Palmerston Picture Programmes

Manawatu Times, Volume 61, Issue 144, 20 June 1936, Page 2

Palmerston Picture Programmes

STATE THEATRE SHIRLEY TEMPLE IN "CAPTAIN JANUARY" Hummable new tunes, tantalising new dances, and Shirley Temple in her most lovable, believable role! Those are the entertainment delights that 20th Century’s “Captain January" brings to-day to the State Theatre. A score of three tinkling tunes, all with music by Lew Pollack, again give the curly-headed star an opportunity to exhibit her singing talent. Dimpled Shirley Temple, who launched such songs as "The Good Ship Lollypop” and “When I Grow Up" to national fame, has a score of three brandnew hits. Chief of these Is "The Right Somebody to Love.” For her dancing partner in a series of intricate new steps, Shirley now has Buddy Ebsen, tap star of Ziegfeld Follies and sensation of "Broadway Molody’of 1936." The underlying dramatic story of "Captain January" deals with the adventures and neartragedies of Shirley and her two grizzled sea-salt friends Guy Kibbee and Slim Summerville. Kibbee, who had rescued Shirley from the sea when she was an infant, is jealously fond of the little girl, forever afraid that somebody will turn up with a better claim to her. When Sara Haden, the mean old truant officer, threatens to take Shirley from him, Kibbee stops his quibbing with Slim, and they join forces to temporarily outwit Miss Haden. The climax of the picture is devoted to a thrilling sea-chase, in which Shirley and Kibbee flee from Miss Haden in a sailing ketch. Although they are caught, their friends contrive to bring a happy ending to the picture. A romance between Jane Darwell and Kibbee is one of the comedy elements of the story, while in the supporting cast apmantlc honours with Buddy Ebsen David Butler, already renowned for his direction of other Temple hits, directed the new picture from a screen play by Sam Heilman, Gladys Lehman and Harry I Tugend. A wonderful supporting programme includes “Ye Old Toy Shop” (cartoon), “Gland Slam Opera" (comedy), “Mediterranean Memories” (travelogue), overseas news reels and Fox Aussie news. Patrons are specially advised to reserve if they wish to avoid disappointment. KOSY THEATRE—TO-DAY CAN A MAN LOVE SIX WOMEN? Can a man love more than one woman at a time? Can he discard old loves to marry and cling to a new love for all time? This age-old problem is deftly and thrillingly discussed in "Affairs of a Gentleman,” Universal’s absorbing drama with Paul Lukas, which is now playing at the Kosy Theatre. Lukas portrays a highly successful novelist, whose affairs, with women have left him sated with life. As the story opens Lukas is discovereddead—shot through the head. It looks like suicide, but murder is suspected. The last 24 hours of his life is re-enacted when the police arrive and five of his past mistresses are brought together to supply a possible clue. As a lover Lukas, in the story, supplies his own inspiration for every book he writes. He is his own hero and his lady loves his heroines. The situation reaches a, dramatic climax of unusual degree when the sextette of discarded sweethearts meet and compare notes. Here is a story of life—teeming with action and bristling with suspense every inch of the way., Lukas is more romantic, more colourful than ever before. And six beautiful actresses lend an aura to the picture that has seldom been equalled. Vieing for honours among these are Leila Hyams, Patricia Ellis, Lilian Bond, Dorothy Burgess, Dorothy Libaire and Joyce Compton. To the credit of Carl Laemmle, junr., young production chief of Universal, he spared no expense in making this film an outstanding success both in production and cast. It is typical of the modern day and age, carrying out a theme of world wide interest and at all times human. A sterling supporting cast includes Phillip Reed, Onslow Stevens, Richard Carle and Murray Kinnell. The picture is based on a play by Edith and Edward Ellis, "The in His Life," and was directed by Edwin L. Harin.

