ENTERTAINMENTS

Manawatu Standard, Volume LIX, Issue 192, 15 July 1939, Page 3

ENTERTAINMENTS

METEOR THEATRE. “THE LAMBETH WALK.” “The Lambeth Walk.” that fascinating, tantalising tune that has swept the world and has got everybody doing “as they darn well pleascy,” now takes on a new lease of life and has fresh worlds to conquer iii the film version of tlic Victoria success, "Me and my Gal,” with Lupino Lane, star of the original stage hit. in his famous role as the little Cockney’ who inherits a title and eels blue blooded aristocracy agog with bis lack of poise and bis wealth of “Oi's.” Albert do Gourville directed “The Lambeth Walk,” with Anthony Havelock-AUan of “This .Man _ is News” fame, as producer. Supporting “Nipper” Lane in his whimsical comicalities are Sally Gray, who scores an immense personal hit as the Cockney sweetheart of the Cockney hero, and that dean of the English stage. Sir Seymour Hicks, who plays an unconventional and lot able old nobleman. Other members of the east include Noralt Howard. Enid Stamp-Tay-lor, Wallace Lupino and many more. The film is now showing at the Meteor Theatre by Met ro-Goldwyn-.Mayer Pictures, Ltd. The all-conquering dance, of course, is one of the highlights of the production, and that, allied to the splendid performances by every member of the cast, and the haunting music by Noel Gay. make “The Lambeth Walk” a treat in store for everyone and a pre-ordained success at every box office in the world. From the opening shot, set in tho famous London suburb, to (lie hilarious reunion of the two Cockney lovers, “The Lambeth Walk” ripples on iis way with one chuckle following closely on the heels of another. The star gives the performance of his life and has the time of his life re-creating “Bill” the hero, a little Cockney with all the lovable traits which oven social snobbery cannot smother.

STATE THEATRE. “FISHERMAN’S WHARF.” Brimming with human interest and rich with humour, Bobby Breen’s newest and most appealing motion picture, “Fisherman’s Wharf,” is showing now al (he State Theatre. With young Bobby as the star and featuring Leo Carrillo, Henry Armotla. Lee Patrick and Slicker, tho famous acting seal, at the head of its supporting cast, the film stands apart as a screen vehicle. Bobby himself, as the rough, happy-go-lucky son of Carrillo, a Sicilian fisherman of San Francisco, has never been seen to heller advantage; in his new role he displays talents only suggested in his past performances. With it song on his lips and r. uair of clenched lIMs, he sails into this lie',? characterisation with a vitality and a virility not before revealed Gone is the goody-goody boy; lie now stands on his own two sturdy feet and lets fists and quips fall where they may. Another factor which places this picture above previous Breen films is the fact that tho story locale oilers a unique background. Laid against a setting of San Francisco’s colourful Fisherman's Wharf and the famous Golden Gate Bay area, the film for the first time projects the picturesque and gay life of what is frequently called the American Mediterranean. -Many of the scenes show a number of San Francisco's famous landmarks—the Golden Gate Bridge, Alcatraz Island. Treasure Island, homo of the 1939 Exposition, and the Ferry Building. Interesting, too, is the fact that Victor Voting, noted orchestra conductor, is credited with the musical setting. Also, that Frank Churchill, of “Snow White” musical fame, created one of the sets of medlevs. Lyrics were prepared by Paul Webster. who helped Bobby on bis rise to lame with the words for one of his early hits, “Rainbow on the River.”