Palmerston Picture Programmes

Manawatu Times, Volume 59, Issue 271, 19 November 1934, Page 10

Palmerston Picture Programmes

REGENT THEATRE TO-DAY “STRIKE ME LUCKY” Hoy Rene, better known as “Mo,” who convulsed thousands on the Fuller stage a few years back, appears once again at the Regent to-day, in an 'Australian production that is guaranteed to create the same laughter records as the inimitable Yiddish comedian caused before he broke in on the silver sheet. All those old characteristics—the lisping tongue, and stupidly amusing sayings—are brought back again, and there is just enough sauciness to make the show enjoyable. To see “Mo” once more is like welcoming an old friend, for there is no doubt that he and his partner, “Stiffy,” were tremendously popular, even if their jokes were a littlo daring at times. Indeed, many New Zealand audiences have roared when the bearded “AIo,” In a manner all his own, put across that pet saying of his, "What a character you are,” an expression that is an integral part of his stock-in-trade, and one that has a definite connection with the comedian. Plenty of scope is provided for “AIo” to exploit his particular talents, more scope, in fact, than the stage ever offered. One laughed to see him as the blundering handyman in the second-hand clothing shop of Lowenstein, as the “tough” man in a speakeasy, as the stunting aviator, gold, prospector, lover (hard to imagine), and conqueror of a gang of robbers (also hard to imagine). And one sympathised with him when he was deprived of his ill-gotten gains, and when he was turned out on the street because he had overlooked a matter of a few months’ rent For "AIo” has a way of getting under the skin, as it were, and making the audience live his life with him. While most of the plums mast inevitably go to “AIo,” credit is due to every member of the cast, for they assisted him wonderfully to make "Strike Mo Lucky” an undoubted success. Beautiful girls are not lacking In this film, and there is even a replica of a famous Hollywood star. Sho is called June East, but sho has tho contours, voice and looks of Alae AVest. Good fare is also contained in the featurettes, one ot these, "Morocco Nights,” in technlcolour, being particularly well done. PALACE THEATRE “MURDER A T . THE VANITIES” POPULAR * A new twist in film entertainment is provided by “Murder at the Vanities,” a Paramount picture which was screened at the Palace Theatre on Saturday before a packed house. “Alurder at the Vanities,” which is additionally notable because it introduces Earl Carroll's famous New Y'ork “Vanities” to the screen, is a combined revue speetaclo and murder mystery thriller. During the first night of an elaborate show, packed with beautiful girls and tuneful music, two backstage murders are committed amid an atmosphere of jealousy, suspicion and hate among the players. The police are called in, their lieutenant valiantly searching for clues amid feminine distractions that would cause the thoughts of a Sherlock Holmes to wander. Aleantime the “show goes on,” propelled by the pleadings and semi-hysteria of a manager whose job depends upon its success. As the final curtain falls the murderer is unmasked in a surprise denouement. Excellent entertainment it all is, with plenty of humour supplied mainly by Jack Oakie as the manager and Victor AlcLaglen as the police lieutenant, who finds himself neglecting clues for curves. The mystery suspense is well maintained, thanks to clever direction and a sound plot. As for the “Vanities” itself, one is left wondering when the high-water mark in luscious stage spectacle will be reached. AVithout doubt the “Vanities” goes further and higher than any other show to date. The girls are even more beautiful and wear even less, and. the ingenuity of the pro-

STATE THEATRE The combination of one of the greatest stars of tho stage and screen, Leslie Howard, arid one of the greatest stories in modern literature, make K.K.O. Radio's “Of Human Bondage,’’ which opened on Saturday at tho State Theatre, ono of the most entertaining dramatic pictures to emerge from Hollywood this year. Leslie Howard desired to star in “Of Human Bondage,” and W. Somerset Maugham wanted a player of Howard's line histrionic calibre to play in his story. These favourable production aspects, combined with John Cromwell’s intelligent direction, Lester Cohen’s brilliant scenario and a flawless cast result in a colourful, enjoyable production destined for boundless success with lovers of the Maugham classic, Howard fans and the new host of movie-goers which tho picture will attract. “Of Human Bondage” poignantly dramatises worthy Philip Carey’s great love for unworthy, selfish Mildred. Philip is deeply in iove with this promiscuous chit. He seeks for release through an affair with the intellectual Nora and then finally with compassionate Sally. His firm attachment to Mildred causes Nora to desert him in despair, but Sally’s love proves to be his salvation. The romantic action gains momentum as it rolls majestically to an absorbing climax. Leslie Howard’s dramatic power and sympathetic interpretation excels anything lie has done before. Bette Davis comes through with her greatest performance as Mildred. In other prominent roles, Frances Dee as Sally offers her finest portrayal since Meg in “Little Women." and Kay Johnson portraj'fe Nora with conspicuous aptitude. Strong characterisations are contributed by Reginald Denny, Reginald Owen and Reginald Sheffield. A splendid screening of a classic story with the magnificent Howard in the leading role. “Of Human Bondage” is a "must-be-seen.” It will remain unforgettable.

ducers proves itself to have been even more acute in ensemble after ensemble and scene after scene. A feature of the show is the acting and singing of cheery Carl Brisson, whom Hollywood has lured from England and who cuts a striking figure as the leading man. Others include Kitty Carlisle as the charming sinister “blues” singer, and Duke Ellington and his'band. Two song numbers include “Cocktails for Two,” a tuneful concoction, “Ebony Rhapsody,” and others equally melodious. The Palace supporting programme is well up to the standard set by this unusual and attractive production.

KOSY THEATRE “GIRL MISSING” AND “EMPLOYEES’ ENTRANCE” Timing a murder mystery with the pulse of modern life is the laslc Carl Erickson and Don Mullaly, scenario writers at tho Warner Bros, studio, undertook in adapting their own story, “Girl Missing,” which is showing at the Kosy Theatre with “Employees’ Entrance.” Something, different from the stereotyped murder mystery story, this picture conforms on the new pattern of movie conception. Prominent in the cast are Ben Lyon, Glenda Farrell, Mary Brian, Peggy Shannon and others. Contending once again that the masses must have shows which come within the realm of their own everyday experience, “Employees’ Entrance,” tho second feature, starring Warren William, Loretta Young, Alice White, and Wallace Ford was filmed from a play by David Boehm. Boehm’s first title was “The Machine," a fact which gives a still further indication of his thesis. Avowedly setting out to capture tho public a set of experiences in a setting they know thoroughly and which will strike home to the millions who are passers through the “employees’ entrance,’’ Boehm has utilised the department store, from ton to bottom, for his story.