ENTERTAINMENTS

Manawatu Standard, Volume LVIII, Issue 123, 23 April 1938, Page 3

ENTERTAINMENTS

STATE THEATRE. “THE RETURN OF THE SCARLET PIMPERNEL.” Romance rides the screen again with London Films’ version of another grand Baroness Orczy story, “The Return of the Scarlet Pimpernel,” now showing at the State ' Theatre. The film is a further chapter in the thrilling adventures of Sir Percy Blakcney—“that damned elusive Pimpernel”— a character brilliantly created on the screen two or three years ago by Leslie Howard. In “The Return of the Scarlet Pimpernel” this role is taken by a handsome young newcomer, Barry K. Barnes, who by his masterly performance establishes himself immediately as a starring personality. Although he has had extensive stage experience, this is the first time Barnes has appeared on the screen. But there is certainly no suggestion of inexperience in his portrayal, which is a flawless exhibition of ease and charm. No greater praise could be rendered him than to say his performance loses nothing by comparison with Howard’s masterly interpretation. Against the same exciting background of revolutionary France, with the same colourful Orczy characters, but with an entirely- new set of adventures, the producers have created a swirling atmosphere of romance and drama, crisp and sparkling as a spring breeze. The story opens quietly in England, with Sir Percy in his foppish guise, enjoying an exhilarating game of cricket in between exchanging witty sallies with the boisterous Prince Regent. But even at this moment, away in France, the tyrant Robespierre and his chief of police, Chauvelin, are plotting the capture of Lady Blakeney, to be used as an irresistible bait in the trap prepared for the “Pimpernel.” The plot succeeds, and Lady Blakeney. played with grace and beauty by Sophie Stewart, is taken Paris and put on trial for her life. V ith cuetomary darjng, Sir Percy and his Leaguers follow immediately. By ingenious disguise and desperate cunning, Sir Percy effects her rescue, only to _ find the tables turned on him by Chauvelin. Lady Blakcney is recaptured and Sir Percy barely escapes with his life. His back to the wall, Sir Percy stakes all on a last desperate gamble to release France from the grip of tyranny and save the life of the. woman he loves. How he succeeds, is told in terms of the finest scrcencraft, with suspense building up swiftly to a climax of thrills. The acting throughout maintains a high level, and Barry K. Barnes and Sophie Stewart receive excellent support from Margaretta Scott, James Mason, Francis Lister and Anthony- Bushcll. Such films as “The Return of the Scarlet Pimpernel” are rare, providing as it does v entertainment that can be understood and enjoyed by every member of the family over the age of 7 and under 97.

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. ‘TOO 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 Girl.’ Her new production is almost entirely com-edy-drama, 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 ‘TOO Men and a Grl.” The tears aie 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 stnr, famous for her ingenuo roles. Her manager has convinced the star that her future on the screen would be ruined if the public knew she was » 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 boast of their parents, and, to make herself appear equal to them, she has invented a fictitious hunter-adventurer-father from whom she receives letters (written by herself) which sho proudly shows to the other students. But finally sho is forced to produce a father. She selects Herbert Marshall as her male parent—and then the complica.tions follow thick and fast. Gail Patt'ck is cast as the screen-star-mother, with William Frawley as the business manager. Arthur Treacher comes in for his share of Iho comedy work as the secretaryvalet to Marshall. Christian 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.

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 stage hit, “Madame X,” by Alexandre Bisson, has been adapted by Metro-Goldwyn-Mayer with Gladys George in the title role and proves heart-stabbing entertainment. This is the picture now showiug at. the N Jay fair, Mhcatre. lhc remembered story of the woman who was druwn by circumstances into a life of degradation and was at the last defended by her eon, who did not know her, has been one of the most dramatic .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 present without detracting in any way front the original. Gladys George has played the 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 Daniell, Phillip Reed, Lynne Garver and Emma Dunn The director was Sam Wood who handled “Within the Law,” “Stamboul Quest” and many other important screen dramas, then turned his versatile talent to directing the Marx Brothers and succeeded in comedy, too. “Madame 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 with the new power of the films.