Palmerston Picture Programmes

Manawatu Times, Volume 60, Issue 56, 8 March 1935, Page 10

Palmerston Picture Programmes

KOSY THEATRE. “Grandad Rudd’’ will be finally screened at the Ixosy Theatre to-night. It is something extra special, and something with an appeal of particular interest to Palmerstonians. For the greatest treat of your life meet “Grandad Rudd, when Bert Bailey, that grand old man of the Australian stage and screen “brings” the famous character, and his equally famous family to the screen. Prosperous row, without troubles* the Rudd favourites, with an increase in the family, are even twice as funny as in “On Our Selection,’’ in their new Cinesound comedy “Grandad lludd.” “Grandad” does not do any hard -work these days, all he does is keep a tight rein on the family purse and make a “darn” nuisance of himself to everybody who is trying to do a bit of work about the place. Commencing To-morrow —“Girls Will Be Boys’’—A Riot of Happiness. Introducing to the world’s cinema public the vivacious Continental actress, Doily Haas (aptly described as "four feet of capitivating Continental feminine frivolity”), “Girls Will Be Boys” is show--ing to-morrow at tho Kosy Theatre, and in this film Miss Haas is seen to equal advantage as a “boy” and as the sparkling and charming young lady she really is. Her masquerade as a boy eventuates when, as Pat Caverley, she writes to her grandfather, tho Duke of Bridgewater (whom she has never seen), who mistakes Pat as being short for Patrick. When sent for by the Duke, she learns that he is a firm woman-hater, and decides to pose as boy for a joke, not realising what piquant situations are bound to ensue. In the gymnasium, Geoffrey, the Duke’s young estate manager, appointed to “make a man” of Pat, who appears to need such treatment, puts her through her paces unmercifully with a rowing machine, boxing gloves and a punch-ball, finally instructing her to cool off by having a cold shower with him! She successfully overcomes this difficulty, but later, when Geoffrey rescues her from drowning, ho is confronted with the "awful” but undeniable truth., He decides that the Duke must be told, and they think an ideal way out lias presented itself when the Duke is perturbed at having no lady in the house to receive a Princess friend and her son who intend visiting him. Fat appears in curls and feminine attire just as the Princess arrives, believing that, having saved the situation, her grandfather will forgive her for tho deception and discover that he is not such an intense woman-hater as he thought; but the Duke still thinks she is a boy—masquerading as a girl to “help him out.” How it all works out is. delightfully told in a laughter-laden climax to this sparkling, unique comedy. Supporting Miss Haas is Cyril Maude, who gives a perfect cameo as the irritable. Duke; Esmond Knight as Geoffrey; Edward Chapman, Irene Vanbrugh, Ronald Ward and Charles Paton. The film was directed by Marcel Varnel. Episode 7 of the western serial, starring Buck Jones, together with Pathe Pictorials and Scenic Novelty complete an excellent programme.

REGENT TO-MORROW. ANNA STEN IN “WE LIVE AGAIN.” A world that is now only a memory comes to life again to-morrow as Anna Sten and Fredric March begin a threeday engagement at tne Regent Theatre in Samuel Goldwyn’s presentation of “We Live Again,” retitled from tho “Resurrection” of Leo Tolstoy. An Idyllic courtship between an aristocratic young cadet and an apple-cheeked peasant girl becomes a grim struggle through misery and despair toward happiness and peace in the screen play by Preston Sturges, Maxwell Anderson and Leonard Praskins. This best-loved of all Russian stories lias the countryside in the days of the Czars its earljr setting, Colourful religious

STATE THEATRE. “THE WHITE PARADE,” GREAT SCREEN MASTERPIECE. One of tho most human, compelling and dramatic screen narratives in years, Jesse L. Lasky’s “The White Parade," opens at the State Theatre to-morrow, and is hereby recommended as superlative entertainment. It is a story With a soul! "The White Parade” may safely be described, as an extraordinary picture. Extraordinary not only in its material, but in tho approach of Director Irving Cummings ana Producer Lasky to the telling of their story. It is a gripping and a poignant drama, and the manner of its presentation—buoyant, easy, skilful I —is a distinct contribution to screen history, in keeping with the theme and spirit of the production, “The White Parade" is dedicated to tho memory oi tho immortal Florence. Nightingale, lounder of modern nursing, and tho idol •and pattern of those who pursue this profession. Loretta Young offers a masterly performance as the young studeni nurse who is tlio heroine. The film follows her schooling from the day of her enrolment, until just graduated, she has to make her choice between the man she loves, John Boles, and the service whose true meaning has become every day more clear to her. John Boles contrioutes a splendid ■ characterisation as the rich young suitor who, battled by the elusive secret of these girl nurses, seeks to persuade her that her life lies With him. There are memorable performances also by Dorothy Wilson, Muriel Kirkland and Astrid Allwyn, among the heroine’s comrades, and by Jane Darwell and Sara Iladen, as veteran nurses who are their superiors. “The AVhite Parade” has been adapted by Sonya Levien and Ernest Pascal from a screen story by I-tian James and Jesse Lasky, Jr. This last in turn was based on Kian James’ novel of the same title. Jesse L. Lasky has always been a pioneer. His own career parallels in many respects the history of the motion-picture industry. It was Lasky who gave such a picture as “The Covered Wagon,” tho first great picture of the west, and “Wings,” the first great piclure of the air. Now, in • “The White Parade,” he has created a picture Which for originality and drama will, we think, stand unsurpassed when it is as old as “The Covered Wagon.” If it is something •new you want, and something enthralling, do not miss “Tho Whito Parade.” A great picture.

festivals, gypsy songs, breathtaking cavalry manoeuvres; Moscow, heavy with food and wine and debauched gaiety, sombre grey prisons, the taut trial that gambles with human lives, the exile with which criminals were punished in that distant day, are details in the patchquilt panorama that Director Rouben Mamoulian has taken out of Tolstoy’s great humanitarian novel as a setting for the screen version, released through United Artists. Miss Sten and Mr. March have as fellow protagonists in tho new Rouben Mamoulian picture, lovely young Jane Baxter, newly arrived from England, C. Aubrey Smith, Jessie Ralph, Sam Jaffe, Mary Forbes and a huge cast of Russians recruited from the Slavic colonies along the Pacific coast. Most of the Russian players in the cast are members of the Dukhobor colonies in California and Canada. All of them are followers of the teachings of Tolstoy. Their migration to America was financed out of the money realised by Tolstoy from the sale of “Resurrection.” Tho 42,050 roubles he received for the work was tho only money lie ever made from his writings. And forty years after he turned it over to people who believed as he did and sought escape from tyranny and oppression, the children of those people took part in the filming of Tolstoy’s greatest story in tho la*" 3 (u which they had taken refuge,