Entertainments

Manawatu Times, Volume 64, Issue 279, 25 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 ot spies is on everyone’s lips, when sensational stories of their secret endeavours daily headline 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 tnac no self-glorification be permitted to from the commendable motive behind tne story, the names of the players in the title roles are not revealed—at the r 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 the homeland. Again it shows the ever-readiness of every true Britisher to fight, not necessarily with war weapons of death and destruction, but with sincerity of purpose to preservo the Commonwealth of Nations that only power-crazed dictators could seek to destroy. "The Four Just Men" is 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 Bowers 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 ot 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 since its inception; in fact a veritable cavalcade of films. It snows the earliest efforts of the Englishman Freise-Green as well as Eastman, of Queen Victoria's Jubilee procession, Queen Mary in her youth, Charlie Chaplin, Bleriot's arrival in England, and Sarah 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 sure to be most favourably received. KOSY THEATRE—TO-DAY “KING OF THE UNDERWORLD” A new star comes to the Kosy Theatre ; to-day in Warner Bros.' latest melodrama, ! “King of the Underworld.” His name is Humphrey Bogart, and featured with him lis Kay Francis. Although Bogart has k >ia>v.u roles m many successful pictures—among them “Racket Busters,” “The Amazing Dr. Clitterliouse” and the sensational “Crime School”—-he has never before actually been a star. “King of the Underworld” marks the climax of Iris swift rise to the top. In this picture he is a half villainous, half humorous gang leader with enormous conceit—so much, indeed, that he makes prisoner a young novelist to write a eulogistic biography ox him. He wants the world to know him as the Napoleon of crime. All this is reported to be very funny. On the other hand, he doesn’t hesitate to make a prisoner or Miss Francis, a noted surgeon, so that she may dress wounds the gangsters receive in their conflicts with the police. Bogart’s characterisation of “Red Gurney,” the mob leader, is said to be one of his finest efforts. But he is outsmarted in the end by the woman doctor, and lands behind the bars. Other notables in the picture, which was directed by Lewis Seiler, include James Stephenson, John Eldredge, Jessie Busley, Arthur Aylesworth, John Ridgely, Harland Tucker and Charley Foy. The screen play, by George Bricker and Vincent Sherman, was based on a story by W. R. Burnett of “Little Caesar” fame. "tatUMMt Meisw;. - Holding out against the opposiuuu oi practically the entirp, ..town, Fred Stone stops his fellow citizens from stampeding to invest their savings in a phony promotion scheme in “Quick 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, fame-winning portrayals. Miss Francis and Grant are cast as an unhappily wedded pair, she a money-hungry socialite who married Grant only for the luxurious life his wealth could afford her. When Carole comes into Grant’s life he falls completely in love with her. A charming and lovely young widow, With a five-year-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 married. However, Grant, loveless through the years, now comes to a showdown with Kay; lie 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, whom she married solely to enslave. The impasse comes as a shock to Carole and Grant. When she sends him away Grant goes 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 best for ‘ln Name Only.” In. the supporting cast are the distinguished players Charles Coburn, Helen Vinsen, Katharine Alexander, Jonathan Hale and Maurice Moscovitch. John Cromwell directed “In Name Only,” an RKO-Radio picture, and a production by George Haight. Richard Sherman penned the screenplay from Bessie Bruer’s novel, “Memory of Love.” METEOR THEATRE—TO-DAY “GOOD GIRLS GO TO PARIS” Like iced champagne, “Good Girls Go to Paris” is a bubbly, sparkling concoction pleasant to the eye and to t.ie taste. Like champagne, too, the Columbia comedy which is now' showing at the Meteor Theatre with Melvyn Douglas and Joan Blopdell co-starred packs a punch of no ■mean quality. Its ingredients are many—a basically sound and Jiumorous story; scintillating dialogue; deft direction and thoroughly human characterisations. Douglas is ideally cast as an English professor of Greek, whose despairing difficulties’with the free-and-easy 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, w’ho is.'Miss. Blondell, romps through “Good Girls Go .to Paris” with a gay abandon. She wants to see the Eiffel Tower, and that takes money. College students have money and she has every intention of suing one for breach of promise. Unfortunately for ner predatory ambitions, and hilariously fortunate for Meteor Theatre audiences, the waitress also possesses a strong conscience. Her escapades on. the campus finally culminate in a scandal, and she is sent 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 comedy which prove?that joyous laughter may be aroused without resort to slapstick, and hokum due tc the naturalness with which the professor and the waitress meet and vanquish such miscellaneous problems aroused by an irascible, hypochondriac millionaire, a gangster, a gigolo, a fluttery society matron and a debutante who is in lovo with her butler’s son. Walter Connolly, with a reserved and understanding characterisa tion of an eccentric millionaire, makes tht man real. Isabel Jeans, a fluttering, scatter-brained woman; Alan Curtis, too rich playboy; and Joan Perry, gorgeously gowned and extremely attractive.