Entertainments

Manawatu Times, Volume 64, Issue 278, 24 November 1939, Page 9

Entertainments

REGENT THEATRE—TO-DAY “THE FOUR JUST MEN’* “The Four Just Men,” the powerful drama, was made for a definite purpose. ! First, it exposes the spy menace In our ! midst. And to-day, when the activity oi spies is on everyone's lips, when sensa- , tional stories of their secret endeavours dally headlino the news, this stirring story is of particular interest. Secondly, these four courageous men are presented as symbols of the manhood of the nation, and when they discover a sinister plot to smash the British Empire and place world domination in one man’s hands, they act as would any true Britisher in similar circumstances. And so that no self-glorification be permitted to detract from the commendable motive behind the story, the names of tho players in the title roles are not revealed—at their own request. The. decision to withhold the players' names must be unique in the motion picture industry, where publicity is considered to be almost as important as the life-blood of a star. But this unusual picture, for obvious reasons, demands unusual methods. its strong theme, as timely as the moment, naturally does not disclose countries or personalities, but it does reveal the dangers that ever threaten to sever the cnain of Empire should a Suez blockade cut off the eastern dominions from tho homeland. Again it shows tho ever-readiness of every true Britisher to fight, not necessarily with war weapons of death and destruction, but with sincerity of purposo to preserve the Commonwealth of Nations that only power-crazed dictators could seek to destroy. “The Four Just Men” la a story which has entertainment as its firs, principle, but which is also a welcome and timely revelation of Britain’s preparedness to frustrate any attempt of foreign Powers to undermine the strength of the Empire. And as such it is a film that will doubtless win the admiration and the enthusiastic approval of the nation’s leaders and the generous appreciation of all audiences, at least throughout the length and breadth of all countries where the Union Jack is flown. There are two particularly Interesting shorts screening with “The 4 Just Men.” The first is “The March of the Movies,” dealing with the cinema sinco its inoeplion; in fact a veritable cavalcade of films. It shows the earliest efforts of the Englishman Freise-Greexi as well as Eastman, of Queen Victoria s Jubilee procession, Queen Mary In her youth, Charlie Chaplin, Blerlot’s arrival in England, and durali Bernhardt; in fact right up to the time A 1 Jolson’s voice startled audiences in the first talking picture. The second short is entitled “This Place Australia,” which is intensely interesting and timely, and is sura to be most favourably received. KOSY THEATRE “THE LONE WOLF SPY HUNT” One of the most popular criminals in modern fiction, Michael Lanyard, the Bono Wolf, also ia one of the most popular heroes on the screen. The Louis Joseph Vance character has figured in silent films from as far back as 1917, and in talkies. His most recent screen adventure, “The Lone Wolf Spy Hunt,” the feature at the Kosy Theatre to-night, has Warren William as the suave international thief and Ida Lupino co-featured as a charming young woman determined to wed the man. “The Lone Wolf Spy Hunt” is the first in a projected new series of Lone Wolf films planned by Columbia. Warren William will play the title role and Miss Lupino, it is expected, will continue her matrimonial intentions. In 1917 Selznicls released the first of the many Lone Wolf films; two years later W. W. Hodklnson Co. produced a sequel, “The Lone Wolfs Daughter.” “The Lone Wolf” was the title of the 1924 production of Associated Exhibitors; Columbia, two years latex*, produced “The Lone Wolf Returns.” This was the film in which Michael Lanyard spoke on the screen for the first time. In 1927 tho same company produced “Alias the Lone Wolf.” The Lone Wolf returned again in 1929, in Columbia’s version of “The Lone Wolf’s Daughter,” and in 1935 Columbia again produced "The Lone Wolf Returns.” Last year “The Lone Wolf in Pai*is“ scored a tremendous success, and now the Lone Wolf embarks upon a series of criminal adventure films. In the 22 years that the Lone Wolf has been on the screen he has been portrayed by such brilliant actors as H. B. Warner, Melvyn Douglas, Bert Lytell, Francis and now Warren Williar . muiok Money.'' out against the opposition of practically the entire town, Fred Stone stops his fellow citizens from stampeding to invest their savings in a phony promotion scheme in “Cjuick Money,” his latest RKO Radio release, the second attraction. The picture, which combines melodrama with comedy, is a down-to-earth story about two professional swindlers who try to capitalise the civic pride of Stone’s community. Stone, as the Mayor, is the only one who sees through the scheme, but his efforts the thwart the crooks, for a time, bring down wratn upon his head. Appearing with the star are Berton Churchill, Gordon Jones, Dorothy Moore, Harlan Briggs, Frank M. Thomas and Paul Guilfoyle. “Quick Money” was directed by Edward Kelly and produced by Maury Cohen.

