Palmerston Picture Programmes

Manawatu Times, Volume 59, Issue 222, 22 September 1934, Page 8

Palmerston Picture Programmes

PALACE THEATRE • LITTLE MAN, WHAT NOW?” Margaret Sullavan received a shock whoa she examined a script of "Little Man, What Now?” the picture now at the Palace theatre, which marks her iirst appearance on the screen since her sensational debut in “Only Yesterday.” The script called for her to play the role of a girl whose ideas coincided with her own. Here, for the first time in her career on Broadway and in Hollywood, was a .role which fitted her almost too well. It was actually self-revealing. This role which Margaret Sullavan found so true to her own feelings is that of the immortal “Lammchen” in Hans Fallada’s bestselling novel, “Little Man, What Now?” Carl Lae'mmle, junr., gave her the role because he felt it offered sufficient depth for her unusual talents. But even he did not realise what it meant to her in ,a personal way. Lammchen, as those who read “Little Man, What Now? will remember, is a young girl of to-day struggling valiantly to overcome the handicaps'imposed upon her by the economic depression. She and her young husband, portrayed on the screen by Douglass Montgomery, represent the modern couple, in that they have barely enough money to live on, have a child to care for and meet one discouragement after another. Their future looks hopeless. Together, however, they contrive to find happiness. Lammchen retains her independence and sense of humour. She will never give in or admit defeat. Head up, always, she meets each problem with tlio same unfailing courage and eventually succeeds in finding a hopeful solution, as many women in real life are-doing to-day. Perhaps the closest parallel between the ideas of Margaret Sullavan and those of the heroine in “Little Man, What Now?” is found in their attitude toward love and marriage. She never fails her husband. Throughout the book and the picture, the romance between Lammchen and Pinneberg, her husband, is distinguished by its faith, tenderness and beauty. In addition to the main feature the following supports will also be screened: Universal newsreels, Cinesound review and an UsIVaid the Babbit cartoon entitled Wax Works.” Reservations may be made free of charge at the Central Booking Office, 'phone 171 S, or at the theatre, 'phone 5050 i after 6 p.m. KOSY THEATRE “YOU’RE TELLING ME”Hollywood has never produced a funnier picture than "You're Telling Me, the amazingly hilarious comedy which gives W. C. Fields his first starring role for Paramount, starting to-day at the Kosy theatre. Featured in the supporting cast are Larry “Buster” Crabbe, Joan Marsh and Adrienne Ames. In the picture, which was directed by Erie Renton, Fields -plays the role of a small town optician who spends all his time inventing gadgets, ranging from " a murder chair” lor maltreating tired burglais to a puncture-proof tyre. It is not until a family crisis arises, however, that he really goes to work to put over an invention—and then, through a series of comedy scenes, he succeeds and brings u a P" piness to his family. But success does not come until the audience has had more than an hour of hard, deep-down laughter. The supporting programme will be found most entertaining and includes Mack Sennett comedy, Betty Boop cartoon. Sports Eye news, Ruddy Vallee musical treat, British news and episode 7 of “Pirate Treasure.” REGENT THEATRE JACK BUCHANAN IN ANOTHER DELIGHTFUL FILM PLAY Comedy, romance and music, then music, romance and comedy are the es-

sential features of “That’s a Good Girl,” Jack Buchanan’s third British picture. Plow Herbert Wilcox acquired tho services of this popular stage figure is still recent history—it was soon after Mr. Buchanan’s return from America, where ho had starred in “Paris” and “Monte Carlo,” the latter with Jeanette MacDonald, that announcement of tho “capture” was made. Then followed Jack's first English film subject, a musical called "Good Night, Vienna.” Incidentally, “Good Nighty Vienna” set Anna Neagle’s feet on-the path to her stardom in “The Little Daniozel,” “The Flag. Lieutenant” and "The Queen.” Jack Buchanan had shown such an accurato knowledge of popular taste in making suggestions for incorporation in “Good Night, Vienna,” that lie was assigned to direct himself in his next picture. This was “Yes, Mr. Brown,” based on a Continental success — a gay irresponsible story of mistaken identity—and it gave further evidence of Jack Buchanan’s popularity. Now comes “That’s a Good Girl,” adapted from the most famous of all Buchanan’s stage shows, made with that scrupulous care which distinguishes Jack Buchanan as producer and director. Jack Buchanan, as in “Yes, Mr. Brown,” has the support of Elsie Randolph, other players In the film being Dorothy Hyson, Kate Cutler, Vera Pearce, of Australia, and Garry Marsh.

STATE THEATRE “LET’S TRY AGAIN” “Let’s Try Again,” RKO-Radio picture which will have its Australasian premiere at the State theatre to-day presents a daring treatment of a dilemma faced by almost every married couple. “Let’s Try Again" is a subtle drama of mature love, and it concerns Itself with that crisis in the lives of a husband and wife when they have become used to each other and the ecstasy of young fervor should be passing into the state of serene affection which makes lasting marriage possible. Diana Wynyard and Clive Brook, stars of the internationally successful “Cavalcade,” liavo the principal roles. They head a splendid cast. The story treats Dr. Jack Overton and liis wife Alice, who liavo been married for ten years. The doctor has grown lax in the little attentions that are a woman’s due. His wife feels neglected and wants to rekindle the thrill that was hers in the earlier days of the union. In an effort to recapture romance, she turns to a younger man. Her husband learns of her Infatuation and, to his great surprise, finds he does not care. He, in turn, devotes himself to a younger woman, hoping to fill tho place in his heart once occupied by his wife. From this point the plot develop in a series of surprising climaxes that keep the audience in a constant state of expectancy. Diana Wynyard brings fine artistry to the role of tho dissatisfied wife, lending it a subtle touch that alternately retains sympathy for her and rouses suspense during her attempts to substitute the unreal for the real. ( Clive Brook is entirely convincing in the part of the doctor. The inherent poise of this popular player enables him to create a living character that steps right into the hearts of the audience. Helen Vinson, as the dancer to whom the husband turns, when lie discovers that his wife no longer cares for him. is most alluring. Irene Hervey plays the doctor’s niece, whose lover is stolen from her by the doctor’s wife, and this beautiful young actress displays talent that might well be envied by many an old-time trouper. Others in the cast are Theodore Newton, Arthur Hoyt, Henry Kolker, Frank Darien and William Strauss. A brilliant supporting programme Includes an hilarious comedy, I “A Bedlam of Beards”; cartoon, “The Fallen Bushman”; Valpeen winning the Grand National;-also overseas news.