REGENT THEATRE "LITTLE LORD FAUNTLEROY” An old friend in a new guise will be warmly welcomed at the Regent Theatre to-day, when little Freddie Bartholomew acquaints us with a completely modernised "Little Lord Fauntleroy." bereft of the traditional long curls and plush suit, but none the less lovable for that. Frances Hodgson Burnett’s story has captivated the heart of everyone who has ever read it. The adaptation of the story to the screen Is another triumph for David O. Selznick. It will delight all manner of audiences, critical or casual, with its high comedy, effective pathos, genuine feeling and superb dramatic unfoldmont. The first offering as an independent producer of David O. Selznick who made such outstanding hits as “David Copperfield,” “A Tale of Two Cities,” “Dinner at Eight” and "Anna Karenina,” Is a doubly important occasion in that it also marks a triumphant return to the screen after four years for the lovely Dolores Costello Barrymore, who is co-starred with Freddie in the role of the Little Lord’s adored young mother, "Dearest.” Adapted to 'the screen by Hugh Walpole, the famous novelist, this handsomely produced film marks an auspicious start for the newly organised Selznick International Pictures Company. The picture is released through United Artists. It tells, in heart-warming terms tlie familiar story of the little American lad, who became a Lord and went to England to live in a castle with his grandfather, the gruff, gout-ridden old Earl of Dorineourt (C. Aubrey Smith), and was separated from the dear widowed mother whom the stubborn Earl refused to receive inside the castle gates because his son had married against his wishes. How the child wins his way into the old man’s heart and transforms him into a loving and delightful grandfather is charmingly depicted amid smiles and heart-tugs and tears. Eventually tho old Earl softens even toward “Dearest,” but is too proud to seek her out until his new round happiness is endangered by the apeparance of another claimant to the title of "Little Lord Fauntleroy” in the person of an unpleasant little chap named Bevis (Jackie Searl). The story has a joyous ending, however, with all the difficulties ironed out and everybody gloriously happy. Freddie Bartholomew is even better than as “Copperfield” and Dolores Costello Barrymore is as effective as she is beautiful as "Dearest.” C. Aubrey Smith Is perfectly cast as the old Earl, and the cast, which also includes Henry Stephensn, as Havisham, Guy Kibbee, as Mr. Hobbs, the grocer, Mickey Rooney, as Dick, tho bootblack, E. E. Clive, Una O’Connor, Ivan Simpson and Constance Collier, Is uniformly brilliant. John Cromwell has turned in a perfect piece of direction, and the settings, designed by Sturges Carne, are handsome and authentic. “Little Lord Fauntleroy” is perfect entertainment for every member of every family in town. You’ll love every minute of it! MAYFAIR THEATRE “WHEN KNIGHTS WERE BOLD” With the coming of every Buchanan picture to the screen, the public are immediately on tip-toe with expectancy for some new, real song hits, and they will certainly not be disappointed in Jack's latest success, "When Knights Were Bold,” which will be presented at the Mayfair Theatre to-day. Two of the numbers which enhance the entertainment value of the film, "I’m Still Dreaming” and “Let’s Put Some People to Work,” sung in Jack’s own inimitable breezy style, are destined to be instant favourites everywhere the picture is presented. Both songs are logically introduced into the story, Jack, as Sir Guy de Vere, the new Lord of Beechworth Castle, using the latter in his love-mak-ing with his beautiful cousin. Lady Rojvena. Somewhat embarrassed (?) by thei

lady’s coolness towards him, the new Guy finds it a difficulty in expressing his ardour in mere words; so' he puts his feelings to music and sings to her, “Let’s Put Some People to Work," the words of which aptly plead his cause, but eventually earn for him —a slapped face. Poor Jack—poor you—your sides will ache laughing as this merry mirthmaker takes you back to the good (?) old days When Knights Were Bold and women were proud of it. Of course, no Buchanan picture would be complete without an Interlude of tap-dancing, and it is therefore no surprise when Sir Guy, -after a particularly "heavy" night and :an equally heavy blow on tire head from a-failing suit of armour, goes back In his dreams through the centuries, and finds the sandy floors of his. ancestors’ castle distinctly to the liking of his tapping feet. “When Knights Were Bold”. gives an intimate 1 glimpse of Buchanan’s own favourite style of acting, as the producers, Capitol Films, gave him free rein in selecting* the story for this, his first “World Standard” production, and his majesty of musical romance has indeed chosen a mirthful mix-up, brimful of laughs, riotously funny situations, spicy Interlude,' and catchy songs, that spell popular entertainment with a capital “E.” . Make certain you see “When Knights Were , Bold”—and then try to stop laughing!