AMUSEMENTS.

Otago Daily Times, Issue 21148, 4 October 1930, Page 18

AMUSEMENTS.

■» PRINCESS THEATRE. The sparkling comedy of that remarkable comedian, Edward Everett Horton, is always welcome. His whirlwind nonsense, peculiarly original drollery, and his perfect mumming have made him the firmest of fayourites with all lovers of good, old-fashioned, unbridled farce. In The Hottentot,” which had its first screening at the Princess Theatre yesterday, he is at his best. It is all the most utter nonsense, but at the same time it is all really funny. It takes a clever man to be the perfect fool, but Edward Everett Horton earns that title in “ The Hottentot,” in just the same way in which he has earned in • others of his film successes, notably, “The Aviator,” The Terror/’ and “Kid Boots.” Those who saw or heard him in any of those farces will relish this additional opportunity of enjoying his buffoonery in this latest vehicle which the Princess Theatre offers its patrons, Horton is assisted in The Hottentot” by Patsy Ruth Miller, who played up to him so well in “ The Aviator.” They make a very impressive pair,' and present an evening’s entertainment of exceptional worth. No better advice could be given anyone in search of laughter and fun than “ Go and see Edward Everett Horton at the Princess Theatre.” Sound and spectacle are admirably blended in the film, and every line cornea across the screen with perfect clarity. But these are not the .things that appeal most. The arresting features of this ludicrous film are the antics, grimaces, and utterances of the star. Horton has one of the most expressive faces a comedian ever brought to the screen. He makes as much use of his eyes and mouth and nose aa he does of hia tongue. He twists his flexible trunk and: amazingly, plastic limbs into the wildest variety of shapes, and careers and gambols and frolics all over the screen in the most tireless fashion. In “The Hottentot" he is the victim of a matchmaking aunt, who, fearing that her horqe’orazy niece is throwing away her charms on a bad choice, introduces young Sam Harrington into the plot. Harrington proves to be an ordinarily sane and presentable young man, but. from the young lady’s point of_ view he’ must be pariah by reason of his absurd hatred of horses or anything pertaining to them. The scheming , aunt gets over Hie difficulty by representing that young Harrington is none other than the one and only B. J. Harrington, the greatest steeplechaser in the country. Caught in the mesh of circumstance the unfortunate young man finds himself compelled, not only to exhibit the keenest interest in horses and racing, but also to ride the meanest outlaw in the countryside. The task before him is not merely to survive a few minutes’ buck-jumping. To win tbe band of the the girl he loves he must ride to victory a steeplechaser who ie the terror of all the grooms and stable boys for miles around. Of course, the hero does it and wins the girl. But the story of how he accomplishes everything can be told by himself alone in one of the moat delightfully ridiculous comedies the “ talkies ” have yet produced. It is all good fun, and although at the end of the film the audience may wonder what it was laughing at, that matters little. The picture u or that uproarious variety that compels instant mirth, and keeps the watcher in the merriest frame of mind from beginning to end, Patsy Ruth Miller as the girl in the case gives a characteristically vivacious performance, and the entire cast, which includes some notably popular players, combine in an exceedingly enjoyable show. . The supporting programme of sound shorts is distinguished for its variety. It includes musical and vocal' featurettes, an_ amusing appearance of Polly Moran in an irresistibly funny charcter. and an interesting performance by the Tiny Town Revue. Tne programme will be repeated throughout the coming week. STRAND THEATRE. A tense dramatic story is told In “ Playing Around,” the First National and Vitaphono all-dialogue picture, which had its initial screening at the Strand Theatre yesterday. “ Playing Around ” has many musical sequencee. and the production should have a strong appeal, for motion picture patrons. It io admirably directed and presented by a clever east of screen players. The picture takes its audience into its grip from the opening scene, and retains its interest until the highly effective and satisfactory finish. The bright background and the culture of setting help to the power of a dramatic story, the action'of which, for the greater part, takes place in the second-rate quarters of New York, There is, for instance, the elaborate stage setting of the “ Pirates’ Den,” a place of entertainment fitted out with all the appearance of a large ship. The gangster, the girl, and her boy lover, the automobile, and a traffic policeman, figure largely throughout the story. All the scenes and action have that alluring power that claim the close attention to the closing scene, where Nickey, toiled in a wave of crime, steps unconsciously into the net laid for him by the police. It is a fitting climax that brings the gangster to the end of his tether iust as he is making his escape to fresh