Entertainments

Manawatu Times, Volume 63, Issue 96, 26 April 1938, Page 9

Entertainments

STATE THEATRE TO-DAY. “ THE RETURN OF THE SCARLET PIMPERNEL.” Romance rides the screen again with' London Films' version of another grand Baroness Orcy story, “The Return of the Scarlet Pimpernel,” which shows at the State Theatre to-day. The film is a further chapter in the thrilling adventures of Sir Percy Blakeney—“that damned elusive Pimpernel”—a character brilliantly created on the screen two or three years ago by Leslie Howard. In "The Return of the Scarlet Pimpernel” this role is taken by a handsome young newcomer, Barry K. Barnes, who by his masterly performance establishes himself immediately as a starring personality. Although he has had extensive stage experience, this is the first time Barnes has appeared on the screen. But .there is certainly no suggestion of inexperience in his portrayal, which is a liawless exhibition of ease and charm. No greater praise could be rendered him than to say his performance loses nothing by comparison with Howard’s masterly interpretation. Against the same exciting background, of revolutionary France, with the same colourful Orczy characters, but with an entirely new set of adventures, the producers have created a swirling atmosphere of romance and drama, crisp and sparkling as a spring breeze. The story opens quietly in England, with Sir Percy in his foppish guise, enjoying an exhilarating game of cricket in between exchanging witty sallies with the boisterous Prince Regent. But even at this moment, away in France, the tyrant Robespierre and his chief of police, Chauvelin, are plotting the capture of Lady Blakeney, to be used as an irresistible bait in the trap prepared for the “Pimpernel.” The plot succeeds, and Lady Blakeney, played with grace and beauty by Sophie Stewart, is taken to Paris and put on trial for her life. With customary daring, Sir Percy and his Leaguers follow immediately. By ingenious disguise and desperate cunning. Sir Percy effects her rescue, only to find the tables turned on him by Chauvelin. Lady Blakeney is recaptured and Sir Percy barely escapes with his life. His bacK to the wall, Sir Percy stakes all on a last desperate gamble to release France from the grip of tyranny and save the life of the woman he loves. How he succeeds, is told in terms of tlie finest screencraft, with suspense building up swiftly to a climax of thrills. The acting throughout maintains a high level, and Barry K. Barnes, [ and Sophie Stewart receive excellent supI port from Margaretta Scott, James Mason, Francis Lister and Anthony Bushell. Sucn films as “The Return of the Scarlet Pimpernel” are rare, providing as it does entertainment that can be understood and enjoyed by every member of the family over the age of 7 and under 97. KOSY THEATRE “TO THE LAST MAN.” Abounding in historic feuds between cattlemen, the rugged West furnished Zane Grey with one of its most spectacular struggles for “To the Last Man, which Paramount has just filmed. The picture is now showing at the Kosy Theatre. The imposing all-star cast features Randolph Scott, Esther Ralston, Buster Crabbe, Jack Laßue, and Noah Beery. The company of more than 150 players was sent to the actual location of Zane Grey’s story, where it remained for several weeks in order to provide the picture with the necessary tone of realism. The story has it.s inception in post-Civil War days. One of two feuding families of Kentucky decides to . call quits to the bloodshed. The head of the other family, sent to gaol for the last killing, follows his old rival to Arizona. There the relentless feud is revived. Unforeseen complications, however, enter the struggle at this juncture, when the soil of one family and the daughter of the other meet and fall in love without knowing each other’s identity. Randolph Scott and Miss Ralston appear in these romantic roles. How the hard and long conflict comes to a thrilling and happy conclusion is said to place “To the Last Man” on a par with the best outdoor romances of the screen. “Hell and High Water.”

Judith Allen, screen leading woman, who came from obscurity to win the lead in Cecil B. DeMille’s “This Day and Age” for her first motion picture appearance, to be followed next by the lead opposite Bing Crsby In "Too Much Harmony,”' will be seen in her third screen role when Paramount’s “Hell and High Water,” now showing at the Kosy Theatre. The picture marks the initial producing and directing effort of Paramount’s veteran writing team, William Slavens McNutt and Grover Jones. Richard Arlen is the male lead with Charley Grapewin, Sir Guy Standing and the Japanese actor, Matsui, featured. *• In the story, written by Max Miller, author of “I Cover the Waterfront,” Miss Allen appears as Sally Driggs. Orphaned, penniless and completely disillusioned by life, she throws herself into the bay. Instead of drowning, she is unwillingly rescued by the drag net of Richard Arlen’s boat. Still smarting under the stinging rebuffs of the woman-hating Arlen, Sally gets a job in a waterfront cafe. Unjustly accused of robbing a.man, she again tries suicide. Arlen again rescues her, and when she revives in his shack and sees his adopted baby, she tries every wile known to women to make him fall in love. With a keen desire to do the right thing and an earnest longing to love and be loved, she fights her lonely way through tragedy and despair to a home, a husband and a family, even though it is adopted.

