ENTERTAINMENTS

Manawatu Standard, Volume LIX, Issue 69, 18 February 1939, Page 3

ENTERTAINMENTS

REGENT THEATRE. “CRIME SCHOOL.” Sometimes amusing, sometimes tragic, and always exciting, “'Crime School,” now screening at the Regent Theatre, contains a powerful indictment of unthinking, brutal methods of dealing with juvenile crime. Effectively utilising tho talents of six New York boys wiio becamo famous in both stage and screen versions of "Head End,” as well us such adult pluyers ae Humphrey Bogart and Gale Puge, the latter a beautiful newcomer to the screen from radio, the now Warner picture makes a strong case lor ias basic theme —that the old typo of boys’ reformatory is m fact a “Crime School.” The newer methods of dealing with juvenile offenders—designed to prevent their developing into adult criminals —are effectively contrasted with tho old by basing the story on the determined fight made by an idealistic young ollicial to introduce bis ideas into a reformatory of the old type. The story makes the six “Head End” boys the storm centre around which the light rages. Bogart, for the first time in his screen career playing a hero, is the idealistic commissioner, and be plays his role not only with sympathetic understanding but also with the vigour and aggressiveness demanded of a character who successfully battles riot only stupidity and prejudice hut also political hypocrisy and crookedness. Remarkably true-to-life performances by tho six hoys have much to do with making the production both entertaining and moving. 1 a.’v Seiler, the director, evidently knew just when to let the boys take the bit in their teeth and when to rein them in. That be was a good choice for director is proved by the picture itself, and therefore it is not surprising to learn that he spent his own boyhood in an environment similar to the homo neighbourhood of the boy characters in the picture. Box plans arc now at Collinson and Cuoningbamo’s, phono 7178, and intending patrons aro urged to mako early reservations for this outstanding production.

STATE THEATRE.

"THE COWBOY AND THE LADY." The first of the new season’s pictures from United Artists is “Tho Cowboy and the Lady," now showing ai the Slate Theatre to-night, which wan produced by Sumtie! Goldwyn, who has in the past provided : many of the screen’s finest achievements, I It is a romantic love story richly endowed Iby the presence of two first-class cinema stars, Gary Cooper and Merle Oberon. Against a lavish setting of Washington j drawingrooms and Florida mansions, con- ! traeted with tho pictorial beauty of the western plains, “The Cowboy and the lady” unfolds a heartily-told story of the debutante daughter of a Senator, played by Merle Oberon, who is whisked sumarily away to bask on the Florida sands while a night club scandal is brewing in which she is involved Becoming bored with the conventions and restrictions of a socialite’s existence, she goes out on a ,f b7ind date” with her maid and cook. The feminine trio land at a rodeo show, and there Merle is paired with bronzed and robust Gary Cooper appearing as a cowboy hero of the golden wcet. The romance between the two is spiced with comedy and farce and gallops on to an unexpected climax. Cooper, as the strong silent type of hero who drily sees through the sham and glitter of so-called cafe society, returns to the kind of role which first made him famous. Back in a ten-gallon hat, high-heeled boots, dungarees and rall-your-owms, America’s No. 1 he-man of the silver sheet turns in his most stirring and dynamic performance to date. Merle Oberon, cast as a gay and witty modern of the upper-crust, enriches her role with fine timing and a beautiful sense of comedy.