Entertainments

Manawatu Times, Volume 63, Issue 60, 12 March 1938, Page 7

Entertainments

STATE THEATRE—TO-DAY “THE HURRICANE.’' Samuel Goldwyn knew that ho had a truly great picture in “The Hurricane,” Which is showing at the State Teatre to-day with Dorothy Laniont and Jon Hall heading a great cast, which includes Mary Astor. C. Aubrey Smith, Thomas; Mitchell, Raymond Massey, John Carradine and Jerome Cowan. In this dramatic saga of the South Seas, written by Charles Nordhoff and James Norman Hall, authors of “Mutiny on the Bounty,” he was confident he had a story rich In every element of cinematic entertainment. And under the virile direction of John Ford, the story has been translated into a picture which surpasses even the producer's fondest expectations. “The Hurricane,” with its tender romance, its powerful drama, its picturesque setting and its amazing spectacle climax, is a story ready-cut to the screen’s most heroic measure. On the low island of Marukura, 600 miles from Tahiti, two native sweethearts, Terangi and Mamma are wed. Their brief happiness is shattered when Terangi. returning to Tahiti on the trading schooner of which he is first mate, is imprisoned for striking a white man who insults him. After five years of unsuccessful attempts, the boy escapes from Tahiti and makes his way to his native island. Because of the implacable sense of duty of the French Administrator, however, he is forced to hide on a neighbouring island. The search for him is at Its height when a great hurricane begins to blow up. Unmindful of his own safety, the youth goes to Manukura to warn the inhabitants. In tho fury that follows, he plays a heroic part, and the hurricane scene provides one of the most thrilling and powerful climaxes the screen has ever shown. Known as the discoverer of more new stars than any other producer, Goldwyn entrusted the role of the native hero, Terangi, to a Hollywood newcomer, Jon Kail. Handsome, possessed of a magnificent physique, Hall will undoubtedly be lifted to stellar i a ting by this performance. Lovelv Dorothy Lainour appears opposite him as the native heroine, Marama. The producer sent a photographic unit of 18 members to American Samoa to film scenic backgrounds, while the action involving the cast was shot in Hollywood on settings unprecedented for size and realism. Largest of the Hollywood settings is a complete island village, encircling an acre and a-half lagoon. It is there that tho hurricane, brewed by James Basevi, the technical genius who created the earthquake effects for “San Francisco,” unleashes its full destructive power. The great storm, filmed with almost terrifying realism, involving exceptional hardships and hazards to the cast principals, promises to make “Tho Hurricane” the most tallted-of picture in years. MAYFAIR THEATRE—TO-DAY. “ SMILIN’ THROUGH ” , 1 That a thing of beauty is a joy forever on tho screen is reaffirmed at the Mayfair Theatre, where the return engagement of Norma Shearer's dramatic triumph, “Smilin’ Through,” is now playing, in resjionse to an overwhelming demand on tho part of the public. This beautiful story, which has stirred tho hearts of countless theatregoers since Jano Cowl first presented it on the New York stage, takes on a new glow under the witchery of Norma Shearer’s acting. The delight of audiences in viewing this picture again proves it to be one of the few photoplays able to stand the test of time. With such sterling actors as Fredric March and Leslie Howard supporting Miss Shearer, “Smilin’ Through” still works its spell of tears and smiles, still sways the heart by Its moments of pathos which precede and follow the lighter moments of gaiety. England of 1868 contrasted with the modern times of excitement which attended the last war is the background of this wistful tale. The story is that of a man who cannot forget the memory of tragedy when the fulfillment of his love is blighted on his wedding day. Fifty years afterward the son of the man who caused his bitterness returns and falls in love with the niece of the girl whom this man, now old and grey, has loved. Out of the bitterness in which he has lived all those years he seeks to keep the young lovers apart, and only when the spirit of his departed one returns does he find it in his heart to relent. Not even in her brilliant “Barretts of Wimpole Street” has Miss Shearer surpassed the stirring work she offers in her dual portrayals of the two girls. In making a departure from the sophistry of her usual modern roles she is a buoyant, radiant and refreshing spirit. Fredric March, both as the jilted lover and the youth w'ho returns later to win her. is suave and convincing. Leslie Howard has a powerful role ds the man who lives with his bitter memories from youth to old age, and invests his role with the charm for which ho is distinguished. It is a remarkable tribute to the stars and to Director Sidney Franklin to be able to report that “Smilin’ Through” on its second showing is every inch as stirring and effective as When the picture was first released to the public. If you have already seen it, you will want to see it again; if you missed it the first time, you have a rare treat in

