Cinema Stars, Films and Stage

Nelson Evening Mail, Volume LXXIII, 27 January 1940, Page 4

Cinema Stars, Films and Stage

-THE SECRET OF STAMBOUL” There is no lack of action in Associated Distributors’ latest release. “The Secret of Stamboul,” co-starring Valerie Hobson and Frank Vosper. which is the story of Larry, a young army officer, who, at a club ball, knocks down a Turkish diplomat who is forcing unwelcome attentions on the Colonel’s daughter. To avoid a military scandal, Larry resigns, and accepts a job to investigate the affairs of a tobacco company in Turkey. He soon learns that a political intrigue is concerned with the company, and a secret organisation is at work to upset the Government. He also meets a beautiful girl in “Tania,” a Russian refugee, now in the power of the scoundrels, anc’. she tries to save him from their cl ’tches. However, one of the revolutionary leaders captures Larry and has him thrown into the sea, but Tania, knowing the plans, is able to rescue him. and in the nick of time they prevent the uprising. Playing the role of the sinister Oriental revolutionary leader is Frank Vosper, who reveals with amazing subtlety the reasoning of the Oriental mind, while Valerie Hobson as the Russian girl “Tania,” also give a pleasing performance. “CHARLEY’S* AUNT” A STRONG CAST OF PLAYERS The Celebrity Comedy Company, better known as the “Charley’s Aunt Company,” will present to Nelson the wellknown and popular comedy “Charley’s Aunt” This laughable show has had a most successful run throughout New Zealand. The popular comedian of the company, Don Nicol, who will be remembered as having played the lead with “The White Horse Inn” and “The Balalaika” company is featured as the “Aunt.” His work has been spoken of by critics throughout New Zealand as a masterpiece of comedy art. The years have not dimmed this production and with the excellent cast the public will readily understand the reason for its lasting popularity. The leading lady is Shirley Ann Richards, the beautiful young Australian film star, who will be remembered by her excellent work in

“Dad and. Dave Come to Town,” with Bert Bailey, “Tall Timbers,” and “It Isn’t Done,” with Cecil Kellaway, and many other notable pictures. Phil

Smith was principal comedian with the Royal Comic Opera Company and played throughout New Zealand with “The Arcadians” and “Maid of the Mountains.” Charlie Albert, another fine performer, last toured New Zealancf with the Pollard Opera Company. Alathea Siddons, Leal Douglas, and Mary Duncan were in the famous “The Woman” company. John Fleeting will be remembered as having played the lead with George Wallace in his latest picture, “Gone to the Dogs.” Maisie Wallace is another artist of Gilbert and Sullivan fame. Norman Barrington is a newcomer to New Zealand and has a distinguished London career, having played with such well known artists as Dame Sybil Thorndyke, Sir Seymour Hicks, and Matheson Lang. Lane Patterson is also making his first appearince in New Zealand, and is from the London stage. It is doubtful if a more brilliant comedy company has ever toured New Zealand.

WALT DISNEY’S DONALD DUCK IN “A BEACH PICNIC” Donald Duck and Pluto, Disney’s two famous cartoon characters, are about to sample the delights of a beach picnic.. Armed with the latest in picnic equipment the two friends look forward to a restful and highly enjoyable day. Not for long, however, does this pleasant state continue. Donald’s struggle with his seahorse, the trick he plays on Pluto and the pair’s combined efforts to combat a mass attack of hungry ants are just a few of the highlights in this outstanding short, “Beach Picnic.”

