Palmerston Picture Programmes

Manawatu Times, Volume 62, Issue 55, 6 March 1937, Page 11 (Supplement)

Palmerston Picture Programmes

REGENT THEATRE—TO-DAY “CHARGE OF THE LIGHT BRIGADE” The thundering of hoofs that dashed across the pages of history to bo immortalised by the unforgettable poem of Lord Tennyson—sound again through Warner Bros.' stupendous screen version of “The Charge of the Light Brigade,’' with Errol Flynn and Olivia Ue Havilland in tho featured roles. Tho soul-stirring spirit of Lord Tennyson's immortal poem carries through tho picturo to the terrific climax —although the tragic love story of the 1 two English brothers who love the same Scottish girl, makes up the real substance of the story. It is at an Army post in India that the idyll of Captain Geoffrey Vickers and Elsa Campbell begins and ends. The ill-fated lovers are unforgettably portrayed by Errol Flynn and Olivia de Havilland. The happiness of the two is wrecked by tho fact that Elsa falls hopelessly in love with Captain Perry Vickers, younger brother of Geoffrey, while the latter is away fighting 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, j women and children. From thence the exciting action moves to the 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 Jatter’s life by sending him back to headquarters with a message to the commandant. Errol Flynn gives a magnificent performance both as the lover and the fighting warrior who deliberately changes his superior's . order to attack, himself leading the Light , Brigade into the “mouth of hell”! Olivia de Havilland is extremely moving as the girl who is torn between the loves of the l two brothers. Michael Curtiz trained the “noble six hundred” in the charge Into the "jaws of death,” to sabre the gunners J . on the heights of Balaclava. But his thirst for vengeance against Surat Khan, i 1 instigator of the Chukoti massacre, is not . stayed until he impales him on his lance. An adept in handling vast crowds —there 1 are over fifteen thousand extra people in i “Charge of the Light Brigade”—he lias done an exceptionally fine job of direction, holding the suspense to the last mo-! ; inent of the cyclonic charge or the Light Brigade. The screen play is by Michael . Jacoby and Rowland Leigh, based on the j original story by Michei Jacobs. KOSY—NOW SHOWING. “LEGION OF TERROR” ' A stirring indictment of the hooded lei gions that once more have been menacing American ideals, is found in Columbia's 1 “Legion of Terror.” now showing at the . tvosy Theatre. Bruce Cabot, Marguerite Churchill, and a newcomer named Craw- ' ford Weaver enact the film’s more prom- • inent roles, and aid immeasurably in making it a thrill-filled, well-acted affair. The 1 story deals with two newly-appointed . postal inspectors who set out to track down the sender of a timebomb to a United States senator, and run across a • hooded organisation that is terrorising an American city. They meet a straightforward young fellow who is loud in his condemnation of the legion, and his sister, who fears for his life. It is only after tho young man meets death at the hands of the legion, and the girl and one of th© postal inspector are about to be disposed of in the same fashion, that tho organisation is apprehended. The film mounts grippingly to its final dramatic fade-out. Tho racketeering: methods of the legion, its iusidious propagandising, its blood-dripping ceremonies—are all graphically depicted. Peace Broadcast For “Sweet Surrender” In his production of “Sweet Surrender” for Universal, William Rowland has made a radical departure from the routine formula of screen musicals The original story for “Sweet Surrender” was written bv Herbert Fields and adapted for the screen by John V. A. Weaver. There are more dramatics crowded into “Sweet Surrender” than one will find In more than a dozen musicals written for the screen. One of the high spots is the timeliness of an international pace broadcast emanating from tho Eiffel Tower Broadcasting Station in Paris. In this sequence Frank Parker, noted radio tenor, sings “Let Us Have Peace,” a song especially composed for tho picture by Neville Fleeson and Mabel Wayn, well known song writers. In this song the always effective dramatics

of militarism have been equalled by peace dramatised in a prayer for peace set to music as stirring as a war-cry. A thrilling dramatic recitation by William Adonis is interpolated and the Academy Singers, a mixed chorus of sixteen voices, furnish the musical background. Frank Parker reaches the high spot in his career to date in the singing of this song. And, as part of the story plot of “Sweet Surrender,” It wins him a place in the ■ radio world which he actually holds in < real life as radio’s foremost and highest paid tenor regularly heard over tho national network.

STATE THEATRE—TO-DAY “DIMPLES” Singing, dancing, dimples flashing even when tears are clinging to her lashes. Shirley Temple shows at the Stato Theatre to-day at four special sessions—lo.3o a.m., 2 p.m., & p.m. and 8 p.ni.—in her new Twentieth Century-Fox triumph "Dimples,” the grandest story Shirley has ever liad and the outstanding hit in her parade of successes. As a little minstrel, harmonising with street singers, playing every role in “Undo Tom's Cabin” single-handed, starring in a minstrel show and mothering and caring for 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 AUvvyn, Delma Byron, th© 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 as her mentor, Shirley ekes out a precarious Jiving for them both by leading a group of young J minstrels in impromptu shows on the streets. Morgan, however, lias 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 one of his escapades forces him to accept the,offer, although Shirley’s heart is breaking. Before the conclusion, however, Shirley, with her songs, smiles ami dances, straightens matters out, scores a i triumphant success on the stage, and i brings happiness to two young lovers. 1 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 is superb in her role, and the Hall Johnson choir provides ; unparalleled music. Darryl F. Zanuck appointed William A. Seiter director and Nunnally Johnson associate producer of j tho film. Arthur Sheekman and Nat J Perrin wrote thj screen play, while the music and lyrics were composed by Jimmy McHugh and Ted Koehler. MAYFAIR THEATRE “THE DEVIL IS A SISSY.” For tho first time, three of the most famous boys in motion pictures are teamed in tho same screen story. They are Freddie Bartholomew, Jackie Coopex* and Mickey Rooney. The new picture, “The Devil is a Sissy,” based upon an original story by Wowland Brown comes to the Mayfair Theatre for a three-day showing to-day. “Tho Devil is a Sissy” 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 th© 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 Jives 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 influences, 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 Jove story which will appeal to adults. Fast-moving scenes Include the street-football episodes, the fight between Freddie and Jackie. Freddie’s first day in school, his 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 the hospital sequence. The additional supporting cast includes such wellknown name>s as Etienne Girrdot, the school principal; Mary Doran, the schoolteacher; Jonathan Hale, the judge; Andy Tombs, the policeman; and Christian Rub, the stone-cutter. The picture bears the distinguishing touches of that director of directors, W. S. Van Dyke, and comes on top of such of his recent performances as “San Francisco” and “His Brother’s Wife.”