AMUSEMENTS.

Otago Daily Times, Issue 21257, 11 February 1931, Page 3

AMUSEMENTS.

EMPIRE THEATRE. “ The Cat Creeps ” lias proved a success at the Empire Theatre, and bids fair to remain so until the usual change is made. The story is one of the mystery type,- and the action > of the play is confined to a mansion that has not been opened for 20 years. To this gloomy' house, in the middle of a raging storm, come six heirs to hear the reading of the will of their eccentric uncle at midnight. As they gather around the table they experience their first spasm of terror inspired by the unknown, and thereafter their courage is tested to the uttermost. The inexplicable death of the old lawyer, who is spirited away just as he is about to make a very important announcement with regard to the provisions of the dead man’s will, the appearance in a darkened bedroom of the inevitable clutching hand, forms flitting down secret passages, and around all the howling of the wind and booming of the thunder, reduce the six relatives of the dead man to a state of abject terror, but as daylight draws near a solution of the mystery is reached, the climax providing one of the greatest surprises of the story. Helen Twelvetrees appears in the principal role. Amongst the supports arc picture showing the havoc created about Napier and Hastings by the recent earthquake. The box plans arc at the theatre and the Bristol. “ THE LIFE OF THE PARTY.” “ The Life of the Party,”, featuring Winnie Lightner, Irene Delroy, Charles Butterworth, and Jack Whiting, which will be screened publicly for the first time at the Empire Theatre to-morrow, is a story of two young girls working in a Broadway music store. The manager is of the opinion that the falling-off of business is attributable to their lack of ability, and, following on a somewhat tempestuous difference of opinion between them, he pays them off. Threatened with the discomforts attendant upon their poverty, they decide to become “ golddiggers,” and to that end they go to work for one Le Maire, a frock designer. They trick him into lending them a large quantity of fashionable clothes, and then go off to Havana to ensnare a millionaire. Winnie Lightner, who will be remembered for her outstanding performance in “ Gold-diggers of Broadway,” has the role of Flo, the manager of the party, while Dot, the other “digger,” is played by a very sweet and charming young lady named Irene Delroy. Arrived in Havana, they meet»an extremely eccentric old gentleman, played by Charles Butterworth, who harasses them throughout their visit with tales about the horses he breeds. The other prominent characters are A. J. Smith, an unassuming young man who has made a huge fortune out of an invention, and a bogus A. J. Smith, played by John Davidson, who is really there for the same purpose as the girls—namely, to marry a fortune. The story contained in the picture is of the lightest description, and, indeed, it frequently borders on the absurd, but, on the whole, the entertainment is very amusing. Undoubtedly, Winnie Lightner is an artist in her own class, but her rendering is scarcely as tasteful as that of Miss Delroy, who is really delightful. The character of Le Maire, the voluble and fiery little Frenchman, is somewhat notable for the manner in which the player provides comedy of the “ slapstick ” variety. Le Maire is extremely shorttempered, and he has a habit of breaking up whatever furniture is handy when he is aroused. The whole of the picture is in technicolour, and there are some excellent specimens of moving photography, particularly those depicting a racecourse. These pictures point out very forcibly the fact that technicolour shows up to even greater advantage in outdoor scenes than in indoor work. The music which comes into many parts of the film is of a higher standard than is usual in American pictures, and, except on one occasion when the strains of the Wedding March are somewhat spoiled by a preponderance of saxophones in the orchestra, the accompaniment played by the Vitaphone orchestra is extremely enjoyable. The whole production is one of the most laughable seen in Dunedin for a long time. REGENT THEATRE. Clive Brook and Ruth Chatterton are seen in one of their best efforts at the Regent Theatre this week. The picture is called “ The Better f Wife.” The opening scene discloses the young attorney, Neil Dunlap (Clive Brook) celebrating his marriage to a millionaire —celebrating the event very alcoholically. It is, perhaps, a sordid scene, relieved occasionally by sombre flashes of humour when Dunlap reiterates with