fields, there is a fine sprinkling of comedy throughout the film, and the dramatic part m all that is needed to make the produc lion thrilling and romantic. Alice White is a dainty little actress, and she gives a fine interpretation of her part. Shester Morns is perfectly cast aa Nickey Solomon. His polished manner, covering a character that is scheming and sauve, keeps the audience on edge with expectation. William Bakewefi, as the girl’s sweetheart, fills his part with distinct 8 § lch *£ < ?, Carl / e is admitAW m;f 8 M, ' er la the story Mil W Plays the part of Sheba Miller, a stenographer who is fond of luxuries which her modest salary will not provide. She lives with her father who tends a cigar store. There is a genuine attachment between father and daughter. Jack, played by William BakewellT employed m a soda shop, loves Sheba, and ske responds in an uninterested manner and half promises to marry him as soon as he receives a long-anticipated rise in salary. Sheba and Jack visit an exclusive night club, though the boy cannot afford the expense attached to such an evening. A contest is announced and Sheba enters it m spite of Jack’s indignation. Nickey Solomon, a gangster who frequents the club, acts as judge' of the contest, and awards a loving cup to Sheba, .the girl is greatly impressed by Nickey’s perfect grooming and attractive automobile. She decides that he must be a millionaire. Nickey takes her to expensive entertainments and night clubs, and when he proposes she accepts Mm. Jack and Sheba s father are both dubious about Nickey. Sheba, however, shows a very indignant spirit when her lover and tether express their desire to investigate the gangsters pedigree. Shortly before the date fixed for Nickey and Sheba to leave, presumably on their honeymoon. Nickejr finds himself almost penniless. He robs Millers cigar store. When Miller resists Nickey shoots him. Jack has appeared on the scene. He secretes himself in the telephone booth, and emerges in time to suspect Nickey as the killer. Pretending to be a member of Nickey’s gang, Jack telephones to the gangster stating that he has been identified, and Nickey tells Sheba he will have to leave immediately on a business trip, but he is arrested just as he is about to board the train. The shot fired by Nickey was not fatal, as Miller’s wound proves to be slight. Jack secures his rise in salary, and Sheba agrees to marry him without any further delay. The supporting programme is an excellent one, and, adds greatly to the enjoyment of a very enter-, taining programme. The short subjects include Stone Age Romance,” one of those fable pictures which have become so popular as a form of entertainment. An excellent cartoon and talking News Red are of unusual merit. These short talking and singing features claim an important position on the Strand Theatre’s programme for the coming week. OCTAGON THEATRE. The Octagon Theatre has long been noted for the high standard of the entertainments offered ite patrons, and this standard is well maintained by the double-feature programme which had its initial screening yesterday. The principal Picture is entitled “Prince of Diamonds," which has an old favourite in Aileen Pringle at the head of the cast. . Supporting Miss Pringle are such well-known players ae lan Keith, Claude King, Tom Ricketts, Gilbert Emery, and Frederick Sullivan. An outstanding feature of the picture is the magnificence of the settings. It has been said that the ideal background for a melodrama is an Oriental seaport, as such a location is sure

to have a floating population made tip of * picturesque adventurers from all parts of the world. Portion of the “ Prince of Diamonds has such a setting, and its effect cannot be gainsaid by the most captious of critics. • The story tells how Gilbert Endon, an impoverished Englishman of high birth, and Gilbert Crayle, a j diamond merchant, are rivals for the affections of Eve Marley. When Endon wins the girl, Crayle’s jealousy leads him : to seek revenge by plotting with Endon’s ; brother to send him to gaol on a false charge. Eve, wishing to save Endon ; from such a fate, agrees to marry Crayle, but the former escapes from custody and hurries to the Orient. From this point the story commences to work up to its climax, but that stage is not reached before the hero has taken part in innumerable _ breathtaking adventures. The acting in the picture is of the finest, and the whole production reflects considerable credit on its producer. There can be no ground for complaint in point -of variety in the programme, for the other feature picture is of a very different type from the first. This is “Fast Company,” featuring Jack Oakie, Evelyn .Brent, and Richard Gallagher. Oakie, though a comparative newcomer to the Dunedin, screen, has already become a firmlyestablished favourite, and his latest production must win him still further laurels, not only for his acting, which is excellent, but also for his interpretation of a role so different from any he has previously attempted. The story is a typically American one, dealing, as it does, with a typical American small-town boy who blossoms into a national baseball hero. The story has been adapted from