Entertainments

Manawatu Times, Volume 65, Issue 229, 27 September 1940, Page 9

Entertainments

REGENT THEATRE—TO-DAY “THE OLD MAID” “The Old Maid," co-starring Bette Davis and Miriam Hopkins, shows at the Regent Theatre to-morrow. Filmed by Warner Bros., it has been hailed by preview audiences as the outstanding dramatic event of the year—a rare combination of 'brilliant talents in the fields of acting, writing and directing. One feminine star—especially If she be that double Academy winner, Bette Davis —might be considered sufficient for a photoplay, no matter how great. But. in “The Old Maid’’ there are two. Besides Bette Davis there is the lovely and highly capable Miriam Hopkins, who has starred in many a topnotch production on her own. The girls have equally important parts. This is the first time, since they reached stardom, that either has ever shared acting honours with another player of her own sex. “The Old Maid" was written first as a novel by Edith Wharton, often called the “aristocrat of American writers.’’ She will be remembered as the author of “Ethan Frome” and “The Age of Inno- ; fence," among many other books. Then, four years ago, Zoe Akins, the brilliant dramatist, transformed the book Into a stage play which not only had a long run in New York but won the Pulitzer Prize for that year, the highest award that can be bestowed upon a dramatic production. With Miss Davis and Miss Hopkins In the picturisatlon of “The Old Maid" are such players as George Brent, Jane Bryan, Donald Crisp, Louise Fazenda, James Stephenson, Jerome Cowan. William Lundigan, Cecilia Loftus, Janet Snow, De Wolf Hopper and Band Brooks. The director was Edward Goulding, whose latest previous triumph was Bette Davis’ sensational “Dark Victory." MAYFAIR THEATRE—TO-DAY “GOLDEN GLOVES" Authenticity is the keynote of Paramount’s “Golden Gloves," the new picture showing at the Mayfair Theatre to-mor-row. Picturegoers are in for a feast of thrills. The fight sequences leave nothing to be desired in this direction, and have been acclaimed by experts as being the best of their kind ever filmed. "Golden Gloves" features three comparative newcomers to the screen—Richard Denning, playing his first leading i*ole after several minor ones; Jean Cagney, sister of the famous Jimmy and making her screen debut; and Robert Paige, who although he has previously played leading roles, gets his most important assignment to date in this picture. Others featured are J. Carrol Naish, who needs no introduction to film fans, William Frawley, Ed. Brophy and George Ernest. "Golden Gloves" tells of a crooked boxing racket, run by Naish, which Paige, as a crusading newspaper reporter, is determined to smash. How he achieves his object with the help of Denning, as a capable amateur tighter, makes exciting entertainment.

“Our Neighbours—the Carters.” The trend to simple, homespun, down-to-earth drama, which have been forging to the lead in public favour, is definitely reflected in “Our Neighbours—the Carters,” Paramount’s story of life in a small Ohio town, which shows to-morrow at the Mayfair Theatre with Frank Craven, Fay Bainter, Edmund Lowe and Genevieve Tobin in the top featured roles. Not just another “family" picture, it tells the story of "Doc" and Ellen Carter, played by Craven and Miss Bainter, and their five children. "Flash Gordon Conquers the Universe.” Also screening is chapter 3 of "Flash Gordon Conquers the Universe," this week's title being "Walking Bombs." KOSY THEATRE—TO-DAY “THE PLAINSMAN" Handsome Gary Cooper is cast as Cecil B. DeMille’s “Wild Bill" Hickok in “The Plainsman," and lovely Jean Arthur portrays "Calamity Jane," famous frontierwoman who loved the silent, hard-fight-ing peace officer, but could not have him. They are a far different pair in “The Plainsman” than they were in “Mr. Deeds," and yet their assignment to the leading romantic roles is regarded as a master stroke of casting. Cooper is widely known for his portrayals of the outdoor man-of-action, soldier-of-fortune and seeker-after-danger. “Wild Bill," who was sent into the West by the Government in the early seventies to find out who was responsible for selling guns to the Indians, was all of that. “Calamity Jane," on the other hand, was a hardboiled beauty, equally familiar with shooting irons and the bullwhacker’s whip. There was something of the tomboy about “Calamity Jane" which is particularly adaptable to the hoydenish Miss Arthur. Behind this tender romance DeMille paints on heroic canvas the whole of the American frontier scene in the ten years which immediately followed the Civil War. “Doctor Rhythm." The second big feature on the same programme is “Doctor Rhythm," starring Bing Crosby, a fashionable physician posing as an officer of the law to save his best friend’s job, finds a policeman’s lot is not a happy.one when hte first assignment is to serve as the personal bodyguard of Beatrice Lillie in Paramount’s “Doctor Rhythm." Duty blends pleasantly with love when Bea orders him to guard her pretty niece, Mary Carlisle, who wants to run away with a gangster. But music has charms, even for a spoiled girl, and after a few inoculations of Dr. Bing’s crooning, Mary decides to engage her bodyguard on a life-time contract.

