Entertainments

Manawatu Times, Volume 64, Issue 280, 27 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 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 that no self-glorification be permitted to I de . tr ? l ? t from the commendable motive behind tne story, the names of the 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 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 preserve 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 firai 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 since its inception; in fact a veritable cavalcade of films. It shows the earliest efforts of the Eng- ' lishman 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, p.nd featured with him is Kay Francis. Although Bogart has piaycu feauUi-eu roles m many successful pictures—among them “Racket Busters,” “The Amazing Dr. Clitterhouse” and the sensational “Crime School”—he has never before actually been a star. “King of the Underworld” marks the climax of his 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 of t 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 surgeoh, 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 Steplienson, John Eldi’edge, Jessie Busley, Arthur Aylesworth, John Ridgely, liarland Tucker and Charley Foy. The screen play, by George Bricker and Vincent Sherman, was based on a story by W. R. Burnett ol' “Little Caesar” fame.

“Quick Money," Holding 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 “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 Guilfoyie. “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 Hog-

STATE THEATRE—TO-MORROW “THE RETURN OF THE CISCO KID” The gayest, most gallant gun-fighter of them all is back! Warner Baxter again dons the sombrero and silver-mounted guns of his most famous character In the 20th Century-Fox production, “The Return of the Cisco Kid.” O. Henry’s lovable outlaw, who inspired the greatest legends of the colourful West, meets his most thrilling adventures—and his most beautiful senoritas—as he rides back over the border in his most exciting and most romantic film. But while a hundred posses hunt the bullet-proof bandit whom no gaol can hold, and a thousand senoritas sigh for him, Cisco yearns for the one girl he can’t have. Production Chief Darryl F. Zanuck gave lovely Lynn Bari her most important role to date as the beauty for whose love the romantic bandit robbed banks, burned down gaols—and generally risked his neck. Dashing Cesar Romero presents a picture that is a far cry from his usual suave characterisations as Lopez, the Cisco Kid’s faithful but bloodthirsty henchman, while Henry Hull, who lately scored as the irascible newspaper editor in “Jesse James,” is seen as Miss Bari’s sly but lovable old granddad. Kane Richmond is also featured as Cisco’s successful rival for Miss Bari’s heart, while others prominently cast are C. Henry Gordon and Robert Barrat. Herbert I. Leeds wielded the megaphone on

“The Return of the Cisco Kid.” Milton Sperling is credited with the screen play, while Kenneth Macgowan acted as associate producer.

“It Could Happen to You” We are all up against much the same problem—how to enjoy every inch of life and still stay out of trouble. In the thrilling new 20th Century-Fox film, “it Could Happen to You,” Mac Wilson gets into plenty of this thing called trouble, but he gets out of it by the ingenuity of his clever and devoted wife Doris. Packed tight with the realistic experiences of this young couple rising In the world of hard knocks, this film tells an intensely human story of loyalty and ambition. Although the hero is in the shadow of the electric chair you’ll rock with laughter at the j same time that your throat feels a bit l taut. It’s a really stirring experience, this mystery picture, which is realistic enough to live up to its title completely. The inimitable Stuart Erwin, roving through expressions of likeable shyness and sudden creativeness, plays admirably the role of a young 35 dollar a week advertising man on the threshold of big things. Gloria Stuart, lithe and blonde and breezy, is not only mighty attractive to look at but very useful in getting her husband out of an untidy scrape with the law. Raymond Walburn turns in a splendid performance as the demonstrative head of a high-powered advertising agency. Douglas Fowley and June Gale play with intriguing gaiety the role of a couple who have already achieved as much economic success as they can stand. Clarence Kolb, as the lawyer who cares a lot about the size of his fees but more about his reputation, will deight you. This outstanding fim is based on an original story by Charles Hoffman which was widely acclaimed when it appeared recently In The Saturday Evening Post. The screen play, written brilliantly by Allen Rivkln and Lou Breslow, has retained the flavour and punch of the original. METEOR THEATRE—TO-DAY “GOOD GIRDS GO TO PARIS” Like iced champagne, “Good Girls Go to Paris” is a bubbly, sparkling concoction pleasant to the eye and to tae taste. Like champagne, too, the Columbia comedy which is now showing at the Meteor Theatre with Melvyn Douglas and Joan' Blondell co-starred packs a punch of no mean quality. Its ingredients are many—a basically sound and humorous 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, who 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 proves that joyous laughter may be aroused without resort to slapstick, and hokum due to 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 love with her butler’s son. Walter Connolly, with a reserved and understanding ’characterisation of an eccentric millionaire, makes the man real. Isabel Jeans, a fluttering, scatter-brained woman; Alan Curtis, toorich playboy; and Joan Perry, gorgeously gowned and extremely attractive.

and A. Pini (second ’cello). 9.0: Reserved. 9.20: Weather report and station notices. 9.25: “Bunnyfield Diversions”; episode 4, “The Garden Competition.” 9.40: 8.8. C. recorded programme, ‘ ‘ The Kentucky Minstrels.” 10.7: Dance programme. 3YA CHRISTCHURCH (720 Kilocycles—4l6.4 Metres.) 7.35 p.m.: The garden expert, “Doubts and Difficulties.” 8.0: Recording, Band of H.M. Coldstream Guards.” 5.13: Thomas E. West (tenor). 8.20: Recordings, Callender’s Senior Band. 8.27: “Eb and Zeb” (No. 238). 8.3 G: Band of the Highland Light Infantry (7th Battalion). 8.46: Thomas E. West (tenor). 8.53: Recording, massed bands of the Aldershot and Eastern Commands. 9.25: Recordings, Virtuoso String Quartet. 9.50: Lotte Lehmann ith piano). 10.0: Music, mirth and melody. 4YA DUNEDIN (790 Kilocycles—3Bo Metres.) 8 p.m.: Concert by the Society of Women Musicians, the society’s singing group. 8.8: Ethel Wallace (violin) with Muriel Ironside at the piano. 8.18: Eva Barnett (contralto). 8.28: Olive Campbell and Mary Frazer (two pianos). 8.38: Dora Drake (soprano). 8.48: Nancy Hobson (viola) and Winifred Gardner (piano). 8.54: The society’s singing group. 9.25: Erhard Bausdhke and his orchestra. 9:31: The Clan Players. 9.37: The Bar Trio (instrumental). 9.40: Christina Maristanay (soprano). 9.44: Charlie Kunz (piano). 9.50: Carson Robison and his Pioneers. 9.53: McSplurge (humour). 9.56: Mantovani and his Tipica Orchestra. 10.0: Dance music.