drunken obstinacy that “ a man would be better off with a woman like you, for a wife. Pansy, than with a wife like I had.” Pansy Gray (Ruth Chatterton) marries the man the same night, and from the moment that Dunlap awakes the following morning to a full realisation of his folly her life is a bitter, uphill fight to redeem herself'in her husband’s eyes and to gain the recognition of his friends. How she wins the sympathy of the servants, who are about to leave because she “ does not belong,” is one of the bright spots in the picture, and, indeed, it is here as much as anywhere that Ruth Chatterton gives full expression to her attractive personality. The principal picture is in itself quite sufficient to provide a full and enjoyable programme, but it is supplemented by a large number of supporting items which are well worth seeing. There is a Pathe News, an amusing comedy, a swimming picture, and a musical interlude of an entertaining character by Miss Rita Holmes and Mr Alec Regan. The box plans are at the theatre and the Bristol. “ WHOOPEE.” “Whoopee” is the title of the film which will receive its initial screening at the Regent Theatre at a midnight matinee to-morrow. It is said to be the most ambitious effort ever sponsored by that master mind of the film world, Samuel Goldwyn, and serves as the medium for the introduction as producer for the film world of the most famous of all stage producers, Florenz Ziegfeld. Very nearly £500,000 was spent on the production end of “ Whoopee,” and Ziegfeld made certain that his entry into the film world should be a momentous one. Unlike other productions which have been extremely lavish, “ Whoopee ” is also chock-full of real comedy, and it is the remarkable combination of these two valuable assets which is responsible for its amazing success. Another point worth mentioning is that the whole production is in technicolour, and it is claimed that the new process which was used in the colouring of this film has revolutionised all colour productions of the future. All the colour characters are clear, sharp, and well defined, and are uncanny in their realism to the natural colour of life. “ Whoopee ” is founded upon the stage play by Owen Davis, entitled “ The Nervous Wreck,” and broke all records for a long run when produced on Broadway by Ziegfeld with Eddie Cantor in the leading role —a comedy role which he essays with such brilliancy in the talkie. Popular songs with delightfully catchy tunes are to be heard in this great production, and such tunes ns “ My Baby Just Cares For Me,” “ I’m Bringing a Red. Red Rose,” and “ A Girl Friend of a Boy Friend of Mine,” will all be the rage of the town ere long. “ Wboopee,” is is said, achieves new standards in de luxe sound entertainment, with colourful spectacle, original comedy, and delightful girls. As mentioned previously, the toning of the colour is the best demonstration yet given; even in distant long shots and large sized close-ups every detail is clear cut and retained. . Recently colour has been received with little or no enthusiasm, but in “ Whoopee ” it is a real adjunct. In “Whoopee” Eddie Cantor has excelled himself and given what is undoubtedly the performance of his life. His style is new, and he exudes that smart witty humour which audiences love. Cantor has a great deal of comedy in song, dialogue, and action, and the laughs are numerous throughout. It is around him that the story revolves, he being cast as a self-made invalid searching for health among the Indians, cowboys, and cowgirls, and other items that have part in a musical comedy with the Arizona atmosphere. Included in its east are Eleanor Hunt (the red-haired beauty whom Samuel Goldwyn considers one of his greatest finds), Dorothy Knapp (famed “most beautiful girl in the world”), Paul Gregory (tenor), Ethel Shutta, and such famous Ziegfeld girls as Jeanne Morgan, Muriel Finley, and Virginia Bruce. Internationally famous beauty spots furnished the backgrounds for the outdoor scenes. All the technical brilliance of the Goldwyn and Ziegfeld staffs combined

were used to make each detail breathtaking in loveliness. Scores of beautiful girls selected from among 5000 applicants and months of careful preparation make “ Whoopee ” mark a new era in picture spectacles. Seventy-four changes of scene, 512 different changes of costume, scenes in which 400 and 500 people were concerned, are figures which give some idea of the scale with which the GoldwynZiegfeld combination have gone about bringing the fruit of their different experiences into focus for this one gigantic production.

