Palmerston Picture Programmes

Manawatu Times, Volume 60, Issue 276, 22 November 1935, Page 12

Palmerston Picture Programmes

REGENT THEATRE “LES AnSERABL.ES”—TO-DAY Fresh laurels were heaped on the heads of Fredric March and Charles Laughton as co-stars of Darryl Zanuck’s stirring production of Victor Hugo’s “Les Miserables.” A truly great picture, handsomely mounted and flawlessly directed by Richard Boleslawski, the latest 20th Century production follows tho eventful life of Jean Valjean, who suffered five years of torture in the galleys of a French prison ship. He stole a loaf of bread and found his whole life darkened by the shadow of tho Law, in tho person of Javert, a fanatical detective who has dedicated himself to carry out that Law to the lotter. March does the finest work of his career as the unfortunate Valjean and Laughton is superb as Javert. Sir Cedric Hardwicke, the celebrated English stage and screen star, is splendid, making his American screen debut in tho role of the kindly Bishop Bienvenu who starts the brutalised ex-convict on the road to a noble . and prosperous life.. Rochelle Hudson, as Jean Valjean’s ward, Cosette, and John Beal, as her sweetheart, Marius, furnish tho love interest which oilers a counterpart to Valjean’s desperate adventures in his life-long attempts to evade the relentless Javert. The film is released through United Artists. "Les Mlserables” is magnincent entertainment, full of the colour and passion of the novel which millions have read and will enjoy the privilego of seeing so brilliantly transcribed to the screen. If Hollywood actors wero rated according to the system now prevalent among tho country’s film critics, Fredric March would be rated as a three stand-in star. A stand-in, as you probably aro aware, is a person of approximately the same height as the star who stands in front of the camera whilo technicians arrange lights, focus cameras and do the innumerable things that are necessary before photographing a scene. It was necessary at one time to have three such men working on the set at the same time. This was required because March played two different characters 'in the scene, but not at tho same time, however. The third chap was accounted for by the fact that one of the scenes called for Lhq cameras to shoot the back of one of these characters whilo March in the other character faced tho camera. KOSY THEATRE JOE E. BROWN—TO-MORROW

.100 K. Brown is coining to town. Uis latest comedy romance, "Bright Bights,” a First National picture, tilled with mirth and melody, is an hilarious comedy of! “back stage” with songs coming in i naturally as part of the action of a theatrical troupe. The picture is said to bo the best In which Joe E. Brown has appeared. Scores of beautiful chorus girls appear in tuneful and fascinating dance and song numbers staged by Busby Berkeley, who directs the entire produc- | tiort. Joe’s antics are reported to bring uproarious laughter, pathos, romance and high drama. He sings, dances and does acrobatic stunts with the famous tumblers, The Maxellos. The story by Bois Beeson centres about Joe, a hoofer and comic in a burlesque show, whose stage partner is his wife, Ann Dvorak. Patricia Ellis, a madcap heiress, gets a job in tho burlesque show as an adventure. I 'William Gargan, publicity manager for a l

STATE THEATRE TO-DAY SPARKLING MUSICAL COMEDY They sins' the season’s catchiest tunes, step its gray dances, tell Broadway’s most happy-go-lucky success story in EKORadio’s tuneful, mirthful romance, “Hooray for Love," starring Ann Sothern and Gene Raymond, which screens finally today. "The 39 Steps”—To-morrow. One of the greatest spy mystery stories ever written was John Buchan’s “The Thirty-nine Steps," coming to-morrow to the State Theatre, and tho author paid graceful tributes to the adapters and producers of ■ a real masterpiece of mystery in the picture which is so aptly acted by Robert Donat and Madeleino Carroll In tho principal parts. The story opens in a music hall where the announcer Is faced by an excited audience, which becomes so unruly that a free light culminates in tho sound of revolver shots. This is a signal for an unceremonious rush for all doors, a Canadian visitor rescues a girl from being crushed and pilots her out m safety. At her request ho takes her to his flat and learns that she is a spy on the track of a certain professor with a missing linger-joint, who plans to divulge vital secrets of Britain’s air defences, and as she is later found stabbed to death, he is impelled to take up her work. Learning that the base of tho professor's operations is in Scotland, he loses no time in following up the information imparted by the girl, but as soon as he arrives at Waveriey station, he finds himselt deeply involved not only, in the great spy mystery, but also in the responsibility for the girl’s death. Quite a different Madeleine Can-oil will be seen in tho Gaumont-British production of John Buchan’s “The Thirty-Nine Steps.’’. In her last two films she has been a marble Venus. In “Tho Thirty-Nine Steps” she never gets a chance to be either a Venus or marble. She is dragged oyer rocks and under fences; and handcuffed for a whole night to Robert Donat, whom (in the film) she hates. Others in tho cast include Lucy Mannheim, Godfrey Tearle, Peggy Ashcroft, John Laurie, Helen lla.ve, Frank Collier, Wylie Watson, Peggy Simpson, Kate Cutler, Hilda Trevelyan. Box plans for this outstanding attraction are already tremendously heavy and indications are that the great success which this picture enjoyed in Wellington, where it. ran for four recordbreaking weeks, will he repeated during the local season. Plans at tho theatre, ’phono 0599.

big Broadway producer, recognises her, , and engages her to play on .Broadway. He ; is also taken with Joe's act and signs ! him for many times the salary ho is getting. Ann is shut out in the cold, and goes back to her old vaudeville job. How Patricia took Joe for a ride and. how it works out to a reconciliation with Ann forms the plot around which the action develops to a new and surprising climax. The scenes include the Old Grand Theatre, Los Angeles, which was one of the finest in the country 50 years ago. There are four songs, ono sung by Ann Dvorak, one by Patricia Kilis, one by Esther Burke and chorus, all written by Mort Dixon a.nd Aliie Wrubel. The fourth song is sung by Joe E. Brown, written by Bert Kaljnav. and I-larry Ruby. Joe E. Brown is supported by Ann Dvorak, Patricia Ellis, William Gargan, Joseph Cawtborn, Henry O’Neill and others.