Entertainments

Manawatu Times, Volume 62, Issue 168, 17 July 1937, Page 7

Entertainments

REGENT THEATRE—TO-DAY “LAST OF MRS. CHETNEY" “The Last of Mrs. Cheyney” brings together for the first time three stars who, singly, have recently contributed to the screen three of the year’s most successful and outstanding pictures. Joan Crawford, direct from “The Gorgeous Hussy ; William Powell, from “After the Thin Man”; Robert Montgomery, whoso “Piccadilly Jim” still remains one of the high spots of 1936 screen entertainment. To this triple-star cast Metro-Gold wynMayer also lius added an outstanding supporting cast that includes Prank Morgan, Jessie Ralph, Nigel Bruce, Colleen Glare, Benita Hume, Ralph Forbes, Aileen Pringle and Melville Cooper. Lawvance Weingarten, who was at the producer’s helm on “Libelled Lady,” is the producer of the new picture. Based upon the famous Frederic Lonsdale play ox a few years ago, Leon Gordon, Samson xtaphaelson and Monclxton Hoffe completely modernised the story with a deitj adaptation that promises to establish the screen version as an outstanding riot oi | laughter and complicated situations. To Miss Crawford fails the title role of the lovely American woman in whose hanus ,'ullible English socialites become easy victims of a plot to trick them out of a -ortuno of jewels. William Povveil, as Mrs. Cheyney's butler, Charles, is revealed as the brains of the group of international thieves, but a lovable crook who makes unusual sacrifices to protect the ,ood name of the woman he adores. Jontgomery appeal's as romantic young Lord Billing who uncovers the plot to •ieece his British friends and who learns che true character of Mrs. Cheyney when • he chooses exposure as a thief rather than submit to his amorous advances. »>'rank Morgan is jeen as Lord Keiton and other assistants in weaving the hilarious plot are Miss Bruce, as the Duchess oj. Bbley; Nigel Bruce, as Lord Wynton; Jenita Hume, as Lady Wynton; Ralph Forbes, as Cousin John; and Lumsden ilare, as Inspector Witherspoon. Adrian ldeigned new and startling costumes for Miss Crawford which promise to set the fashion world agog, and Cedric Gibbons and his assistants provided some of the most lavish settings yet to be seen on the screen. KGSY NOW SHOWING A picture which belongs on every moviegoer’s list is Universal’s “Nigh. Key, ’ showing to-day at the Kosy Theatre. Boris Karloff, the star, makes an amazing rightabout face, tosses away the .monster mask and steps forth as a thoroughly likeable human being. He needs no make-up to prove his ability as a splendid dramatic actor. Revealing him in an entirely new light, his portrayal takes him out oi the class of specialised performers and gives audiences a Karloif to talk about. “Night Key’ is a strong dramatic screen story, with an unusual plot that holds audiences with rapt attention. Karloff po. trays an inventor of burglar alarm systems. When his partner cheats him of his patents, thereby robbing his daughter of security in life, he wrecks his enemy’s burglar alarm system and defies police, gangsters—everybody—to force his foe to give him nis just rights. Skillfully directed by Lloyd Corrigan, the picture carries suspense and action to a thrilling climax. Hobart Cavanaugh plays the part of Petty Louie, who helps the inventor in his daring enterprise. Warren Hull and Jean Rogers supply the picture s heart interest. They develop their romance with a restraint that gives sincerity and conviction. Others who give fine performances are Alan Baxter, the gangster chief; Samuel Hinds, head of the Protective Agency; David Oliver, the comedian; Ward Bond, Frank Reicher and Edwin Maxwell. “Fugitive Sheriff.” When Ken Marshall is elected sheriff oi the lawless town of Rawhide over Louder Lucas, tool of the crooked Flamer Willis, the Flamer decides to run the town anyway. That night, Flamer and his gang hold up a railroad train, robbing and killing passengers and crew. Flamer wears a copy of Ken’s well-known white hat. and rides a white horse, as is the new sheriff’s custom. The criminal s plan works perfectly*, for the following day Ken is accused by members of the train crew of having engineered the jobbery. Ken believes it a joke until he is hailed before Judge Roberts, his friend, and father of June, the girl he loves, and is found guilty. Before he can be sentenced, Ken leaps through a window, mounts his trained horse, and escapes. That night Ken comes to visit June Roberts, and itold that Flamer has had Lucas appointed sheriff and that a price has been placed on Ken’s head. As Ken is leaving, a posse arrives at Judge Roberts home to search for Ken, but he again escapes. Flamer, hoping to force the judge to resign his post, decides to have June arrested for harbouring an escaped criminal. But when Flamer and Lucas come to arrest June the following day. Ken batOes them and escapes to the hills with the girl Accidentally they meet an old prospector, who gives them shelter, prospector tells Ken that he. too, hates Lucas and Flamer. Together. Ken and the old man plan to trick the desperadoes.