“THE THREE MUSKETEERS” Don .Ameche is D’Artagnan and the Ritz Brothers three phoney Musketeers, in 20th Century-Fox’s musical comedy version of Alexandre Dumas’ “The Three Musketeers.” Ringing songs, including “Song of the Musketeers.” “My Lady,” and “Voila,” added to the excitement of D’Artagnan’s stirring fight to save a throne. The story opens with the appearance of the bona fide Athos, Porthos and Aramis at the Ritzes’ tavern. A iriotous drinking bout toasting all the French monarchs from Louis I to Louis XIII results in the Musketeers winding up under the table and the Ritzes, captivated by the dashing uniforms, donning their costumes. Enter D’Artagnan! The fiery Gascon’s hot temper had led him to challenge Athos, Porthos and Aramis, each and all, to a duel. You can imagine his consternation whjn he finds the Ritzes keeping the appointment. Just then the Cardinal’s Guards arrive, posting an edict that anyone found masquerading in Musketeer uniforms will be hanged. D’Artagnan, with the antagonism of a Musketeer, for the Guards, draws his flashing blade and the battle is on—with the Ritzes, carrying on their assumed roles through necessity, appearing as if they’d be more at home with a carving knife than a sword. Besting the guards, the quartet escapes, and D’Artagnan makes the three phoney Musketeers his friends for life, further insisting that they accompany him on a dangerous mission to get the Queen’s emerald brooch in time for the great palace ball. They must obtain the bropch, which the Queen has given to the Duke of Buckingham, in order to forestall an intrigue aimed at the royal court. After a series of blood-quickening adventures, they finally do obtain the jewel—but are captured by the Cardinal’s guards. Here is where the Ritzes really go t£> work, and the story of how D’Artagnan and his comrades escape, return to Paris, enter the palace and return the Queen’s gift is one of the most exciting, and at the same time hilarious, episodes ever filmed. In addition to Don Ameche and the Ritz Brothers, the cast includes such popular favourites as Binnie Barnes, Gloria Stuart, Pauline Moore, Joseph Schildkraut, John Carradine, Lionel Atwill, Miles Mander, Douglas Dumbrille and John King.

A WORRIED WARDROBE MAN Ray Camp, wardrobe man, who spent the major portion of last summer trying to keep 1500 white costumes comparatively clean, has a harder job this summer. He is keeping upwards of 2000 costumes dirty! Last year Camp’s task was caring for the sheet-like costumes worn by the thousands of extras who appeared in “Gunga Din.” This year he is assigned to “The Hunchback of Notre Dame,” the cast of which includes 2000 “beggars” of 15th century Paris, a period not noted for its use of soap and water. During the months “The Hunchback” will be in production, Camp must keep the 2000 beggars clothed in rags, which must remain at a definite stage of apparent dirtiness, so that scenes will match. After the wardfobes have been “aged” by a streamlined process involving vandalism with beer can openers, spraying by a solution of burnt umber, lampblack and linseed oil, they needed only drying to be ready for the extras. In addition, Camp must care for and keep track of 200 peasant costumes, 350 soldier outfits, including steel helmets, mesh armous and coats of mail; 500 merchant and middle class costumes, wardrobes for some 200 nobles, costumes for 100 gipsies. And remember that a pair of shoes went with each outfit—approximately 6500 boots, shoes and sandals in all! This merely takes care of the backgound and atmosphere people. As the hunchback. Charles Laughton has a special costume fitted to his grotesque make-up. As the gipsy heroine, Maureen O’Hara wears a 15th century gipsy costume, authentic in every detail. There is Hector Sarno, the “Black Knight,” whose armour, made in Genoa in the 13th century, is insured for 5000 dollars. These are just a few of the reasons why Ray Camp looks wirtfully back to last summer, when he had only to worry about keeping 1500 costumes clean for a few months.

THE OBLIGING AUER Mischa Auer’s a favourite with every photographer in town. He never fails to oblige with any kind of pose the boys want, and generally throws in a few bon mots for good measure. The other evening he came into a preview and was stopped by the cameramen. “What’ll it be to-night, boys?” inquired Mischa. “Which side of my face—the Aryan or non-Aryan?”