“Buck Rogers.” Buster Crabbe lives through one of the most thrilling periods of his amazing screen career, in the eleventh chapter of Universal's adventure serial “Buck Rog-

STATE THEATRE—TO-DAY “IN NAME ONLY” The eternal triangle is analysed, refurbished and reassembled in a sparkling, stimulating guise in “In Name Only.” “In Name Only” Is particularly notable for its stellar cast, which includes Carole Lombard, Cary Grant and Kay Francis. Their roles in this stirring, dramatic entertainment are a startling departure from their recent characterisations, but reminiscent of their early, fjame-winning portrayals. 'Miss Francis an.d Grant are cast as an unhappily weddeij pair, she a money-hungry socialite wtho married Grant only for the luxurious life his wealth could afford her. When Carole comes Into Grant’s life he falls complete y in love with her. A charming and lovely young widow, with a five-ycjar-old daughter whom she supports working as a fashion artist, Carole reciprocates but tries to sacrifice her newly-found love when she learns that Grant is mamea. However, Grant, loveless through the years, now comes to a slowdown with Kay; he wants his freedom. She agrees to go to Paris with his parents while he and Carole eagerly plan their future. Soon, though, Kay returns—without a decree; and with usual cunning informs the distraught Grant, whotn she married solely to enslave. The im jiasse comes as a shock to Carole and Grunt. When she sends him away Grant g«i»es on a spree which lands him into the hospital with a critical case of pneumonia. Here a fateful turn of events mounts the story to a pulsating climax. Carole .Lombard as the “other woman,” Cary Grant as the harassed and bewildered husband, Kay Francis in an especially difficult ‘heavy” role—all are at their betat for ‘ln Name Only.” In the supporting cast are the distinguished players Charles- Coburn, Helen Vinson, Kathairine Alexander, Jonathan Hale and Maurice Moscovitch. John Cromwell directed “In Name Only,” an RKO-Radlo picture, find a production, by George Haight. Richard Sherman penned the screenplay from Bessie Bruer’s novel, “Memory iof Love.” METEOR THEATRE—TO-DAY "BLACK EYES” There is a fine fathqr and daughter story (perhaps we might say a Sorx*ell and Son with a feminine twixst). Otto Kruger lias the role of waiter In a high-class restaurant which also caters ror some of the vices of its more important patrons. His position is concealed from his daughter, Mary Maguire, brought up in sheltered surroundings. Kruger's true position is revealed when the daughter is lured to the hotel, a situation that becomes tense and dramatic. The whole thing is very well handled. The well-ki*>wn Russian sohg from which the title Is taken weaves its way throughout. Also Screening. Jackie Moran in the new release, “Barefoot Boy.” Here’s adventure you’ll really enjoy and long remember—a boy’s courage pitted against gangsters’ guns. METEOR THEATRE—SATURDAY “GOOD GIRLS GO TO PARIS” Like Iced champagne, “Good Girls Go to Paris” is a bubbly, apar.'kling concoction pleasant to the eye duel tp t.ie taste. Liko champagne, too, the Columbia comedy which opens on Saturday at the Meteor Theatre with Melvyn Duuglas and Joan Blondell co-starred packs a punch of no mean quality. Its ingi*eilients are many—a basically sound and humorous story; scintillating dialogue; deft direction and thoroughly human characterisations. Dougias is ideally cast its an English professor of Greek, whose despaiiung difficulties with the iree-and-qasy life of a midwestern campus are made the more complicated by his sudden and unwilling role of confidential adviser to a pert blonde young waitress with big Ideas. The waitress, who is Alias Blonflell, romps through “Good Girls Go to Paris ’, with a gay abandon. She wants to see the Eiffel Tower, and that takas mozrey. College students have money and she has evei*y intention of suing onei for breach of promise. Unfortunately for ner predatory ambitions, and hilaricrasly fortuxxate for Meteor Theatre audieipces, the waitress also possesses a strong conscience. Her escapades on the campus finally culminate in a scandal, and she is sexxt home to her pedantic adviser. Instead, the young woman journeys to New York, where she becomes involved with the family of the Englishman’s fiancee. “Good Girls Go to Paris” is streamlined opmeay which pi’oves that joyous laughter may be aroused without resort to slapstick, and hokum due tc the naturalness with which the professor axid.the waitress meel; and vanquish such miscellaneous probleijns aroused by an irascible, hypochondilac millionaire, a gangster, a gigolo, a buttery society matron and a debutante who is in love with her butler’s son. Waljter Connolly, with a reserved and understanding characterisation of an eccentric millionaire, makes the man real. Isabel ./eans, a fluttering, scatter-brained woman; Alan Curtis, toorich playboy; and Jcjan Perry, gorgeously gowned and extremely attractive.