Robeson has never been seen' to I Letter advantage. He sings three songs during tho action of the fijm_ in glorious voice. and acts with conviction. Sharing. all honours is Cedric Hardwieke as Allan Quarter-main, adventurer. This convincing English star adds but one more characterisation :o his successful list. Roland Young makes Commander Good an interesting, frien.liy litllc fellow with brilliance, and the romantic interest is sincerely handled by Anna Lee and John Loder. R-iGENT THEATRE. "PRISONER OF ZENDA.” Right on tho heels of his sensational hit, "A Star is Born,” David Selznick has ■ushered in another magnificent piece of entertainment. Tho picture is “Ibe Pris-

oner of > Zenda,” Anthony Hope’s swashbuckling talc oi love, intrigue and adventure in the eouits of Europe, wliich screens lit the Regent Theatre to-night, with . Ronald Colrnun, Madeleine _ Carroll and Douglas Fairbanks, junr., in the leading roles. Colman . plays the dual role of King Rudolf V and tho adventurous Rassendyll in this talc of love and intrigue among the courts of Europe, which John Cromwell directed from a screen-play which John L. Balderston and Wells Root based on Edward Rose’s dramatisation of the Anthony Hope novel. Miss Carroll ■ plays the beautiful Princess Elavia and young Fairbanks' is seen as the dashing Rupert of Hentzau. Lavishly mounted with some sixty-odd breathtaking ■ sets, including a cathedral, a castlo and the sumptuous castle ballroom, designed by Lyle Wheeler, “The Prisoner of Zenda” offers some of the most impressive and beautiful scenes ever filmed, notably the coronation ceremony and tho coronation ball. John L. Balderston and Wells Root have made a grand scene, play, and all the members of the imposing cast turn in uniformly fine performances' under the expert, direction of John Cromwell. The eye-filling costumes were designed by Ernest Drydcn, and the splendid photography is credited to James Wong Howe. METEOR THEATRE. >’ “GOLDEN ARROW.” Bette Davis, with George Brent playing opposite her in the masculine lead, is featured to-rlight at the Meteor Theatre in the fast-moving First National comedy drama “The Golden Arrow.” Miss Davis appears in a rolo quite different from thoso which won her the award of the Academy of Motion Picture Arts, and Sciences as the best film actress of 1935. In “Tho Golden Arrow” she gives a light comedy portrayal with a romantic twist, which involves also sonic dramatic moments. Brent’s role is also largely comedy, he being a shy young reporter, whose chief interest is a book he is writing, but who finds time to fall in love with the blondo Betto after a series of misunderstandings and flirtatious entanglements which early break the course of true love. Other hilarious complications are caused by the attempt of a newly rich oil heiress to break up the love affair and steal her rival’s lover after her retinue of foreign princes, nobles and other fortune seekers have deserted her for the lovely blonde who also is presumed to he fabulously wealthy. The picture moves in swift ■tempo to the hilarious and surprising climax in which the young blondo beauty proves not to bo wealthy at all, but a simple American girl whose whole yearning is for a real romance and tho love of the one man in the world to her. The picture is set in the lavish background of luxurious, yachts and hotels patronised by millionaires and the rollicking fun is carried on to tiie tune of popping champagne corks. Michael Arlen, the famous English dramatist, .wrote the piay. In tho cast besides Miss Davis and Brent arc included Eugene Pallettc, Dick Foran, Carol Hughes, Catharine Doueet, Craig Reynolds, Lebedeff, G. P. Iluntley, junr., Hobart Cavanaugh, Henry O’Neill and Eddie Acuff. Alfred E. Green directed.