STATE THEATRE— TO-DAY. “THE GRAPES OF WRATH" A deep, stirring human appeal draws audiences to the very heights of film entertainment, in Darryl F. Zanuck’s production of "The Grapes of Wrath,’’ John Steinbeck’s fearless novel. The 20th Century-Fox film, which at its world premiere achieved the biggest opening attendance in the entire history of New York’s 22-year-old Rivoli Theatre, shows at the State Theatre to-morrow. Under John Ford’s honest direction the Joads come to lfe with all the warmth, vitality and rugged humour that characterised Steinbeck’s widely acclaimed novel. Both the spirit and the letter of the book have been followed with extraordinary exactness by Associate Producer Nunnally Johnson who wrote the screen play. The many thousands who eagerly awaited this picture will find every iota of drive and power of the original story has been retained in the screen version. Tom Joad, who is played by Henry Fonda, remains the courageous figure Steinbeck created. To follow his adventures on the screen is an experience no movie-goer can afford to miss. Jane Darwell's performance, as Mr Joad, makes it impossible to believe that Steinbeck did not have her in mind when he created this indomitable Oklahoma mother. Jane carries her audience in the palm of her hand while she laughs and cries, scolds her brood and defies the forces which would tear her family apart. What is by all odds one of the most difficult roles in the picture, that of Casy, the garrulous, crusading preacher, is carried off with great distinction by John Carradine. As Grampa, Charley Grapewin turns in the best performance of a long and distinguished career. Dorris Bowdon actually appears to re-live Rosasharn’s struggle to bring new life into the world. She more than justifies the belief Zanuck had in her ability to act. Similarly justified is the selection of other members of the cast. Russell Simpson plays the part, of Pa Joad with great effectiveness. O. Z. Whitehead, who plays Al, lives up to all the fine things that were said of him when he came to Hollywood. John Qualen as Muley, and Eddie Quillan as Connie, are tops. As for Zeffle Tilbury, who plays Granina, it can be said of her that she has every ounce of Granma's colour and humour. Here is the greatest novel of our time turned into what is undoubtedly the greatest motion picture of our day. METEOR THEATRE—TO-DAY “THE EARL OF CHICAGO" Given a story that defies all Hollywood formula, Robert Montgomery scores a spectacular success In the most unusual and exciting motion picture of the year, “The Earl of Chicago," now showing at the Meteor Theatre. The film is based on a situation as unique, dramatic, humorous and surprising as any ever brought to the screen, the story of Silky Kilinount, a Chicago gangster, who becomes an English Earl by inheritance. The characterisation is an adventure for Montgomery, who gives an always convincing and fascinating portrayal in a new role for him. His Silky starts out as a straight gangster character, different only in Montgomery’s interpretation of the criminal mind. But in the latter English sequences of the picture, the gangster undergoes a subtle transition as ho learns tho meaning of noblesse oblige, that nobility of birth demands nobleness of character. The gangster is not regener-

ated, but kills a pal who double-crosses him and is tried for murder in the House of Lords by his peers and is convicted. While he remains the gangster to the end in language and mannerisms, he goes to his death like a gentleman. An oddity of this picture is the fact that while every scene is played for drama it is often hilariously funny, as is the sceno when Silky rehearses ancient English ceremony and tradition for his introduction to the House of Lords, and his bewilderment when confronted with English ritual. Sharing honours with Montgomery are Edward Arnold, who plays Silky’s pal and subsequently turns the tables on him, Reginald Owen as the English solicitor, and Edmund Gwenn as Silky’s .English butler who teaches him the meaning of true democracy. Others who contribute excellent supporting characterisations include E. E_ Clive, Ronald Sinclair, Norma Varden, Halliwell Hobbes, lan Wulf, Peter Godfrey and Billy Bevan.