the stage play “ Elmer the Great," and the plot centres round Elmer Kane, of the town of Gentryville. Elmer is tendered a complimentary dinner by the local Chamber of Commerce in recognition of his ability as a baseball player. He is seen by Bert Wade, who endeavours to sign him up with the Yankee players, but Elmer is not at all anxious to join up. However, Eve Corey, an actress, offers to see what she «an do, and the result is that Elmer very much in love, signs on the dotted line without further ado. He extracts a promise from Eve that she will write to him in New York while she is in Chicago, but she has no intention of.doing so, thinking him just a "small town sap." Time goes on and Elmer is in training. Eve Fails to write to him and the matter commences, to worry him. He is persuaded not to go to Chicago hr Bert, and the latter writes letters to him purporting to come from Evelyn. Then the girl comes to New York, and Elmer is invited to a. party at her flat. He is made the butt of the jokes of the humorist of the party, and a fight takes place. Enraged by a severe blow, the funny individual tells Elmer that his letters were never written by Eve, but the girl tells him that she did write them. The big game of the season is' to be played next day, but Elmer makes Bert confess that he wrote the letters, and he is-consequently considerably upset. A gambler's tout obtains Elmer’s .signature to a receipt for a large sum of money and sets the news arpund that he is playing crooked. The story finds its climax at the ball game, and a most satisfactory ending in eventually reached. As Bert Wade, “Skeet” Gallagher plays a large part in the picture, and it is open to doubt whether he or Oakie gives the better performance. The supporting film > is an interesting Fox Movietone news reel. EMPIRE THEATRE. Hungary, the land of waving cornfields, of stately Old World ceremony, where peasants still find time to welcome and acknowledge the bounty of Nature with the picturesque ..festivals which their forefathers celebrated 1000 years before, where music strikes in the breasts of all, from lordly-baron to humble shepherd and reaper, a throbbing, responsive chord—such is the setting against which the story of “ The Hungarian Rhapsody,” which had its initial screening at' the Empire Theatre yesterday, is enacted. The narrative itself- is not on altogether original lines, but the striking background is something entirely new. The sight of the vast plains of Hungary, rich with the waving corn of the granary of Europe, the long lines of reapers bending and straightening with rhythmical swing as the scythes bite deep into the corn, with the voices of men and women alike blending in the glad songs of the harvest time are as novel to New Zealand audiences as they are beautiful. As the title would indicate, music has a large, almost a predominat-ing-part in the production. Whether the scene be the gay abandon of the peasantry in the harvest festival, the riotous celebrations >of the cavalry officers in the messroom, or the romantic moonlight scenes in the castle grounds, always there is heard the beautiful strains of the violin played by a musician whose soul finds expression through his finger tips. For such a film as this no ordinary cast of screen players is required, and in “The Hungarian Rhapsody” it is no ordinary cast that has been assembled. Those who see the picture during the coming week will probably remember longest the acting of Dita Parlo, who as Marika, the daughter of the overseer of a large Hungarian estate and the lover of Lieutenant. Count Turoczy, who prefers honour to love, gives a really outstanding portrayal. To a face and form rarely matched on the screen for beauty she adds remarkable histrionic gifts, which place her in a niche on her own. Although cast in a minor part, Andor Heltai, as the musician who breathes into his music all the poetry and feeling of his own nature, is decidedly convincing. His glowing eyes, with that burning lustre found only among the races of Southern and Eastern Europe, betray his foreign origin, and his perfect mastery of the violin stamps him as a musician amongst a thousand. His playing is & treat rarely experienced, and the almost perfect reproduction which characterises the film enables all the beauty of this king among musical instruments to* be appreciated to the full. Willy Fritech in the leading male role makes a dashing hussar \ officer, who finds almost too late that the love which he has cast aside is more to him than even his -career. The part of Camilla, the wife of a Hun* §anan general, who, while professing utter evotion, nevertheless manages to console herself in a remarkably «hort space of time for the absence of her husband, in well handled by Lil Dagover. Upon these four falls the burden of the acting, but when all is said one can only repeat that it is the music and the scenery which make the picture. Those who appreciate the harmony of sound, therefore, and who revel in the. beauty of rural scenes aa well as something unusual in the settings, will find much to enjoy in “ The Hungarian Knapsoay. The supporting programme is more than an ordinarily strong one In addition to the Rathe Movietone