STRAND THEATRE. “The Last of the Duanes,” featuring George O’Brien and Myrna Loy, is the principal attraction at present at the Strand Theatre. The story deals with the adventures of Buck, the handsome young outlaw who falls in love and who later rescues the girl of his choice in a most thrilling manner from a band of cattle rustlers who have abducted her. As the romance of the picture is unfolded and the plot becomes intense, the youthful outlaw is proved innocent of the charges made against him. He is instrumental in exterminating the band of cattle rustlers, and for this he receives his pardon. In the role of the daring outlaw, O’Brien is excellently cast and gives the best- performance of his career. Lucile Browne makes her screen debut in this Fox Movietone all-talking romance. One of the features of the picture is the barn dance, where, when the festivities are at high tide, Buck Duane shoots the man who killed his father. The box plans are at the Bristol. “THE SEA WOLF.” Sea stories seem to have a special influence with Milton Sills. His first big success was made in “ The Sea Hawk,” which definitely established him as one of the foremost players on the screen. And now, in the Fox Movietone talking version of Jack London’s stirring novel of marine adventure, “The Sea Wolf,” he scores what many critics are acclaiming as his finest picture role. “ The Sea Wolf,” which makes its bow to local audiences at the Strand Theatre on Friday, introduces an unusual triangle in the persons of a domineering brute of a schooner captain, a young waster who is “ shanghaied ” aboard as the vessel is leaving a Japanese fishing port, and a mysterious girl who goes along in a Quixotic desire to help the youngster. The drama that ensues as the three are cooped up on the schooner during her long cruise to the Aleutian sealing grounds is said to be the most breathless of any “talkie” of recent months, and various fights in Sills’s best style enliven the action. Jane Keith and Raymond Hackett have featured roles with Sills, while Mitchell Harris, Nat Pendleton, John Rogers, Sam Allen, and Harry Tenbrook are cast in important supporting parts. Alfred Stantell, who made “ Romance of Rio Grande ” and The Arizona Kid,” and who, as a -boy, knew Jack London, was given the direction of this first talking version of the famous story, which was translated to the screen by Ralph Block and S. N. Behrman. OCTAGON THEATRE. Very few more opportunities remain of seeing “ Ladies of Leisure ” at the Octagon Theatre. So far it has had a most successful run, and there is every appearance of that continuing. The story is that Jerry Strong has little interest in railways, but is obsessed with the desire to be an artist, so he rents a studio on top of a New York skyscraper. He is engaged to _ a girl named Claire Collins, who asks him to lend her his studio for a party. He acquiesces, but finds that as the night wears on the party _ degenerates into a drunken orgy. A little disgusted with Claire and pathetically bored with the whole thing, Jerry leaves the party and motors down town. On the river front he meets another girl named Kay Arnold. The latter is rather obviously a golddigger,” but Jerry thinks he sees better qualities in her than appear on the surface. As time goes on, Jerry becomes more and more attached to Kay, and eventually he proposes to her and suggests that they should be married immediately and go to live in Arizona. Kay accepts his proposal, but Jerry’s mother comes to hear of the affair, and she appeals to Kay to release Jerry for the sake of his career. Kay, very deeply in love, decides to make the sacrifice, and to that end ebe sets out for Havana with Jerry’s friend. Interesting developments follow. The box plans are at the theatre and the Bristol. “COMMON CLAY.” Excellently cast and wonderfully acted, the brilliant Fox film, “Common Clay, should make a deep impression on the Dunedin public when it is presented at the Octagon Theatre to-morrow. In spite of its name, the, picture is uncommon in many ways. In its fine drama, unusual plot, earnestness of purpose, and sincerity the film is one which will be remembered when many another is forgotten. Constance Bennett is said to be magnificent, and gives probably the finest performance she has ever given in a career full of important, well-handled parts. “Common Clay ” requires no advertisement. Among nicture-goers good news travels fast. But those who do not happen to meet anyone having already seen this picture, and who, in consequence, have not had the film recommended to them, can rest assured that the picture is one which should not be missed. Intelligence in pictures is always at a premium, and when such an admirable film as “ Common Clay ” reaches this country it is -worth while spreading the good news abroad that the best “ talkie ” producers can handle what is basically good material in an altogether intelligent way. No one can fail to be impressed by this strong and excellent story, so wonderfully told. As entertainment, “Common Clay” is claimed to be superb. It grips the audience from the first scene and moves at a fast pace right to the end. Such is the standard of acting that the film is safely classed as one of the best yet produced. The director was Victor Fleming—undoubtedly one of the best in America. His skilful hand had wonderful material under it in a cast entirely free from “ deadheads." Constance Bennett, as has been implied, stands out as brilliant. The theme is a fairly strong one—not entirely for the young—but