ENTERTAINMENTS

Nelson Evening Mail, Volume LXVI, 5 March 1935, Page 7

ENTERTAINMENTS

ALL GOOD FUN, “SPLENDID FELLOWS” AT MAJESTIC

The. final screening of Beaumont Smith’s hilarious comedy romance, ‘’Splendid Fellows” which has been attracting large audiences at the Majestic will he given to-night. Tomorrow will usher in another new show, John Hastings Turner’s celebrated stage comedy success “Lilies of the Field,” starring the over-popular feminine lead of the Aldwyeh Theatre l’arees, Winifred Shelter. She is assisted by Ellis Jeffries, as her caustic j grandma, July Gunn, her twin sister, and Anthony Bushel), as the “visitor” around whom the escapades of the terrible rectory twins hinge. “Lilies of the Field” is a piquant story of a tomboy’s masquerade as a demure Victorian maid. The “London Cinema” considers it “one of the best entertainments that has been ever offered—a wholesome, jolly picture.” The fun is born of a contest between a pair of high-spirited twins, Betty and Kitty, as to which of them can make the best impression on Guy Hallery, a London visitor to their vicarage, a holiday in London with their grandmother being the coveted prize. Kitty, with a flying start, uses modern technique, but Betty romps home by appearing in mid-Victorian manner, complete with crinoline and a modesty of mien that astounds her whole family. Betty goes to London, and hilarious fun commences on her arrival in fashionable Mayfair a la Victorian era.

Announced as one of the most, important of 1985 greater show season attraction for the Majestic .is MetroGold wyn-Mayer’s special, “Chained” which co-stars Joan Crawford-Clark Gable supported by Otto Kruger and Stuart Irwin. Booking plans are now open for this excellent entertainment.

JOHN BARRYMORE IN “20TH CENTURY,” REGENT, TO-NIGHT

John Barrymore reveals a rare genius as a comedian in the role of the temperamental producer. Oscar Jaffe, in Columbia’s “20th Century,” which opens this evening at tho Regent Theatre for a two day run. In a comedy as fast as its title, Barrymore proves a dept farceur, the like of which has seldom been equalled on stage or screen. Armed by the brilliant dialogue and uproarious situations, Barrymore rises to sublime heights as a comic artist in his understanding characterisation of tho egocentric, eccentric improssario. The net effect of this celebrated collaboration is one of the most uproarious screen comedies. It is hilarious fun from start to finish. The story of “20th Century” is that of an eccentric theatrical producer, artificial in all his emotions, egostieal. a czar in his theatrical domain, conceited and stubborn, in his own opinion. He takes an unknown girl and makes her a famous theatrical star. The comedy in the picture lies not only in farcial and hilarious situations but in the eonsumato acting of Barrymore and his supporting cast. Chief among these is Carole Lombard in the character of the actress, Lily Garland, and running her a close second is Rosroe Ka rns as O’Mally, Jaffe’s drunken press agent Walter Connolly ranks with him as Webb, Jaffe’s conscientious and long suffering business manager.

THEATRE ROYAL: “THE MAYOR OF HELL,” WEDNESDAY

More than 350 boys, ranging in age from 12 to 10 years, play an important part in Warner Bros.’ stirring picture, “Tlie Mayor of Hell,” starring James Cagney, which comes to the Theatre ltoyal on Wednesday. It is a picture of tremendous import, being based upon the vital problem of handling youths committed to reform schools. At the Warner Bros, studio, every child of school age must put in the required amount of study specified by the Los Angeles Board of Education. The official teacher, Miss Lois Horne, is on the regular payroll of the studio. Sometimes she has very little to do, while at other times she has to have a whole corps of assistants to help her with her job. An instance of the latter came' up when Cagney started making “The Mayor of Hell,” most of the action of which is laid in a boys’ reform school. Education on a movie lot has none of the smooth-going routine that one finds in a regular public school. All the boys in “The Mayor of Hell” did not work every day. Some days a group of 50 would work, or a group of 100, or perhaps 150. The entire lot of 350 were switched *around and used in various groupings according to the scenes being slipt. The major portion of their work was on a huge reform school set —a group of buildings, hemmed in by high walls and barbed wire—built in an extreme corner of the back studio lot. The Board lias ruled that one teacher be provided for every ten pupils, and that one teacher for every twenty-five be provided for Saturdays and other school holidays when the work consists more of welfare supervision than of teaching. On one particular day 17 teachers were employed during the production of “The Mayor of Hell.” This is an exciting story of wild youth, graft and intrigue. There are good supports.

KIRWIN’S PICTURES: “SONG OF MY HEART”

The world-famous voice of John McCormack, an excellent cast including Alice Joyace and Maureen O’Sullivan and the beautiful setting of an Irish country village make “Song of My Heart” one of the most notable productions of the talking screen. There is something in this picture to appeal to everyone—a charming and romantic story, first rate acting and a host of well-known songs.