Entertainments

Manawatu Times, Volume 63, Issue 175, 27 July 1938, Page 7

Entertainments

REGENT THEATRE—TO-DAY “A YANK AT OXFORD” Tho smash hit of tho year! Robert Taylor in his greatest role! Replete with action, laughs and fine characterisations, ■ “A Yank at Oxford,” now screening at the Regent Theatre, offers Robert Taylor his most convining role to date and more than repays Metro-Goldwyn-Mayer for the time and effort spent in producing in England pictures equal in calibre to any made in Hollywood. This is the studio’s first British-made production. In fact, the authenticity of the background and atmosphere of the picture proves that only in a British setting could it have been so successfully evolved. In presenting Taylor in the title roJo as the cocky all-star athlete who comes to Oxford to “teach "the natives” and himself learns plenty in return, “A Yank at Oxford” affords the star his greatest opportunity to demonstrate his athletic ability, his Hair for comedy and his ability to handle genuinely dramatic scenes. Lionel Barrymore, as Taylor’s father, and Maureen O’Sullivan, as tho English undergraduate whom the hero meets at Oxford, lend their accustomed polished performances, while in the British players who also have leading roles audiences may note at least two potential stellar “finds' 1 , of to-morrow. Vivien Leigh, as the “other girl,” reveals a Hashing, yet subtie personality which may well set a new style in “vamp-comediennes.” Griffith Jones, as tho Britisher whose enmity lor Taylor motivates much of the plot, looms as a most personable leading-man discovery, stalwart in appearance and sensitive in his performance. Edmund Gwenn, as the Oxford Dean, and particularly C. V. France as the tutor and Edward Rigby as Taylor’s “scout,” among tho featured players, add immeasurably to the thoroughly genuine "feel’ of the picture throughout. Director Jack Conway has established a tempo which never flags and which keeps the audience sitting forward on their seats. His handling of the athletic events, particularly of the climactic Oxford-Cambridge boat race, yields the utmost in thrilling action, and his comedy situations rival those of his earlier hit, “Libelled Lady..” There are some excellent shorts on this programme, too, including a Robert Benchley specialty, “Music Made Simple,” and an “Our Gang” comedy, “Three Men in a Tub,' latest British News and Australian Cinesound News. T KOSY THEATRE—TO-DAY “TOLL OF THE ROAD’ Closer to reality than most dramatk films of the past, because it deals with an agent ot ueatn common in everyday hie, "Toll of tne Road,” now at the Kos> Theatre, is a sKihui Dlend of romance and thrills. The story tells of a young woman wno drives her automobile witn the accelerator against the lloor-boards, u. member of a set of young cocktau-sip-ping, last-driving moderns who laugh a*, "caution” signs. Wnen tne girl, France*. Draae, is unimpressed by her fourth citation lor speeding, Randolph Scott, police lieutenant, undertakes to change her point of view. He succeeds, but nobefore he has fallen in love with her. Scott and Drake aro drawn closer daily until an accident tears them apart Witi. dramatic suddenness. The girl’s brother, played by Tom Brown, smashes his car into a school bus, killing a child, while Frances is seated beside him. She assumes blame lor the accident because oi nis intoxicated condition, and is charged with manslaughter. Scott's testimony is important in bringing about the girl’s conviction and. imprisonment. She k freed only after a second smash-up brings her brother’s death. Other piay ers are Billy Lee, h uzzy Knight, Terry Walker and Dorter Hah. “It's a Great Lift.” Members of the paramount company whicn produced the drama of life in a forest camp, “it's a Great Life,” got more than a lasie of realism while on location near Sonora, Camornia, now snowing at the Kosy Theatre. Joe xViornson and Raul ixeiiy, wno nave leading roles in the mm, ana other youtus attending the camp in tne picture, are called upon to light a lorest lire as part ui tho action. Tne loeax me warden and members of ii meal camp turned out to neip tne film company' screen the nre-ngncnif, ep±soues. A lew days later the tire warden called on tne actors lor help. a. real forest me nad oroaen out . near Sonora and all tile manpower available was needed. Both .aorrison and xveuy toon part in tne iigiu against tne real are. Others in the cast of "it’s a Great Bite” include Ohanes CChic) Sale, Kosaiind Keith, Baby Be Roy and David Holt. METEOR THEATRE “ALI BABA GOES TO TOWN” A revolutionary and far-reaching step In colour tone effects in motion pictures is tne newest innovation introduced by Darryl F. ZanucK, prduction cnieftain Oi Twentieth Century-r ox, whoso iatesi personally produced entertainment, "An Baba Goes to Town,” is now showing ai the ivieceor Theatre with Eddie Cantor in the starring roie. The new process, a three-tone tinting utilising copper ana sepia as basic ertects, has been carefully guarded during several months of experimentation in the studio laboratories. ZauucK, it will be recalled by enthusiastic movie fans, first inaugurated the use of sepia tones in film production a few months ago. Since then virtually every major studio has used tne effect. In the new process, Zanucx employs a combination of blue and orange, mixed with copper, lor tne night sequences, while sepia, amber and copper provide the three-tone

effect tor the daytime episodes. “The new three-tone effect is a great improve - mnt,” said ZanucK. “The success of sepia prints has been demonstrated, and the new process takes another far step in colour effects.” Zanuck’s decision to introduce the new process m “All Baba Goes to Town” was influenced by the fact that this is the most pretentious entertainment released by Twentieth Cen-ury-Fox. Starring Eddie Cantor, the film is a magnificent combination of colourful extravaganza, side-splitting comedy, song hits, beautiful girls, exotic dances, brilliant dialogue, lavish sets, and a hi-de-hilarious siory. Tony Martin, Roland Young, June Lang and Louise Hovick head the splendid cast supporting the famous comedian, with John Carradlne, Virginia Field, Alan Dinehart, Douglas Dumbride, the Raymond Scott Quintet, tho Peters Sisters and Jeni Le Gon also featured. Zanuck selected David Butler to direct tne production, with LaureiTce Schwab associate producer. The screen play was authored by Harry Tugend and Jack Yeilen, based on a story bv Gene Towne, Graham Baker and Gene Fowler America's ace-tunesmiths. Mack Gordon and Harry Revel, wrote the new song hits featured in the film, including “Laugh Your Way Through Life,” “I’ve Got My Heart Set on You” and “Swing Is Here to Sway.”