’ “SAN FRANCISCO" RETURNS They live again—“Blackie Norton,” “Mary Blake.” “Father Mullin’’ and “Jack Burley”—in Metro-Goldwyn-Mayer’s never-to-be-forgotten production, “San Francisco.” Here are Clark Gable, Jack Holt, Jeanette MacDonald and Spencer Tracy in their famous roles from this might production. O. Henry once remarked there were only three cities worth writing about — New York, New Orleans and San Francisco. Comes now another authority on interesting cities, a world-traveller, who declares there are only six cities worth writing about—New Orleans, San Francisco, London, Cairo, Shanghai, and Washington, D.C. He is W. S. Van Dyke, film director, who has led motion picture companies to all corners of the earth and who has visited and lived in most of the interesting cities of the world. “San Francisco ranks among the most colourful cities,” he said, “because of its exciting past. It was born on the mud flats in the day# of the gold rush. It is to-day the only real cosmopolitan city in the west. “San Francisco” has given to the world such geniuses as David Belasco, the theatrical producer; David Warfield, one of the greatest actors; Jim Corbett, Jack London, Bret Harte, Katherine and Frank Norris, Fred Sterling, Homer Davenport, the great cartoonist —and even Rube Goldberg. “With its Barbary Coast, its Vigilantes, its gold rush days and the tragic disasters that have struck the city, San Francisco has given inspiration for some of the finest literary works and motion picture plots. “That is why Metro-Goldwyn-Mayer chose San Francisco as the setting for the musical drama “San Francisco,” costarring Clark Gable, Jeanette MacDonald and Spencer Tracy. “The city’s ability to rise out of the ruins a bigger and better San Francisco, following the disaster that levelled it in 1906. was the inspiration for the story and screen play by Robert Hopkins and Anita Loos. They saw in the hectic Barbary Coast period prior and through the earthquake and fire an admirable dramatic theme for a motion picture.”

"THE STREET SINGER’S RETURN” Arthur Tracy’s first film production “Street Singer’s Serenade,” was rightly termed the “Happiness Picture of 1936.'’ A glorious modern musical romance, punctuated with many delightful song hits, included that great favourite, “The Whistling Waltz,” “Street Singer’s Serenade” established the world-famous “Street Singer’ ’among the most popular stars of the screen. “The Street Singer’s Return” is assured of an enthusiastic reception everywhere. In his new screen story, Arthur Tracy is supported by a big cast, including Arthur Riscoe, clown prince of comedians, lovely Margaret Lockwood, Hugh Wakefield, Rawicz and Landauer, celebrated piano duettists, who have had the honour of giving several performances before royalty; Ellen Pollock, and Lew Stone and his merry music-makers. Arthur Tracy appears as a famous singer who quarrels with his leading lady and “walks out” on the show in his “Street Singer” clothes. Mistaken for what he looks, he is befriended by a beautiful girl (Margaret Lockwood), who takes him to her tenement home, which she shares with her uncle (Arthur Riscoe) and with Tracy entering into the spirit of the adventure, the three become a trio of street entertainers. Meanwhile, the stage producers are searching high and low for Tracy, but Arthur has fallen in love with his little benefactress, and refuses to be “found.” How it all works out is delightfully told in 90 minutes of sparkling entertainment.

“I KILLED THE COUNT” “I Killed the Count” is based on the very successful London stage play by Alec Coppel, and tells one of the most ingeniously contrived mystery stories the screen has seen. As so much of the interest in the film must rest on the element of surprise being retained until the moment the author wishes to divulge the next fact, this is not the time to tell the story. Sufficient to say that a man is murdered and the audience is as much in the dark as the detective sent to solve the mystery. We watch him move methodically step by step towards what he feels sure is the solution, only to find him involved in one of the most humorous yet logical complications a hard working detective comes up against. Syd Walker plays the part of Detective Davidson of New Scotland Yard, and gets every bit of drama and every bit of comedy out of the role. Ben Lyon, who co-stars with Syd Walker, is one of the suspects; Athole Stewart as Lord Torrington and Ronald Shiner as the Cockney liftman, are others suspected of killing the loathsome Count Mattoni—played by Leslie Perrins. Terence de Marney is the young detective straight from the Hendon Police College who is going to have a lesson in detection from the old hand—Davidson; Barbara Blair and Dave Burns are also prominent in important roles, the latter particularly making his a perfect acting cameo.