News reel and a short film entitled “ Screen snapshots, there is a highly interesting picture, Dealei in Babies/' which shows the life history of the stork. The principal supporting feature, however, is “All Riot oh the Western Front,’ which, dealing as it does with the light-hearted way in which a band of typical Cockneys face Brininess of the front line fighting, will come as a welcome relief to many alter the tragic gloom of the screen adaptation of Remarque’s work. The Empire Orchestra, under M. de Rose, rendered a suitable programme of music, an outstanding number being the Hungarian overture, “ Csofeanay ” (Keler-Bela). REGENT THEATRE. The “talkies” are long past the stage when they were considered novelties, and, now that they have proved themselves, producers are breaking away from the m .°F e , ° r r .Jess restricted types of pictures which followed the introduction of sound, .the public for a time was deluged with mystery stories and pictures which depended for their attractiveness on spectacular scenes. It is apparent that producers are now prepared to experiment to some extent, and " This Mad World ” which was screened at the Regent Theatre for the first time yesterday, is obviously an attempt to break away from the usual order of things. It was certainly a happy thought that led to the production of this striking picture, which differs very considerably from anything which has previously been shown in Dunedin, The film has been made to resemble a stage play as closely as possible, and the experiment has been a decided success. Adapted from a French play, the picture deals with a phase of the war very seldom touched upon, but though it has a war-time setting, it cannot be classed with the usual run of war pictures. The glamour of the terrors of war have no place in the story. It simply deals with the trials of two people who are tom between their devotion to duty and their own private desires. It has no stereotyped ending, but works up to a cleverly-devised climax, which to some may at first seem disappointing, but which on further thought will be recognised as a perfectly logical one. “This Mad World ” belongs to the better class of drama. If it did not such a climax could not have been attempted. The picture is not one which can merely be seen, enjoyed, and forgotten. It will encourage

thought, and the impressions which It will leave will be lasting. A story in which a spy is the central character may have been expected to tempt the pro- I ducer to introduce something in the ' nature of sensationalism,' but,, whilst the j story holds the unflagging interest of the audience, its dramatic possibilities have in no instance been exploited. to capture the interest of those who may not be able to ■ appreciate the senti-1 meats which prompt many of the actions of the principal characters. Apart from its extraordinarily clever story, the picture stands out on account of two remarkable characterisations. Such figures, as Pauly the French spy, and Victoria, the German general’s wife, are seldom seen on the screen. The cast is limited to five, though, of course, there are the German soldiers who appear at only brief intervals during the story, and who, incidentally, speak their native tongue. Basil Kathbone, who plays the part of Paul, is an actor of very considerable accomplishments. . His name may not be well known, but if the “talkies" can produce more players with his talents the cause of true drama will be considerably advanced, His portrayal of the French soldier who undertook one of the . most dangerous of missions, and was prepared to stop at to perform his duty to his country, is ’in every, respect a polished one, and he is always the true soldier,' and never stoops to cheap heroism. The part of Victoria is also admirably filled, Kay Johnson, being amply gifted with the dramatic ability required for the filling of such a difficult role. The acting of these two players is indeed a rare treat, and it serves to expose. how lacking in real histrionic ability are many of the recognised “ stars.” They speak, moreover, perfect English, Louise Dresser is quite equal to her task as the mother of Paul. From the start the story is full of intereat, the opening scenes depicting the arrival by aeroplane in German occupied territory of a French soldier dressed in the uniform of a German officer and the almost simultaneous arrival of the wife of the general commanding the district. The story gradually loads up to her discovery of the "spy’s' identity. Her duty is to report her discovery, and his to put her out of the way bo that his country’s interests might he served. It is a delicate situation cleverly handled, and ths subsequent events which lead up to the striking climax are described by a true dramatist.' There are many ways in which the picture might have been spoiled by adherence to usual motion picture methods. The producer: has appreciated the worth of the play, and those who enjoy really good drama will be ’ grateful fot his, lack of interference. The supports include an excellent comedy called “ His First Car,” featuring George Clarke, a “Mickey the Mouse” cartoon, an interesting “Sport Almanac,” and the usual news reel. The