STATE THEATRE—TO-DAY “THE SKY’S THE LIMIT” A brilliant cast headed by one of the most popular and talented personalities on stage and screen to-day. Jack Buchanan, the sensational screen debut of a fascinating Russian singer, Mara Lossefl\ six lilting new musical numbers, two intriguing new dances, a gay story of love and laughter, abounding in sparkling repartee, uproarious situations, novel dramatic twists, with a magnificent climax high above the clouds—such are the rare and pleasing ingredients of “The Sky’s the Limit,” a joyous new Jack Buchanan production to be presented at the State Theatre to-day. It is characteristic of the tremendous versatility and limitless energy of Jack Buchanan that in addition to playing the starring role, lie also collaborated in the story with Douglas Furber and co-directed the film with Lee Garmes. Mara Losseff, whose glorious, clear soprano voice will eb heard for the first time in this country in “The Sky’s the Limit,” has already thrilled audiences overseas. Jack Buchanan is cast as a young aircraft designer in Lord Beckley’s Aircraft Company, who has invented a new type of plane in which the Air Ministry is interested, while Mara Losseff appears as a beautiful opera singer who mistakes the young inventdr for the wealthy Lord Beckley’s nephew—with the most hilarious consequences. Heading the supporting cast are David Hutcheson and William Kendall. Hutcheson puts all his good-tempered humour Into the portrayal of tho star’s friend Teddy—a good fellow, but a bad song writer, whose astonishing composition is transformed by Isobella into a tremendous musical hit, while William Kendall is seen as Lord Beckley’s underhand nephew who tries to steal the star’s invention. H. F. Maltby is in Tils element as the irascible Lord Beckley and strong comedy roles are taken by Athene Seyler, Sara Allgood, Antony Holies and David Burns. MAYFAIR THEATRE—TO-DAY “JUDGE HARDY’S CHILDREN” The audience becomes part of a delightful family In “Judge Hardy’s Children,” third of the “Hardy Family’ series, playing at the Mayfair Theatre to-day. They share the problems of tho father and mother and the joys and tribulations of tho children, and they laugh with the characters rather than at then in the homely, down-to-earth comedy scenes. The picture, above ail else, is intensely human. It deals with people everyone knows as next door neighbours. The new picture, a sequel to “You’re Only Young Once,” taxes the judge and his family to Washington. Mickey Rooney as the son has a flirtation with a little French girl. Cecila Parker as the daughter is infatuated with a young State Department employee, and lobbyists assail the judge who has been appointed to a Federal commission. Mickey gets thrown out of a dancing school for teaching Jacqueline Laurent the “Big Apple.” He gets his first tuxedo. He returns to his school sweetheart at home. So does Cecilia. Lewis Stone plays the kindly judge and father; Fay Holden is the understanding mother. Robert Whitney makes his bow as a new and very adequate leading man and Leonard Penn plays his rival for Cecilia’s love. Ann Rutherford is Mickey’s hometown sweetheart. Janet Beecher contributes clever character work as the governefes of piquant Jacqueline Laurent, new French discovery making her debut in American pictures. Ruth Hussey is beautiful and yet dangerous as the plotting lobbyist’s wife. George Seitz, who has directed the series ever since it began with “A Family Affair,” directed the story with deft skill. The screen play is by Kay Van Ripper and is based on the characters created by Aurania Rouverol. “Fury.” A new pair of romantic stars, a story of dramatic force, and super direction combine to make “Fury,” the second attraction, a picture for the “must see” list of every discriminating picture patron. Sylvia Sidney and Spencer Tracy are the. co-stars, and not within this reviewer’s recollection have they ever acquitted themselves with greater distinction on the screen. Tracy and Miss Sidney portray a pair of young lovers, planning to marry. They are separated by Tracy’s arrest as a kidnap suspect. The small town in which he is held in prison for questioning is quickly stirred to action by ugly rumours. Led by a vicious typo of trouble-maker (splendidly played by Bruce Cabot) a mob storms the prison to “get” the suspect. The scenes that follow, showing the sheriff’s futile attempt to fight off the rabble and the actual wrecking and burning of the prison, contain realism of a hair-raising order. The closing sequence, in which of the mobsters are on trial for their lives, builds to a powerful climax and is sustained right up to the logical though surprising twist tiiat precedes the final fade-out. In addition to the excellent work of the co-stars, other fine performances are turned in by Frank Albertson and George Walcott, as Tracy’s brothers; Walter Abel, as district attorney; Edward Ellis, as the sheriff, and Walter Brennan, his assistant; Jonathan Hale, tho defence attorney, and numerous others in the large cast. “Fury” is a vivid pictorial indictment of lawless outbursts in supposedly civilised communities of this country. Aside from its unusual merit as screen drama, it carries a message for good citizens!