Palmerston Picture Programmes

Manawatu Times, Volume 62, Issue 54, 5 March 1937, Page 8

Palmerston Picture Programmes

REGENT TO-MORROW. "CHARGE OF THE LIGHT BRIGADE” The thundering ut hoofs that clashed across the pages of history to be Immortalised by the unforgettable poem of Lord Tennyson—sound again through Warner Bras.’ stupendous screen version of "Tne Charge of the Light Brigade,” with Errol Flynn and Olivia de Mavilland in the featured roles. Tho soul-stirring spirit of Lord Tennyson's Immortal poem carries through the picture to tho terrific climax —although the tragic love story of the two English brothers who love tho same Scottish girl, makes up the real substance of the story. It is at an Army post in India that' tho , idyll of Captain Geoffrey Vickers and Elsa Campbell, begins and ends. The ill-fated lovers are unforgettably portrayed by Errol Flynn and Olivia do Havillund. The happiness of tho two is wrecked by the fact that Elsa falls hopelessly in lovo with Captain Perry Vickers, younger brother of Geoffrey, while tho latter fs away lighting insurgent tribesmen.on the border. It is in India also that many of the thrilling episodes take place, including border skirmishes and the massacre, by the treacherous Amir of Surlstan, of the entire garrison at Chukoti, Including officers, men, women and children. From thence the exciting action moves to tho battle front in the Crimea to which the British troops have been transferred. It is there that Geoffrey, after Elsa’s confession that her love is for his brother, saves the latter's life by sending him back to headquarters with a message to the commandant. Errol Flynn gives a magnificent performance both as tho lover and the lighting warrior who deliberately chahges his superior’s order to attack, hlmseif leading the Light Brigade into the “mouth or'-hell”! Olivia Ue Havllland is extremely moving as the girl who is torn between the loves of the two brothers. Michael Curtiz trained the “noble six hundred” In the charge Into the “jaws of death,” to sabre the gunners on the heights of Balaclava. But his thirst for vengeance against Surat Khan, instigator of the Chukoti massacre, is no: stayed until he Impales him on his lance. An adept in handling vast crowds—there are over fifteen' thousand extra people in 1 “Charge of the Light Brigade"—ho lias don© an exceptionally lino job of dlrec- ' tion, holding the suspense to the last moment of the cyclonic charge or the Light Brigade. The screen play is by Michael. Jacoby and Rowland Leigh, based on the : original story by Michei Jacobs. KOSY—NOW SHOWING. “IP YOU COULD ONLY COOK’’ j The world would be a pretty drab place I if it were not lor jovial, l'un-tilled person-I alities like Herbert Marshall, Jean Ar-j thur, Leo Carrillo, and Lionel Blander,l stars and principals oi Columbia's newi romantic comedy, “If You Could only Couk,” which is at the Kosy Theatre. Together, witli the helpful direction of William A. Belter, wiio knows a comedy situation when he sees one, and some exceptionally amusing dialogue from the joint pens ot Howard J. Green and Gertrude Purcell, they make tue ilim a sparkling and happy thing. Marshall has always been an adept at comedy. He is an artful actor with a voice trat faha easily on the ears and a manner that generally gives him command of whatever scene he happens to bo playing. But in tins picture ho gets a *\in to - ills money, in tiie shapo of the gleeful Miss Arthur, who makes her bow as a fully-fledged star. In a nutshell, the story concerns a disgruntled millionaire, who is about to marry a girl he doesn’t love, and a broke out-of-work young lady who meets him on a park bench. Thinking mm a fellow member of the army of unemployed, tlie girl invites ilim to go witli her and answer j an advertisement for a married couple to serve as butler and maid. On the spur of tiie moment, he accepts; and, pretending to bo married, they get the job. Of eourse, a millionaire betrothed to a society girl can’t go off and be a butler without things happening, especially if that same millionaire falls In love with another girl with blue eyes who knows how to cook. Baxter and T.'.yrna Loy Teamed Again. Tho. casting, of Myrna. Loy opposite Warner Baxter in Frank Capra’s Columbia picture, “Broadway Bill.” which is now at the Kosy Theatre, brings her together again with the first leading man she ever had on the screen. Baxter was tne star oi ' .. .die... in which Miss Loy received her first important opportunity. “Broadway Bill” is a romantic comedy in which Baxter plays a reckless, lovable rouseabout, and Miss Loy is a horse-loving feminine counterpart of him. The role gives this clever actress a fine dramatic opportunity and •nnetning entirely different from "The Thin Man” and other parts she ha i play-' efl lately. Others in the cast of this Cap-! tra picture are Lynne Overman. Walter! Connolly, Raymond Walburn. Helen Vin'©n and Frankie Darro.