programme as a whole is well worth 1 seeing. ROXY THEATRE. An intensely tragic mystery story, entitled “The Thirteenth Chair,” heads the: new programme at the Roxy Theatre. All picture-goers are fond of a thrill, and when, as in the case of “The Thirteenth Chair,’’.the film deals with the uncanny, the unseen, and the unknown—in short, the spirit world—then does the excitement become doubly intense. The picture can be described as a super-thriller. ' It is a powerful screen .adaptation of the famous stage play of the same name. “ Hie Thirteenth Chair” has been seen on the legitimate stage in Dnndin, and the picture presentation has added interest in the fact that an opportunity is given to. renew, acquaintance with the very clever actress. Miss Margaret Wycherley, who • has the leading role. Hie mystery of the stage play, loses nothing in its intenseness by being transferred to the screen—the tragic atmosphere is sustained from start to finish, arid the magnificent photography brings up the high lights and the Tow lights in' excellent fashion. Moreover, the various players/ particularly Miss Wycherley and Mr Conrad Nagel, speak their lines clearly and with fine light and shade* and the staging is so arranged as to add materially to the effect of the story. The plot of “ The Thirteenth Gh&ir ” keeps the spectators at a tense pitch of curiosity throughout the screening. As previously mentioned, the picture deals in a special way with the “ unknown,” inasmuch as there is shown a special seance at which the murderer is compelled, by the dead man to confess. The situations are- by no means impossible or far-fetched, and everything is brought to a completely logical conclusion. Strange camera angles, weird and fantastic shadows, embellishing a strange plot of murder, mystery, and the supernatural—these are .the means by which Tod Browning tells this engrossing mystery story. In addition to Miss Wycherlev, there is the popular Conrad Nagel, who . has gained tremendously /in popularity since the advent of talking pictures, and there is a long list of parts played by such well-known favourites’ as Leila Hyams, Bela Lugosi, Holmes’Herbert, Mary Forbes, and many fathers. In the story a clairvoyant, under reiterated questioning, gathers, her train v of thought together again, and seems on the point of divulging the name of the murderer when a scream rings through' the room, the lights are turned on, and it is found that Spencer Lee’s great friend, Walsh, sitting in the thirteenth chair, has been stabbed to death in the back. It is clear that the person who killed Lee has also killed Walsh to prevent ‘ being discovered, and the story then proceeds with the various clues, the misunderstandings, and the desperate attempt to find the murderer by the clairvoyant, whose own daughter, she discovers to her great surprise, is a member of the house party, and is under deep suspicion. Those who desire to see a really thrilling mystery play with a much neater basis of probability than many others of a similar character which have been shown in Dunedin, should not miss the opportunity of seeing “The Thirteenth Chair.” In the first half of the' programme an excellent collection of short features is shown. One of the most outstanding is a Ha]^Roach comedy entitled “Our Gang.” The other short films include a Metrotone Newa, and the Keeley Bisters in a singing interlude. ■ , , • “THE BLACK WATCH.” Commencing on Friday at the Roxy Theatre, “The Black Watch” should provide sufficiently good entertainment for the. most critical picture-goer. As a major in the Black Watch Regiment, Victor MTiaglen portrays the greatest role in his career, and so convincing is his acting that people think they are at the, very place where the action takes Slade. Supporting the leading player are [yrna Loy and Roy D’AroyKING EDWARD THEATRE. “The Loves of Robert Burns” will be presented at the King Edward Theatre to-day. “ The Loves or Robert Burns ” is not merely a biography, but a brilliant concoction of powerful drama and all that is lovely in the inspiring poems and lyrics of the most famous of Scottish poets and writers. The picture is a joint production of the British Dominions Corporation and. the Gramophone Company, the combination responsible for such tuts as “Splinters" and “Rookery Nook.” Much of the action was filmed in Scotland at the actual place .where Burns made history, and his spirit has been caught so well that 1 the picture, technically, dramatically, vocally, or regarded as entertainment alone, is one of the taost satisfying British “ talkies " to date. REGAL SKATING RINK. The attendances at the daily sessions at the Regal Skating Rink continue to prove the popularity of this excellent branch of entertainment. The ordinary attractions of the. rink, have been enhanced by the introduction of skating competitions for handsome silver cups. In the competition for the most graceful couple all patrons are elegible to compete, and the preliminary selection of entrants for the final contest is now being carried on. Other competitions are also being arranged., and the value of the Regal Skating Rink as a place of amusement is steadily increasing in the estimation of its patrons.