REGENT THEATRE—TO-DAY “OVER SHE GOES” Rollicking; farcical comedy with merry music, tightly packed with bright, breezy situations and delightful dancing—that’s “Over She Goes,” the sparkling screen . version of the record-breaking West End stage success. With laughter leader Stanley Lupino heading the original London stage cast, this merry musical comedy may rightly be termed “the happiness picture of 1938.” For month after month “Over She Goes” delighted West End audiences, who would not let It go, until all attendance records had been smashed. Now transferred to the screen you can enjoy that treat of hearty lailghter you’ve long longed for. “Over She Goes” tells of the adventures of Tommy, Billy and Harry, three ex-members of a vaudeville act, when Harry becomes a peer on the presumed death of his uncle, Ix>rd Drewsden, and is pursued by a title-hunting ex-flame. To outwit the damsel the ingenious Tommy (played by Stanley Luttino, of course) poses as Harry’s uncle, mysteriously returned from the jungle in which he is supposed to have died, hoping to make the gold-digger believe that there is no title or inheritance to share. You can imagine the fun In this liiughterladen situation. One of the many features of the film is the casting of Max Baer, the famous American boxer, as a tough “he-man” from the wide open spaces, who is Stanley Lupino’s rival for the affections of vivacious Gina Malo. “Maxie” is in his element in this part and has some screamingly funny scenes with Stanley Lupino and Laddie Cliff. Four lovely leading ladies support Stanley Lupino in tho production, Clairo Luce, glamorous as ever in the romantic lead as Harry’s fiancee, Gina Malo. as Stanley Lupino’s bright young girl friend, Sally Gray, us Billy’s, and Judy Kelly as the beautiful causo of all tho trouble. Bertha Belmore gives one of her inimitable comedy characterisation os the unfortunate Lady Drewsden, who takes Stanley Lupino for her long-lost husband, while Syd. Walker and Richard Murdock add some grand comedy as an old-style police inspector and his young Hendon graduate assistant. John Woods, a handsome young newcomer from Australia, Is guaranteed to make the feminine hearts beat as dashing young Lord Drewsden. KOSY THEATRE—TO-DAY “THE JURY’S SECRET” “The Jury’s Secret” 1b now showing at the Kosy Theatre. Bill Sheldon, fearless young leader of the working class, blames the Midland City flood on Brandon Williams, local plutocrat, charging Williams selfishly held up Government money for flood control work through his newspaper | power. Williams plans to escape the ensuing commotion by taking a world cruise. Bill Sheldon is heard threatening him. Almost everyone believes Sheldon guilty of murder when Williams is discovered killed, with Sheldon bending over the body. Actually, Williams was murdered by Walter Russell, his rebellious editorial writer. By a strange twist of fate, Russell Is summoned on the jury which is to try Sheldon. When Linda Ware, New York reporter, arrives to cover the trial, she not only discovers that Russell is an old sweetheart but that he actually is the murderer. She successfully pleads with him to act on the jury. When Russell forces the acquittal of Sheldon and ends the case so that another trial must be held, he realises his conscience will not permit him to let Sheldon take the blame for the crime he committed. “Radio Patrol.” Now showing at the Kosy Theatre, the first chapter of Universal’s serial “Radio Patrol,” will be flashed on the screen. It is taken from the famous newspaper strip. This picture is dedicated to the courage and daring of local police in dealing with criminals and their modern methods of prating. It unravels its theme with tremendous wallops, highlighting daring raids, rescues and many breath-taking moments where life and honour are at stake. The story is told with sincerity and all the incidents could have happened. Three former police reporters and crime investigators wrote the script, basing most of the pulse-quickening situations that radio patrolman Pat O’Hara and his cohorts get into, from actual police records. The hero, Pat O’Hara, is portrayed by Grant Withers, who at one time was a member of the police riot squad in Los Angeles. Because of his daring, lie has been called the best action player in all Hollywood. In “Radio Patrol” he makes spectacular leaps from burning buildings, stages head-on smashups, jumps from cliffs and several times risks getting blown to bits. The heroine of this thrilling chapter film Is played by Catherine Hughes, lovely screen newcomer. The picture introduces Silver Wolf, a sensational new canine find, hailed as Rin-Tin-Tin’s successor. METEOR THEATRE, “ ON THE AVENUE.” Swinging merrily along to the tune of the best songs ever written by the greatest writer of songs in the world, “On the Avenue,” showing to-day at the Meteor Theatre, represents Irving Berlin at his melodious best, in a musical that is full of pep and lilting good spirits. With Dick Powell and Madeleine Carroll making a new romantic twosome of musical comedy, the lively Twentieth Century-Fox musical presents a real-life romance of New York, in a show that’s as big as the town. Alice Faye, The Ritz Brothers, and George Barbier add both melody and mirth to the production. Madeleine Carroll, noted hitherto for straight dramatic roles, makes a charming sweetheart for Dick PoWell. The beginning of “On the Avenue” finds her as a wealthy debutante, entering a theatre with her father, George Barbier, and an explorer, Alan Mowbray, at the moment that Dick Powell, Alice Faye and the Ritz Brothers are engaged in a hilarious take-off on the home-life of “the richest girl in tho world.” Infuriated, Madeleine stalks from the theatre, threatens the manager with a suit, and brushes past a stage doorman to snatch Alice’s wig from her and to break a window of Dick’s dressing-room before she Is forcibly ejected. Relenting later. Madeleine apologises for being a poor sport, and invites Dick to dinner. Falling in love with her, Dick promises to revise the skit and invites her to the next performance. At this, however, Alice, Dick’s partner, 1 horrifies him by adding even more caustic lines to the skit. Madeleine takes her revenge on Dick for the public humiliation, but, in a surprising scene, in which the music of Irving Berlin plays a novel part, Dick finds a way to clear up the misunderstandings that have parted them and to bring a thrilling conclusion to the film. Swank in its songs. In its romantic stars, and in Its lovely chorines, “On the Avenue” has the added virtue of presenting some merrily madcap performances by reliable Hollywood funmakers. Worthv of a separate note are the distinctive and lovely melodies Irving Berlin composed for the film, “This Year’s Kisses,” “You're Laughing at Me,” “Slumming on Park Avenue,” “I’ve Got My Love to Keep Me Warm,” ‘The Girl on the police Gazette” and a novelty number written for the Ritz Brotners, called “He Ain’t Got Rhythm.”