Entertainments

Manawatu Times, Volume 64, Issue 172, 24 July 1939, Page 9

Entertainments

REGENT THEATRE—TO-DAY "THE GREAT WALTZ" "The Great Waltz," with Lulso Rainer, Fernand Gravet and Miliza Ivor jus, new opera star discovery, heading an elaborate cast, is a musical drama based on the life of Johann Strauss and recreates the romance of old Vienna. Dealing with one of the most romantic characters in history and with the Vienna of the days of Frans Josef when that capital was a synonym for gaiety and music, "The Great Waltz” makes use of impressionistic devices in many forms to tell its story. "Dance Drama," the creation of Albertina Rasch, former premiere danseuse of the Vienna Opera, is a new mode of dramatic expression in connection with music used in "The Great Waltz.” Strauss’ inspiration of compose "Tales of the Vienna Woods," for instance, is told in sequences in which lie and the woman he loves roam the woods, while the song of birds, the tinkling of a brook, a shepherd’s horn, and other natural sounds are woven into a tone poem depicting his inspiration. Mme. Rasch’s principal dance spectacle is the "Fledermnus Ballet," staged in a replica of the Imperial Opera on the occasion of the opening performance of the opera and Johann Strauss’ tirst great triumph. The traditional ballet, which Mme. Rasch danced in the actual opera in Vienna, has been woven, into other variations. Miliza Korjus, as the prima donna, appears in the ballet and about her a series of figures showing the development of the waltz are danced by 200 ballerinas to authentic Strauss music. Glimpses into the future of the then new waltz are shown by bits of its dance successors, such as the French j "Can-Can” of a few years later. KOSY THEATRE—TO-DAY "TRAPPED IN THE SKY" An amazing, vivid and graphic picture of the thrills, adventures and perils encountered by pilots of the air lanes is now showing at the Kosy Theatre. It is called “Trapped in the Sky," and stars Jack Holt. This thrilling new screen fare is entertainment of a vastly different and refreshing type, combining elements of murder, espionage and aerial thrills that are unsurpassed for their gripping excitement. Holt is seen as an intrepid officer of the Flying Corps who invents an electric bomber, only to see his creation burst into flames upon its trial flight. He lias faith in the invention, however, and, determining to g3t to the bottom of the mystery, discovers that foreign agents are at work to obtain plans of his new machine. From tnence onwards the action is swift and exciting. "Men Are Such Fools." In all the Warner Bros. Studio’s array of new talent, greatest numerically of the major film plants, the outstanding acquisition of the past year was handsome, blondo Wayne Morris of "Kid Galahad’ fame. Jimmy Fidler, noted radio and newspaper commentator, has hailed him as the outstanding star discovery of the year. Morris was a typical, but on the surface, not-too-striking candidate for fame at the beginning ot 193 V. But It was early that January that he had accom pliahed what he had been striving to do ever since joining the studio on a minor contract six months before. Ho won -the I opportunity to be screen-tested for the hero role in "Kid Galahad." Then * Submarine D-l," in which again he got the prize part, although Pat O’Brien and .George Brent were fellow-stars. Then came a starring film of his own "Love, Honour and Behave," with Priscilla Lane playing opposite. The same pair then entered the cast of "Men Are Such Fools," which is now at the Kosy Theatre, with a big supporting cast, Humphrey Bogart, Hugh Herbert, Penny Singleton, Mona Barrie, Marcia Ralston and Gen© Lockhart. "The Lone Ranger." Chapter 9 of tho action-crammed Western title, "Tho Missing Spur." METEOR THEATRE—TO-DAY "YOU CAN’T CHEAT AN HONEST MAN" Charlie McCarthy finally has realised that he is an important figure in the movie industry. At least Universal executives were led to believe that when thy were trying to get the actual filming started on "You Can’t Cheat An Honest Man,” now at the Meteor Theatre. With the script all prepared, director George Marshall ready to give the starting order and W. C. Fields and Edgar Brown waiting to begin, Charlie became a holdout. ’ "I won’t do a lick of work until I gee my own dressing room," Master McCarthy declared. "Fields has his own dressing room, so why should I nave to share quarters with Bergen? Am I not as good as Fields? As good—l’m better every day in the week!” "Why, you Jabber.*g hat rack," retorted Fields, ’Til whittle you down to a toothpick if you aren’t careful.” "Hold your tongue, Fields, or I’ll mow you down like a blade of grass," Charlie shouted. "I still won’t start the picture until I get my bungalow.” That .was that. Chariie would not waver. So Producer Lester Cowan issued orders for the immediate building of the bungalow. In a record-breaking five days it was completed. After taking one look at the structure, Charlie announced that ho was satisfied and ready to start work. Half an hour later cameras were grinding on the first scene of “You Can’t Cheat An Honest Man." Supporting Fields, Bergen and McCarthy in tho picture are Mor-

