Palmerston Picture Programmes

Manawatu Times, Volume 61, Issue 16, 21 January 1936, Page 10

Palmerston Picture Programmes

THE REGENT. “THE EAST OUTPOST.” With “The Lives of a Bengal Lancer,” Paramount definitely proved the public s liking for red-blooded, adventurous stories set in colourful corners of the earth. In “The Last Outpost,” which will be shown to-day at the Regent theatre, the same company has produced a worthy successor to "Bengal Lancer” and there is every indication that it will be equally popular with the public. Although entirely different ir, plot development, “Tho Last Outpost” is strongly reminiscent in theme aud treatment of "Bengal Lancer” for it deals with British military valour, daring and chivalry in savage parts of the world. Whereas, however, “Bengal Lancer” was an allmale picture, this new production has the advantage of a heroine (Gertrude Michael) to give it romantic and feminine interest, though her presence does not detract in the least from the virile and thrilling action which fills almost every loot of the entertainment. “The Last Outpost” impresses immediately with its air of authenticity. Indeed, the character and career of the famous Lawrence of Arabia was obviously the inspiration of tne role brilliantly played by Claude Rains, tie is John Stevenson, a British secret service agent in Kurdistan, who saves the life of Captain Michael Andrews, of the armoured car division (Cary Grant), when the latter is captured by Turkish irregulars and about to be shot. The two British officers then join forces to save an entire Armenian Balkari tribe, friendly to the British, from-massacre by the Kurds, by taking men, women- and children and cattle across a flooded river to Mesopotamian mountains, at the same time averting a surprise attack on tho British army stationed there. The scene then shifts, to Cairo, where a romantic side issue is introduced by Gertrude Michael, as a nurse in a hospital to which Andrews has been sent with an injured leg, and with whom he falls in love, not knowing 1 her to be the wife of his comrade-in-arms. When Stevenson learns of this, his friendship for Andrews turns to hate and he swears vengeance. Chance brings the two men together again, this time in an isolated fort in the Sudanese desert near the Abyssinian border, which hordes of fanatical tribesmen are planning to attack. It is in this lonely outpost of Empire that the film reaches its thrilling climax and the strange human problem, involving the conflict between love, friendship, and duty to country, is finally solved. The scenes of native warfare are particularly exciting and interesting, in view of current events in North Africa. The acting of the principals captures perfectly the adventurous spirit of the story which is filmed throughout on a most spectacular and convincing scale; while the name of Colin Tapley, the New Zealand actor, is prominent in the strong supporting cast. . The brightest spot of light entertainment in town can be found at the Regent theatre to-morrow where “Every Night At Eight” will be holding merry, musical sway. , , Highly hilarious, with tuneful toetapping and an originality of story that is refreshing as an air-cooled Regent theatre on a sweltering summer day, "Every Night At Eight” proves to be as blues chasing, heart-warming a piece of funny business as has come along in a month of musicals. The picture opens on a gay note with Frances Langford, Alice Faye and Patsy Kelly as three factory workers who lose their jobs through practicing harmony singing in the boss’ office. Penniless, they try their luck as a singing trio on an amateur radio hour. At the radio station they lose the prize to George Raft who appears this time in a new kind of dramatic role, that of a conceited band leader. Attracted to the girls and seeing their possibilities, he starts them on their career as the Swanee Sisters. He builds them up to a trio of sweet, unsophisticated Southern girls, makes them dress alike, look alike, and in general manages their lives for them. Under Raft’s severe disclipline they rise from their amateur standing to queens of tho air waves. When Miss Langford believes that Raft does not return her love, she rebels with the other two girls, deserts the nightly broadcast, and goes off on a yachting party. A climax, packed with thrills, romance and action, brings tile trio to their senses. There are six outstanding song numbers featured in the picture. Including “Then You’v© Never Been Blue,” "Take It Easy,” “I Feel a Song Coming On” and "Speaking Confidentially.”

KOSY THEATRE. "HOUSEWIFE” REAL, HUMAN, WITH TREMENDOUS APPEAL. Drama so real and so human that it appeals to every spectator is presented in “Housewife," the Warner Bros, production which lias its local premiere at the ICosy theatre to-morrow with George Brent, Bette Davis and Ann Dvorak heading an all-star cast. The story by Robert Lord and Lillie Hayward concerns the age old love triangle, but Warner Bros, have given the theme new and novel treatment. .The picture glorifies the woman of the

home, for it is the wife, in this instance, who is the inspiration for her husband's success, and who, after she has made "her man,” stands by with an aching heart the while he makes love to a more flashy rival. Brent has the role of the husband with Miss Dvorak in the. part of his wife and Miss Davis as the home wrecking siren. A former football hero but now a cringing clerk, Brent is finally aroused by his wife into quitting his job and going on his own. His old spirit is revived and he wins to success.

After which Miss Davis comes on the 2 scene and the two women engage in a , bitter battle for his love. The result of j this battle is revealed in the most unusual divorce court fight on record, .bringing the s play to a smashing climax. To this picture, Brent brings a new fire, a new dominance to his characterisation. He has come into his own with a distinctly added vigour. Bette Davis gives a fine portrayal of a woman who takes what she wants in the way of love regardless of the homes and lives she wrecks. Miss Dvorak, in the title role, has the finest part she has had since her return to the screen and she enacts it with all her sparkling brilliance. John Plalliday is erjellent. as the fourth party .in the love tangle, being infatuated with the neglected wife. While the story is powerfully dramatic, it is not without its lighter moments, rollicking humour being supplied by Ruth Donnelly, Hobart Cavanaugh and Leila Bennett. Phil Regan, radio’s “Singing Cop,” plays the part of a radio singer and warbles some catchy airs written by that ace song team, Mort Dixon and Allie Wrubel. Other principals In the cast, all of whom do excellent work, include Robert Barrat, Joe Cawthorne, Willard Robertson, Ronnie Cosby, Harry Tyler and Charles Coleman. Alfred E. Green, noted for his direction of virile human stories, has handled the situations with exceptional understanding and ability, turning out an unusually strog drama. The story was dramatised with great skill by Manuel Seff and Miss Hayward. “Murder at Monte Carlo’A-ia 1 the second attraction.