ENTERTAINMENTS

Manawatu Standard, Volume LX, Issue 239, 6 September 1940, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. \ “ON TI-IE GREAT WHITE TRAIL.”' Renfrew meets _ Ray Larkin under unfavourable—io him —conditions ■when his 15°?’- ®‘* ver King, dumps her spirited little Pekinese dog into a garbage, can. Accompanied by her father’s manager, Williams, she has come to the post where Renfrew is stationed to meet Larkin, nonresident owner of a number of trading posts. La Grange, a half-breed, arrives with a message that her father will be delayed on business and that she and Williams aro to return to Chicago. Since a storm has broken ’phone connections, 6he refuses and insists on going to the more northern post operated by Garou, so Renfrew’s commander details him to act as her escort. After their departure, word comes through that a trader has been killed and robbed; a mountie, Ryan, also killed, and that Larkin is blamed for both killings and has fled. This comes from Dr Howe, a brilliant physician whose constant' tippling explains his presence in this out-of-the-way place. This is a brief description of some of the many tense situations from “On the Great White Trail,” now screening at the Mayfair Theatre.

An old flame singes Dagwcod—and Blondio burns ? An eyeful of “oomph” barges in on the Bumsteads —the screen’s most lovable family! Newest and most hectic of the Columbia series, “Blondie on a Budget” is now showing at the Mayfair Theatre with Penny SingletoD again portraying the beautiful-but-balmy Blondie, Arthur Lago, again to bo seen, as the happy-but-harassed Dagwood, and Larry Simms, continuing as Baby Dumpling. Also screening is • the final chapter of “The Green Hornet.’’

STATE THEATRE.

“SWANEE RIVER.”

Tho beloved 'and famous melodics that are America’s only real folk music, and the thrilling story of tho man .who wrote them, show at .the State Theatre today in a magnificent technicolour motion picture, Twentieth Century-Fox’s “Swanee River,” the story of Stephen C. Foster, the great American troubadour. One leaves the theatre with ears ringing with the melodies that seem to express the very heart of America —“The Old Folks at Home” (“Swanee River”), “Old Black Joe,” “My Old Kentucky Home,” “Do Camptown Races,” “Jeanie With the Light Brown Hair,” “Ring, Ring do Banjo,” and “Oil; Susanna!” Don Ameche plays Foster just as ho was —sweet and tender, headstrong, inspired, and emotionally unstable. As Jane, Andrea Leeds is a proper inspiration for some of America’s greatest music. A 1 Jolson puts over tho role of Christy, tho black-face minstrel man, with a humour and vigour unparalleled in his long career. Filmed in technicolour, “Swanee River” recalls those colourful, romantic days of minstrels and river boats; the nostalgic touches aro an added attraction to this picture that has everything else. Featured in tho supporting cast are Felix Bressart, Chick Chandler, Russell Hicks, George Reed, and the Hall Johnson Choir, whoso singing of the Foster songs is momorable indeed. Sidney' Lanfield directed with a sureness of touch and feeling for tho story that makes it a, genuino deiight.

METEOR THEATRE. “POISON PEN.” Flora Robson, Dowager Empress of All the Russians in “Catherine 'J he Great” and red-haired, fiery Queen Elizabeth in “Fire Over England,” forsakes regal splendour and becomes tho Vicar’s sister in “Poison Pen,” showing at the Meteor Theatre. Royal trappings mean nothing to this great artiste, the discreetly dressed member of the Vicarage household is just a 3 impressive, tho light of genius shines through as strongly as over. “Poison Pen” is a filin' whose story can be disclosed up to a "certain ' point, but must stop short at naming .the writer of the scurrilous letters that ruin the lives ol many peaceful, innocent villagers. The revelation, when it comes, is amazing; tile poor crazed mind that worked such havocgives its justifications and tho tragic end is relieved by sympathy for the killer and killed. We believe this is Reginald Tate’s first film part; as tho Vicar he lias a very difficult role and acquits himself excellently well. Clergymen are rarely at their best on the screen and here is a notable exception, Laurels are also due to Robert Newton and Belle Chrystall as tho headstrong labourer who also meets a stormy fate through the poison lottors and his pretty little wife; they are but one of a series of cameos found in this far from ordinary film.