STATE THEATRE "DIMPLES” Singing, dancing, dimples flashing even when tears are clinging to her lashes. Shirley Temple opens at the State Theatre to-night at 10.30 o’clock and shows tomorrow at four special sessions—lo.3o a.m., ‘i p.m., 5 p.m. and 8 p.m.—ln her new Twentieth Century-Fox. triumph “Dimples,” the grandest story Shirley has ever had and the outstanding hit in her parade of successes. As a little minstrel, harmonising with street singers, playing every role in "Uncle Tom’s Cabin” single-handed, starring In a minstrel show and mothering and caring lor her irrepressible and incorrigible guardian Frank Morgan, Shirley shares with you her love and laughter, tears and thrills, trials and triumphs. In addition to Frank Morgan, Shirley’s supporting cast includes Helen Westley, Robert Kent. Astrid AJI- - Delma Byron, the Hall Johnson choir and the inimitable Stepin Fetchit. There is laughter, romance and drama in “Dimples” in addition to Shirley's songs and dances. With Morgan a 3 her mentor, Shirley ekes out a precarious living for them both by leading a group of young minstrels in impromptu shows on the streets. Morgan, however, has a penchant for other people's valuables and his nimble fingers are always attaching themselves quite unconsciously, of course!—to some object or other. Shirley, meanwhile, with her charms and smiles, captivates .a wealthy woman, Helen Westley, who wants to adopt her. Miss. Westley offers Morgan 5000 dollars if he will permit Shirley to come and live with her. -Morgan indignantly refuses—but on© of his escapades forces him to accept, tho offer, although Shirley’s heart is breaking. Before the conclusion, however, Shirley, with her songs, smiles and dances, straightens, matters out. scores a triumphant success on the stage, and brings happiness to two young lovers. Shirley is better than ever before and her new musical numbers literally stop the show. Morgan and Stephin Fetchit furnish abundant and hilarious laughter, while Robert Kent, Astrid Allwyn and Delma Byron provide exciting romantic interest. Helen Westley ia superb in her role, and tho Hall Johnson choir provides unparalleled music. Darryl F. Zanuck appointed William A. Beiter director and Nunnaily Johnson associate producer of the film. Arthur Sheekman and Nat j Perrin wrote the screen play, while the music and lyrics were composed by ! Jipimy McHugh and Ted Koehler 1 ’ MAYFAIR THEATRE -TJIIE DEVIL IS A SISSY’." For tho first time, three of the most famous boys in motion pictures are team:ed in the same screen story. 'They are Freddie Bartholomew, Jackie Cooper and Mickey Rooney. The new picture, “Tho Devil is a Bissy,” based upon an original story by Wowmnd Brown comes to the Mayfair Theatre lor a 3 da.v showing on .Saturday. “Tho Devil is a Bissy” is the story of three boys who become Inseparable pals and, strangely enough, features three boys who are boon companions In real life, Freddie Bartholomew plays a rich English lad who meets his unusual companions by visiting his father’s studio on New York East Side. Jackie Cooper's role is that of the son of an executed convict, while Mickey Rooney portrays another juvenile product of the sidewalks of New York. Despite the wide chasm of society that usually separates wealthy children from those of the slums, “The Devil is a Sissy” emphasises that neither creed nor race can keep apart boys of different social strata when their lives and friendships are so closely woven together; The story shows that these boys, raised in totally different environments, are-brothers under the skin; that life must be faced down on the streets, where battles are fought; that parental mismanagement can wreck a life unless better in- ' fluences, such as the schools and the courts, save it. Not only is there action in every scene, the sort of action to appeal to child audiences,but there is a tender romantic love story which will appeal to adults. Fast-moving scenes Include the street-football episodes, the fight between Freddie and Jackie. Freddle.’s first day in school, ills meeting with the 'gang, his house-breaking, such sympathetic episodes as Freddie’s scenes with his father. Mickey's attempt to buy the tombstone, scenes between the judge and the boys, and tho hospital sequence. The additional supporting cast includes such wellknown names as Etienne Glrrdot, the school principal; Mary Doran, the schoolteacher; Jonathan Hale, the judge; Andy Tombs, tho policeman; and Christian Rub, tho stone-cutter. Tho picture bears the distinguishing touches of that director of '.directors, W. S. Van Dyke, and comes on I top of such of his recent performances as “Ban Francisco” imd “Ills Brother's Wife.”