REGENT THEATRE. “MAD ABOUT MUSIC.” Crowded and appreciative houses are still greeting Deanna Durbin at the Regent Theatre in “Mad About Music,” which gives the fifteen-year-old star every opportunity to present girlish adolescence at its best and sweetest. As this picture develops, one gradually recognises the great art with which it has been built up, and audiences can enjoy to the full the Deanna Durbin they so quickly loved in her two earlier pictures. They can enjoy her delightful personality—its charm and its sparkling comedy. She is “mad about music” only to the extent of Gounod's “Ave Marie” (with the Vienna Boys' Choir) and three light modern efforts, of which “I Love to Whistle” (Sung by the principal and chorus on bicycles) is the most outstanding. The star's singing is part of her radiant self, and it would be a deprivation to her her without seeing her, so much do tlie song and singer become one. Herbert Marshall, Jackie Moran and Gail Patrick are the principals in support. The producers of “Mad About Music” have boldly thrown Deanna into a story that demands the utmost in acting talent. And 15-year-oJd Deanno handles the difficult assignment with ease and assurance. As entertainment, “Mad About Music” excels either of her previous'pictures, although it departs entirely in theme and structure from “Three Smart Girls” or “100 Men and a Girl.” Her new production Is almost entirely comedydrama, but with a story that lends itself to several liighly-emotional passages, heart-gripping in their intensity, bringing tears in their wake much as did the finale of ‘TOO Men and a Girl.” The tears are immediately followed by comedy sequences, forcing smiles. It is this procession of smiles and tears which makes “Mad About Music” a great picture. It’s a Universal film. Deanna is cast as a Arthur Treacher comes in for his share of the comedy work as the secretarvvalet to Marshall. Christian Rub ‘is Deanna’s confidant, friend and accessory in her deception. Elizabeth Risdon and Nana Bryant are the sisters who keep the school in Switzerland. Three youngsters have important roles in the production. These are Marcia Mae Jones and Jackie Moran, in the roles of Deanna’s friends, and Helen Parrish, who is her enemy. Deanna sings four songs in the production, three of them, “I Love to Whistle,” “Serenade to the Stars” and “Chapel Bells” by Harold Adamson and Jimmie McHugh. The fourth is “Avia Maria,” by Gounod. High in the list of credits must come Norman Taurog, the director, and Joe Pasternak, the producer. The story is an original by Frederick Koliner and Marcella Burke, with the screenplay by Bruce Manning and Felix Jackson. MAYFAIR THEATRE TO-DAY. “ MADAME X.” The screen demonstrates forcibly again that it can add new charm to the old beauty of the theatre. The time-honoured stage hit, “Madame X.” by Alexandre Bisson, has been adapted by Metro-Gold-wyn-Mayer with Gladys George in the title role and proves heart-stabbing entertainment. This is the picture which shows at the Mayfair Theatre to-day. The remembered story of the woman who was drawn by circumstances into a life of degradation and was at the last defended by her son, who did not know her, has been one of the most dramatic stage vehicles in many years. It gains a greater quality of suspense in the adaptation. The producers have also brought the narrative closer into the present without detracting in any way from the original. Gladys George has played the role on the stage. She brings to the screen chax*acterisation a wealth of artistry and delicate understanding. John Beal is the son and Warren William plays the part of Fleuriot, the husband. They are accomplished actors who contribute precisely the right qualities to their characterisations. The supporting cast is notably good, including Reginald Owen, William Henry, Henry Darnell, Phillip Reed, Lynne Carver and Emma Dunn. The director was Sam Wood who handled “Within the Law,”

“Stamboul Quest” ana many other ini portant screen dramas, then turned hi

versatile talent to directing tlie Marx Brothers and succeeded in comedy, too.

“Madame X” remains on the screen the magnificent drama it was on the stage, an older generation remembers it with keen enthusiasm. Now it comes enhanced with the new power of the films.

METEOR TO-DAY. “CAFE METROPOLE." In the motion-picture world, the milestones upon the road of production progress are often marked by outstanding sets, looming in the history of the movies just as triumphal arches mark the paths of conquerors in the history of mankind. The most triumphal of these, the largest set ever built for any motion picture, is that of “Cafe Metropole,” Twentieth Cen-tury-Fox romance with Loretta Young, Tyrone Power asd Adolphe Menjou in the starring roles. The vastness of the “Cafe Metropole” set recalls other monumental scenic achievements, such as the huge plaster-cast elephants which, with upraised trunks, guarded the gates of Babylon in D. W. Griffith’s trail-blazing “Intolerance.” These huge beasts still maintain their silent vigil on the ground where the feet of the screen immortals trod. Except for the elephants, that set has long ago crumbled into dust, but the tradition will forever remain in cinema archives, and in the memories of all who witnessed the drama there enacted. There was “Ben Hur,” with the impressive Coliseum set where chariots raced and gladiators duelled and died; the cathedral set in “The Hunchback of Notre Dame,” the vast “Pardise Night Club in Broadway,” and the all-embracing “Grand Hotel,” all of which are recognised as definite milestones in the picture parade. Darryl F. Zanuck, vice-president in charge of production at Twentieth Century-Fox, planned “Cafe Metropole” as one of the costliest and most elaborate films of the year, with Loretta Young and Tyrone Power carrying the romantic young love story of an American heiress and an American boy “broke” in Paris. Adolphe Menjou suavely guides the course of events at his Cafe Metropole, and Gregory Ratoff (who also wrote the original story), Charles Winninger and Helen Westley are featured in the cast.