ENTERTAINMENTS

Nelson Evening Mail, Volume LXX, 23 May 1936, Page 13

ENTERTAINMENTS

“WHIPSAW” STARS MYRNA LOY= SPENCER TRACEY. SENSA= TIONAL SHORT FEATURE “CAMERA THRILLS,” MAJESTIC TO=DAY.

Not one, but three exceptional attractions are listed for screening at the Majestic commencing to-day. The featured film, “Whipsaw,” one of Metro-Goldwyn-Mayer’s important offerings of the new season, introduces Myrna Loy with Spencer Tracey in her first starring role, after an absence of some months from the screen. The plot of this adventure, romancedrama, concerns itself with smuggled jewels, which Miss Loy, as a member of an international ring of jewel thieves, is presumed to have in her possession. Tracey is a secret service man, who attempts to trap her through romantic intrigue. He manoeuvres her into a situation in Which she must pass as his wife and the story moves swiftly through a chain of events keeping excitement and suspense at fever heat. The supporting attractions, Laurel and Hardy in another of their classical gems, “Fixed Uppers and "Camera Thrills,” a vivid record of the adventures encountered by a newsreel cameraman in his daily search lor sensationalism orovide the highlights in u really entertaining programme.

STATE: “LAST DAYS OF POMPEII’ A BRILLIANT SPECTACLE FILM

Magnificent as a spectacle, outstanding in dramatic power, RlvO Radio’s “The Last Days of Pompeii,” which opened to-day at the State Theatre, takes the season’s lead in ambitious productions. A drama of the historic Roman city at the height of its magnificence, the film transports the audience back to the gilded days of the first century. Arena combats, luxurious banquets, pagan rites, soldiers, nobles, demagogues, and slaves pass in review in this story of barbaric splendour produced by Meriun C. Cooper. Tlie scenic highlight of the film is the historic eruption of Vesuvius. For sheer magnitude and breath-taking thrills, the destruction of Pompeii, with its fear-maddened mobs caught between toppling walls and rivers of molten rock equals any spectacle heretofore filmed. The story is of Marcus, an embittered young blacksmith, who becomes a professional gladiator following the deaths of his wife and child. He recklessly engages in any deal, from slave trading to horse thieving, provided it pays. At tlie end of twenty years, rich, powerful, popular with the mob, he is master of the arena, director of the spectacles which cost the lives of thousands to amuse the multitude. His only interest is his adopted son, whom he hopes to makes a leader in the Empire. Then, because of tlie boy’s defiance of Roman law, the father finds himself in a position whereJhis power and wealth, instead of raising his son to leadership, condemns him to death. The blazing eruption of Vesuvius brings tlie story to a stirring climax. Preston Foster, in the role of Marcius, undoubtedly gives tlie finest performance of his career. Basil Rathbone is outstanding as Pontius Pilate, and Alan Hale is well cast in tlie humorous, colourful role of an ex-con-vict pal of Marcus. A newcomers from English films, John Wood as the adopted son, is a screen find of great ability and charm. Playing tlie son as a child, David Holt proves his amazing grasp of difficult dramatic roles. The love interest is charmingly supjilied by Dorothy Wilson as the slave girl whom Wood loves. An able feature cast is completed by Louis Calhern as a ruthless Roman official, Wyrley Birch as a slave, and Gloria Shea as Marcus’ wife. Patrons are reminded- that telephone reserves cannot be held after 7.30 p.m.

REGENT: TO=NIGHT AND MONDAY, COMEDY AND THRILL SENSA* TION, “SHE COULDN’T TAKE IT”

Once in a while the screen offers really outstanding examples. of comedy, drama, romance, and in “She Couldn’t Take It,” the current attraction at the Regent, patrons of the cinema will find ingredients—comedy, thrills and romance —in full and delightful measure. “She Couldn’t Take It” has been classed as the comedy surprise of the season and with the success attained elsewhere in the Dominion, plus the eagerly awaited Nelson premiere, all augurs well for an enthusiastic local response. It is well written, and well acted, and the dialogue grows with good cheer and spontaneous wit; the situations are cleverly contrived and interpreted with an adroitly blended sense of comedy and exciting drama, tempered by a blossoming romance. This is the film which has heaped new honours on George Raft and Joan Bennett which have not been equalled in filmdom lor some time. Raft, seen as the determined ex-gangster, Spot Ricardi, returns to a comedy-tempered modification of his famous roles in “Scar-: face,” “Quick Millions,” and “Hush Money.” The blonde and beauteous Miss Bennett, whose recent performance in “Private Worlds” established her as one of screendom’s most versatile actresses, plays opposite Raft as Gie petulant, madcap heiress who gets her own way too often. Featured in the supporting cast are Walter Connolly, patriarch and patron of his family’s tempestuous escapades; Billie Burke, as his giddy, scatter-brained wife, and Wallace Ford in the familar role of one who says too much and thinks too little. As to be expected from such veterans, their characterisations add immeasurably to the general excellence of the production. Next week a continuation of excellent fare is promised in “Midshipman Easy,” on Tuesday and Wednesday. Here is Captain Marryatt’s world popular adventure romance brilliantly transferred to the screen, alive with action, rollicking

choruses and teeming with thrilling adventure. It is a picture to be hailed with delight. Oil Thursday and Friday next a cast which reads like “Who’s Who in Hollywood,” is assembled in “Dancing Lady.” Clark Gable, Joan Crawford, Franchot Tone, Nelson Eddy, Fred Astaire, May Robson and Winnie Lightner with 300 beautiful girls enact a picture which defies description.