ENTERTAINMENTS

Manawatu Standard, Volume LVIII, Issue 121, 21 April 1938, Page 3

ENTERTAINMENTS

METEOR THEATRE. “GREEN LIGHT.” “Green Light,” that stirring story o£ herosim, sacrifice and love, which had many hundreds of thousands of readers in its book form a couple of years ago, comes as a photoplay to the Meteor Theatre a faithfully made, splendidly cast Cosmopolitan production, released by First National. Errol Flynn, the young Irishman who made sensational hits in “Captain Blood,” and “Charge of the Light Brigade,” is the masculine 6tar of Lloyd C. Douglas’ gripping tale. He plays Dr Paige, the scientist who almost gives his life in researches destined to alleviate human suffering. The girl he wins,, after misunderstanding and unhappiness, is the lovely little blonde Anita Louise, who had a recent triumph of her own as the mother of “Anthony Adverse,” in the film version of that book, and shares stellar honours with Flynn. The saintly philosopher. Dean Harcourt, friend and advisor of all tho characters in the story, is played by the distinguished British character star, Sir Cedric Hardwicke, who was .brought 6000 miles from the London stage to the Hollywood cameras for just this one job. Margaret Lindsay portrays a devoted hospital nurse who loves Flynn, hut has to surrender him. Henry O’Neill is a surgeon who unwittingly forces Flynn into a long martyrdom. Walter Abel, whose most recent success was as the district attorney in “Fury,” was especially engaged to enact the role of Flynn’s friend and fellow scientist. Enthusiastic reports about “Green Light” have come from preview audiences. It was directed by Frank Borznge. MAYFAIR THEATRE. “A DOCTOR’S DIARY.”

If you were asked to guess what screen star boasts a history as a song-and-dance man, a blackface comedian, a trick bicycle rider and a romantic leading man, there’s one player you’d probably name last — George Bancroft. Yet that’s the history of the film, “tough guy” who will be seen to-night at the Mayfair Theatre in' tho Paramount picture, “A Doctor’s Diary,” a revealing drama of hospital life. Bancroft had never played a tough role in his life, after a stage career that began at the ago of 12, when a quirk of moviedom “typed” him as a brute in “Underworld.” In twelve pictures thereafter, the player remained a man of blood and iron to screengoers—and he’s just beginning to get into roles of a different type. In “A Doctor’s Diary,” he’s a bluff, good-natured doctor of the old school. In two of the recent pictures ho has played comedy roles. “A Doctor’s Diary” presents John Trent, new film discovery, and Helen Burgess, who made her movie debut as a leading actress in Cecil I>. Do Millc’s “The Plainsman,” in the top romantic role. Tho story is a be-•hind-tho-scenes relation of a young doctor's battle to win the girl ho loves and solve the riddle of infantile paralysis—with strong forces battling against him in both endeavours. Ra Ilould, the talented Now Zealander, is also featured in this production. “CALL OF THE PRAIRIE.” Another thrilling “Hopalong Cassidy” adventure comes to the Mayfair Theatre to-night, with the showing of the latest Clarence E. Mulford-Paramount western, “Call of tho Prairie,” co-featuring William Boyd and Jimmy Ellison. Based on the Mulford book, “Hopalong Cassidy’s Protege,” this new western action drama is an unusual story of a man’s efforts to prove his innocence against untold odds, apparently forstaken by his friends, virtually an outcast. REGENT THEATRE. “MAD ABOUT MUSIC.”

Deanna Durbin’s latest picture is always an event. “Three Smart- Girls” was a surprise, bringing to the screen a fresh, sparkling and lovable little star. “100 Men and a Girl” was a revelation of the tremendous singing abilities of this amazing youngster, and “Mad About Music” is an astounding display of both acting and singing. The producers of “Mad About Music” have boldly thrown Deanna into a story that demands the utmost in acting talent. And 15-year-old Deanna handles the difficult assignment with ease and assurance. As entertainment, “Mad About Music” excels either of her previous pictures, although it departs entirely in theme and structure from “Three Smart Girls,” or ‘TOO Men and a Girl.” Her new production is almost entirely com-edy-drqma, but with a story that lends itself to several highly-emotional passages, heart-gripping in their intensity, bringing tears in their wake much as did the finale of “100 Men and a Grl.” The tears are immediately followed by comedy sequences, forcing smiles. It is this procession of smiles and tears which makes “Mad About Music” a great picture. It's a Universal film. Deanna is cast as a fatherless girl, attending a private school in Switzerland. Her mother is an American screen star, famous for her ingenue roles. Her manager has convinced the star that her future on the screen would be ruined if the public knew she was a mother; hence she cannot write to Deanna, nor can the child admit who her mother is. The child keenly feels her plight as the ether children boost of their parents, and, to make herself appear equal to them, she has invented a fictitious hunter-adventurcr-father from whom she receives letters (written by herself) which sho proudly shows to the other students. But finally she is forced to produce a father. She selects Herbert Marshall as her male parent —and then the fcomplications follow thick and fast. Gail Patrick is cast as tire screen-star-mother, with William Frawley as the business manager. Arthur Treacher comes in for his share of the comedy work as the secretaryvalet to Marshall. Rub is Deanna’s confidant, friend and accessory in her deception. . Elizabeth Risdon and Nana Bryant are the sisters who keep the school in Switzerland.