Palmerston Picture Programmes

Manawatu Times, Volume 61, Issue 71, 25 March 1936, Page 8

Palmerston Picture Programmes

REGENT THEATRE—TO-DAY GARY COOPER TRIUMPHS IN "PETER IBBETSON’’ ROLE With the filming ol George Du Maurier’s Immortal lovo masterpiece "Peter Ibbetson,” Paramount not only produced a cinematic achievement, but Gary Cooper, unquestionably the star of the piece, in name as well as in fact, accomplished something in the nature of a persosal triumph in his noteworthy characterisation of the title role. Cooper reveals himself possessed of talents that, until now, have had no chance or particular medium of expression. Just as in "Lives of a Bengal Lancer,” the lantern-jawed star was given an opportunity for an unforgettable portrayal, so again he measures up to the high standard created by predecessors in the stage and operatic versions of "Peter Ibbetson." In his newest performance, Cooper surpasses anything he has yet done on tho screen, bringing sympathy, rugged sincerity, and a tender honesty to the role of Du Maurier’s famous character. Cast as the tragic figure, tho Duchess of Towers, Ann Harding also covers herself with glory in a difficult role. The blonde actress lends the proper touch of distinction and dignity, at the same time giving her part the aura of femininity' and sense of old-fashioned romance it requires. Miss Harding portrays tho Duchess with an emotional depth that lias charrp as well as effectiveness, combining the etherqal moments with delicate realism. "Peter Ibbetson," as a screen production, has captured the dream-like quality that distinguished the novel, the play and the opera, but has added more than all three. With the added advantages of scope and range that the screen gives, the picture gains both as a fantasy and as a realistic work. Set In tho romantic period of the early Victorian era, Diski© Moore and Virginia Weidler representing Cooper and Miss Harding, respectively, as children, are next door playmates in Paris. Their childhood friendship is cut short, but years later their paths cross again m a curious way. Pate throws the beloved “Mimsey” of his youthful days in his way as another’s wife. Scarcely has their romance begun to bud, and they have tasted their first happiness together, when the jealous husband threatens to shoot Cooper, and in the ensuing argument is himself accidentally killed. Cooper is subsequently sentenced to life in prison. From this point on, their lives become a dream phantasy in which each joins the other in a beautiful, unfailing love that covers the span of a lifetime, though prison walls are the physical, earthly barrier which separates them. Their moments together, in their dream world, are especially heart-stirring ones, tragic but skilfully blended with faith, tenderness and romance. Tho transition from the real to the dream realm is adeptly managed. Credit for this splendidly executed illusory conception goes to Henry Hathaway, director, whose fine hand combined these two mediums so expertly. KOSY THEATRE ; -"SHE GETS HER MAN” The season’s funniest comedy comes to the screen of the ICosy Theatre to-day with the starting of the engagement of "She Gets Her Man,” the hilarious Universal farce with Zasu Pitts and Hugh O’Connell in the leading roles. Miss Pitts occupies a position all her own as a comedienne and all theatre-goers are familiar with her fluttering hands and her sad humour. ’ Hugh O’Connell is her new screen partner in this laughing sensation, and in "She Gets Her Man” are the centre of a swift succession of laughable situations. Imagine Miss Pitts as an accidental heroine who unwittingly foils the robbery of a bank by gangsters, and who is promptly hailed as the "Bravest woman in tho land.” Under the direction of an nthuslastic Press agent she embarks on

STATE THEATRE BARBARA STANWYCK SUPERB IN “ANNIE OAKLEY” The days of Buffalo Bill, Sitting- Bull and Ned Buntline—days of super-show-manship which the shrinking citadels of American entertainment have rarely seen since—are dramatised in all their stirring romance and red-blooded action in "Annie Oakley,” which opens at the State Theatre to-day and in which Barbara Stanwyck stars. Brewed of many pungent ingredients drawn from actual events, “Annie Oakley” presents the romantic career of its title character, probably the greatest rifle shot, man or woman, that the world has ever known. Backgrounding this sometimes amazing, sometimes breath-taking chronicle, is the Buffalo Bill Wild West Show in which the principals took part and which nourished during the hectic eighties. Barbara Stanwyck Imparts to her role of Annie Oakley the artistry and versatility which have established her as one of America’s greatest actresses. A young girl who supplies the market by shooting quail through the head with single shot cartridges, Annie Oakley is induced to face Toby Walker, expert marksman. I-ler exhibition tosses her eventually to brilliant heights and a place among the important women of all time. She Joins Buffalo Bill’s show, and is acclaimed the country over. Annie was like other women, although her vocation was that of a man. She falls in love with Toby, despite their bitter professional rivalry. Her romance with her opponent is hampered by the jealousy of Buffalo Bill’s partner, who is In love with Annie. A hurt, sustained by Toby, in turn leads to his accidentally wounding Annie, affording the picture a denouement which gives an appreciation of the warm, tender, gentle, loyal woman that was Annie Oakley. “Annie Oakley” adheres to historical fact. It is a matter of knowledge that Annie Oakley married the man she faced in her debut exhibition at the Cincinnati Gun Club. The picture also recounts the origin of the term “Annie Oakleys” as a synonym for gratis theatre tickets. Incidents in the lives of Buffalo Bill and Sitting Bull are faithfully dramatised. The picture boasts an assemblage of Hollywood’s most seasoned players.

a lecture tour arousing the women of the country in a campaign against crime. But it is when she comes in actual contact with the entire gangster brotherhood of a great city that the fun becomes riotous, and the climax of the picture is as startling as it is humorous. Do not fail to set JSasu Pitts and Hugh O'Connell in “She Gets Her Man.” Helen Twelvetrees, Lucten Littlefield, and many other populat players are also seen in important roles, and all have contributed their share toward the making of the greatest laughing success in years.

"The Payoff” (the second attraction), Warner Bros, latest newspaper drama, with a tri-star cast, including James Dunn, Claire Dodd and Patricia Ellis. The picture is entirely different from it£ predecessors in. the newspaper field, centreing about the activities of an honest sports writer, his contact with the gambling fraternity, and his love affairs, which, incidentally, furnish a new twist to the triangular romance. The picture is based on the story by George Bricker, for mans years a newspaper writer, and depicts all the thrills and glamour and excitement iu the work of a reporter who is constantly threatened by gamblers who try to bribe and intimidate him. James Dunn has the role of the sports writer. Claire Dodd is the selfish wife and Patricia Ellis a newspaper woman genuinely in love with him. Dunn is fired from his job when he ceases in his attack on the ace gambler, a part played by Alan Diriehart, and is practically down and out when Frankie Darro, as a jockey whom he had befriended tips him off to a frame-up in the big race of the season,