ENTERTAINMENTS

Manawatu Standard, Volume LX, Issue 265, 7 October 1940, Page 3

ENTERTAINMENTS

MAYFAIR THEATRE. “PRIDE OF THE BLUEGRASS” AND “GANGS OF CHICAGO.” Elmer Gantry, blind horse who jumps steeplechase hurdles with nil the courage and sureness of a well-trained and suresighted hunter, is the chief actor in “Pride of the Bluegrass,” the Warner Bros.’ racing picture showing to-day at the Mayfair Theatre. There is also a fino . cast of human performers, headed by Edith ' Fellows, James Medallion, Granville Bates, Do Wolf Hopper and Frankio Burke. The picture, trom an original . screen play by Vincent Sherman and directed by William McCann, is not based upon the life of Gantry, but it is about a fictional horse a great deal like the noted blind jumper. In real life Gantry exhibits his talents mainly at fairs and horse shows. In the picture he is a racehorse, first a flat racer and then a steeplechaser, who is stricken blind and yet learns to respond so bravely and confidently to the voiced command of his rider that lie wins the world’s greatest steeplechase, the Grand National at Aintree, England, Interwoven with the story of the horse, there is. also a moving tale about the humans whose lives touch his, particularly the story of the kid jockey and trainer, played by young McCallion. Riding Gantry in the Kentucky Derby as the horse goes blind, Jimmy is banned from racing. But ho trains him so that between them they win a double vindication at . the Aintree Grand National Stceplochase. Jimmy is the rider with Edith as his assistant. ’ “Gangs of Chicago,” starring Lloyd Moran, is the associate attraction. Also screening is chapter 3 of “Flash Gordon Conquers the Universe.” KOSY THEATRE. “23i HOURS’ LEAVE.” The hilarious adventures of gambling Sergeant Gray, played by James Ellison, of the U.S. Army, who gets 23? hours’ final leave before embarking forms the theme of Action Pictures' “23i Hours’ Leave,” which screens to-day at the Kosy Theatre. After being responsible for a tomato landing on the face of the General, he proceeds to make love to his daughter, although unaware of her identity. Laugh follows laugh as the Sergeant goes out to keep a dale with the General’s daughter clad only in underwear, a long waterproof and leggings, losing the outer garments in a free for all with two spy photographers. However, ho eventually manages to turn the tables on the spies and. brings home the proverbial bacon—and the General’s daughter. Having survived the perils of the T.T. Motor Cycle races in “No Limit,” dared audiences to “Keep On their Seats,” while laughing at his second screen scream, “Feathered the Theatres’ Nest” and shown tho world how to “Keep Fit” funnily, George Formby has now made “I See Ice” on the decidedly slippery way. And you don’t know you can laugh until you see this latest riot of comedy. Punctuating the laughs arc some of the most exciting thrills over witnessed. These occur during the International Ice Hockey Match, which George unwittingly referees. The amazing speed, skill and daredevil spills of the world famous exponents of ice skating, in this sequence, have to be seen to be believed. As in “Keep Fit,” George’s leading lady is again that blueeyed lovely Kay Walsh, and other principals in this Basil Dcan-A.T.P. production are Cyril Ritchard. Betty Stockfeld, Garry Marsh and Frank Leighton.

STATE THEATRE. “TURNABOUT.” Hal Roach, who produced Thorne Smith’s “Topper” series, has now filmed , this brilliant author’s original comedy “Turnabout.” In this; new production, Carole Landis, a lovely newcomer to the screen, is co-starred with John Hubbard, last 6ccn on tho screen in llal Roach’s “The Housekeeper’s Daughter.” “Turnabouts” shows at the State 1 Theatre tonight. These stars are supported by a i brilliant cast of players, which includes ; Adolpho Menjou, William Gargan, Mary i I Astor, Verree Toasdale, Donald Meek and Margaret Roach. “Turnabout” was direct- , od by Hal Roach personally, and its j hilarious plot concerns the high jinks pro- , duced when Miss Landis, as Mrs Wil- ! lows, and Hubbard, as her husband, I change sexes. The svelte, shapely Miss ’ Landis steps into her husband’s oversize ‘ shoes and experiments with tho problems 6 faced by the male portion of humanity. i Six-foot, broad-shouldered Hubbard be- ; comes a fashionable society matron and < flutters about at cocktail parties while j his wife wears pants—literally. After the hero and heroine change places and sexes in “Turnabout,” chaos and confusion on . sue. Hubbard’s partners in the film, 1 Adolpho Menjou and William Gargan, can- v not understand the sudden femininity of 1 their associate, who manages to cause all sorts of damage to the prestige of the t firm and to lose it most of its valuable- I clientele. Back home the same sort of j tiling happens, for tile somewhat mascu- s line-looking lady of tho house is hardly c proficient with the servants and no match for the correct social life. How the pic- C turo winds up provides the story with a ? surprise climax full of unexpected hop- 1 penings and laugh-filled incidents. ' s