timer Snerd, Constance Moore, Mary Forbes, Thurston Hall, Princess Baba, John Arledge, Charles Coleman and others.

STATE THEATRE—TO-DAY "STAGECOACH" With Claire Trevor and John Wayne playing the top roles, Walter Wanger’s new frontier drama, “Stagecoach," unfolds a gripping story of pioneer courage —of the brilliant heritage that has descended to young Americans from, men who fought and hewed a nation out of a wilderness. It is a saga of brave women who went with them to bring comfort and love to lonely outposts. It was filmed be--1 fore a backdrop that took sun, wind and train thousands of years to build and colour—Monument Valley, 18U miles from the nearest Arizona railroad. Louise Platt, George Bancroft, John Carradine, Andy Devine, Thomas Mitchell, Tim Holt, Donald Meek and Berton Churchill, featured in support of the stars, portray the strange group of passengers thrown together with the coach as it proceeds from To.nto, Arizona, to Lordsburg, New Mexico. John Wayne portrays the role of Kid Rlngo, who has been driven to outlawry by perjurers and is determined to kill them. Claire Trevor impersonates Dallas, a woman of easy virtue who has been forced out of town by the selfrighteous citizenry. Among the others a Virginia-born expectant mother, a mysterious gambler, a dipsomaniac-doctor, a blustering bank absconder, a timid whisky drummer. While the pounding hoofs carry them closer and closer to shrieking war erics and blood-hungry tomahawks, these incongrous individuals are absorbed with the purpose and hates that have propelled them into the hazardous journey. Each knew that Geronimo was on the war path. Each knew this meant torture or death if the coach was attacked—yet they went. They travelled aci'oss a vast panorama of primitive splendour In a solitary stagecoach which careens and rocks behind six galloping horses, with each mile bringing them closer to a waiting band of murderous Apaches. MAYFAIR THEATRE—TO-DAY “HEI TIKI" Enacted entirely by Maoris and staged in natural settings on an island in the Taupo district, with a primitive and passionate story, “Hei Tiki," which is showing at tho Mayfair Theatre today, in an appealing picture and provides a refreshing change from the stereotyped film with an American setting. The story is woven round an old Maori legend whibh says that the daughter of a chieftian must be given to a war god, as a bride, after she has come of age. When Mala, the heroine, falls in love with a warrior of a rival tribe she no longer fulfils the conditions tor a war god’s bride. How the love of the two Maoris is ultimately brought to a happy end is the main part of the rest of the film. Skilfully wound into the main story is the tradition, the tribal custom, and the ceremonial of the Maori race. The film, which won acclaim from critics and rival directors as well as from fans and stars in the United States, should be seen by all New Zealanders. Alexander Markey, the director, who played a big part in the finishing of the film, spent four years with the Maoris on a small island to win their friendly cooperation. He has made a success of one of the hardest tasks of motion picture work, the screening of a native play in a native setting. “Tribute should be paid to the director for the entertaining blend of romantic detail and authentic native spectacle, and to the skill with which he has handled his all-native cast," writes the critic of “Cinema," London. “Thus the acting is natural and realistically restrained, excepting perhaps tho melodramatic hurly-burly of the vivid crowd work. The settings have charm without beauty and the quality of the camera work and recording—the film has a descriptive commentary—reflects the greatest credit on Mr. Markey’s own personal unit."