STATE THEATRE “SWING HIGH; SWING LOW” Carole Lombard and Fred Mac Murray. the romantic team of former triumphs, are tog-ether again in Paramount’s “Swing High; Swing Low,” a romance with music, which, is now showing at the State Theatre. Swing High; Swing Low” is the story of night club life in Panama and New York. Miss Lombard plays tho role of an entertainer in a Panama cabaret who makes a famous musician out of Mac Murray, who has been very much on the loose in the canal port. This role gives Miss Lombard an opportunity to sing and dance, tho first time she exhibits her talents m these fields, and MacMurray plays the trumpet, also for the first tame In plcturer. The cast also includes glamorous Dorothy Lamour, the beauty who captivated everybody in her first screen appearance, “The Jungle Princess." Sho plays the role of “the other woman,” with whom Mac Murray falls in love. Miss Lamour, who was famous as a radio singer before her entry into pictures, also sings and dances in “Swing High; Swing Low.” Charles Butter worlh, Jean Dixon, Harvey Stephens and other wen-known feature p.ayers complete the cast. “Swinu High; Swing Low” was directed by Mitchel Leisen, who directed other outstanding musical films, its music was written by Ralph Rainger and Leo Robin, and Sam Coslow and A 1 Seigel. The picture Is one that maintains the high standard of entertainment set by the State and is supported by an outstanding selection of featurettes. MAYFAIR THEATRE—TO-DAY “DREAMING LIPS” The incomparable Elizabeth Bergner returns to the screen in the finest film oi her career, “Dreaming Lips,” a Max Schach-Trafalgar production directed by her husband, Paul Czinner. Bergner first rose to International fame in a German version of this film made several years ago. Merely to say that here she repeats her triumph would be an understatement The passing of years, while leaving ner untouched physically, have given her the confidence and serene maturity that only time can bring. In a role which calls for a sustained emotional display Bergner dominates the whole film from start to finish. She discovers a whole symphony of moods when a lesser artist would be well content to find an excel- t. Brilliant acting, amazing virtuosity, genius—call it what you will, but the simple fact remains that Bergner is the most delightful personality and outstanding artist on the screen to-day. The story is an absorbing study of a wife torn between devotion to her husband and a wild, uncontrollable passion for his best friend. The husband played brilliantly by Romney Brent, simple, unaffected, doting, blissfully unaware of any intrigue, worships his wife and idolises his friend. Raymond Massey, as the friend, has a difficult role, but by studied restraint and a delicate subtlety he makes a moving, human and always sympathetic figure of the “other man.” The emotional drama of these three moves inexorably to a gripping Climax which cannot fail to moisten the eye and bring a lump to the throat of even the most hardened filmgoers. “Dreaming Lips” represents one or the most exciting dramas yet screened. Dr. Paul Czinner, Bergner’s husband, deserves the highest praise for his sensitive direction. The rest of the cast is inevitably overshadowed, but mention must be made of Joyce Bland, Sydney Falrbrother, Felix Aylmer and Donald Caltlirop who shine in small