ENTERTAINMENTS

Manawatu Standard, Volume LVIII, Issue 121, 22 April 1938, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. “MADAME X.” The screen demonstrates forcibly again that it can add new charm to the old beauty of the theatre. The time-hon-oured stago hit, “Madame X,” by Alexandre Bisson, has been adapted by Mctro-Goldwyn-Mayer with Gladys George in the title role and proves heart-stabbing entertainment. This is the picture which comes to the Mayfair Theatre on Saturday. The remembered story of the woman who was drawn by circumstances into a. life of degradation and was at the last defended by her son, who did not know her, has been one of the most dramatio stage vehicles in many years. It gains a greater quality of suspense in the adaptation. The producers have also brought the narrative closer into the presont without detracting ill any way from the original. Gladys George has played tile role on the stage She brings to the screen characterisation a wealth of artistry and delicate understanding. John Beal is the son and Warren William plays the part of Fleuriot, the husband. They are accomplished actors who contribute precisely the right qualities to their characterisations. The supporting cast is notably good, including Reginald Owen, William Henry, Henry Daniel!, Phillip Reed, Lynne Carver and Emma Dunn The director was Sam Wood who handled “Within the Law,” “Stamboul Quest” and many oilier important screen dramas, then turned his versatile talent to directing the Marx Brothers and succeeded in comedy, too. “Madamo X” remains on the screen the magnificent drama it was on the stage; in older generation remembers it with keen enthusiasm. Now it comes enhanced witJi tlie now power of the films. 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 “ICO Men and a Gill.’* Her new production is almost entirely com-edy-drama, hut 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 aie immediately followed by comedy sequences, forcing smilos. 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 lias convinced the star that her future on the screen would be ruined if the jmblic knew she was a mother; lienee she cannot write to Deanna, nor can the child admit who her mother is. ’The child keenly feels her plight as the ether children boast of their parents, and, to make-herself appear equal to them, she lias invented a fictitious liunter-adventurer-father from whom she receives letters (written by lerself) which slio proudly shows to the oilier students. But finally she is forced lo produce a father. She selects Herbert Marshall as her male parent —and then the complications follow thick and fast. Gail Pat tick is east as the screen-star-,mother, will) William Frawley as the business manager. Arthur Treacher comes in for his .share of I lie comedy work as the secretaryvalet to Marshall. Christian Rub is Deanna’s confidant, friend and accessory in her deception. Elizabetli Risdori and Nana Bryant are the sisters who keep the school in Switzerland.