at no stage does it become heavy. Moods change rapidly, the spirits of the principal characters are subjected to niany and various stresses, and the audience, it is safe to say, becomes vitally concerned in the story’s outcome. This participation of the audience, so to speak, is brought about only by drama of the highest standard. The thread of the tale is unbroken. It has no inconsistencies. The film is artistically satisfying. And to the man who wants to be entertained it is stated that there could be no better recommendation than “ Common Clay.” Supporting short features will include a Fox Movietone News and a comedy entitled “ Social Sinners.” The box plans are at the theatre and the Bristol. PRINCESS THEATRE. The selection of pictures at the Princess Theatre is invariably good, and amongst the more notable ones “ The Bride of the Regiment ” has a right to be included. “The Bride of the Regiment” is an adaptation of the operetta “The Lady in Ermine,” and the scenes are set in an Italian city which is suffering under the yolk of Austria. The citizens are very much oppressed, and most of what happens takes place in the palace of Count Adrian Beltrami. Scarcely are the count’s nuptials over when be is called away to lead his soldiers while the Austrians take possession of the town and even of his palace. Then comes a turn of events which forces the Countess Mariana to make her choice between two great sacrifices, and this leads to the subsequent unexpected episodes which bring the picture to a satisfactory conclusion. The musical numbers have been skilfully introduced. There are several which are assured of a warm reception, but none of the singing is more impressive than the choruses of the Austrian soldiers, led by their colonel. Comedy has a very prominent place, and laughter is introduced at frequent intervals without interference with the more serious theme of the picture. Vivienne Segal fills the role of the Countess Mariana with credit. She has a voice which records particularly well and is at the same time an accomplished actress. Allan Prior has the role of the count. His part is a short one, but he has opportunities to demonstrate the excellent quality of his tenor voice. No role is more important than that of the Colonel Vultow, a hardened and reckless soldier who boasts of his many conquests. The part is played by Walter Pidgeon, an actor who has recently come into prominence. There are also shown pictures of many places in Napier and Hastings that have been completely destroyed. The box plans are at the Bristol and Hall’s fruit shop.

“ROAD TO PARADISE.” For the first time since the Princess Theatre installed talking picture apparatus the management will present a doublefeature bill at the next change of programme. “ Road to Paradise ” is said to be an intenselu dramatic story, unfolding a real mystery or identification mingled with a very poignant human drama with Loretta Young in her first dual role, which she plays with a wistful charm and tenderness which stamp her as one of screenland’s leading actresses. The story concerns a girl who has been brought up by a couple of criminals, played by George Barraud and Raymond Hatton. She has always been upright, and they have always wanted her to be. However, when they discover one day the daughter of an old and wealthy family who bears a striking resemblance to her, they conceive a plot which, if she will participate in it, will make her independent of the small clerking and office jobs. She, in turn, is tempted in order to send one of the criminals to a sanatorium for his lungs. The plot moves into the attempted crime of robbing the house, of the meeting of the two girls, and of the, eventual surprising denouement. The whole makes an engaging mystery. When a bookkeeper is late at his work for the first time in 15 years, it is 20 to 1 a woman has caused it. Such was the case with Siman Haldane, the principal character in “ Wide Open,” the Warner Bros, and Vitaphoue comedy, featuring Edward Everett Horton, which is the second picture on the. programme. Simon has an unbidden and unwelcome lady guest in his house, and does not know how to treat her or get rid of her. In the long run he finally marries her, but not before much obstreperous fun has been developed out of an unusual situation. Patsy Ruth Miller and Louise Fazenda are in the cast, as well as T. Roy Barnes, Louise Beaver, Edna Murphy, Frank Beal, and Vincent Barnett. ROXY THEATRE. “ Sarah and Son,” which heads the current bill at the Roxy Theatre, has Ruth Chatterton in the leading role. At least one character is assured of being most ably presented when Miss Chatterton is one of those appearing in the cast, but all the parts are well filled. “Sarah and Son" is the story of an impoverished actress who is forced to give up her baby boy that she may work and live. On becoming famous she tries to retrieve the lad, but encounters intrigue upon the part of the wealthy couple who bave adopted her child. The manner in which she accomplishes her courageous purpose forms the climax of the picture. It is a tense and breath-taking picture, and it is one which leaves an audien.ee in a happy glow of good spirits. “THE LOVE PARADE.” The first original operetta to be produced on the talking screen is Paramount’s all-talking, singing, and dancing picture, “ The Love Parade,” starring Maurice Chevalier, which will be seen at the Roxy Theatre on Friday. “ The Love Parade” is from the play, “The Prince Consort,” by Ernest Vadja, author of “ Sally,” “ Hit the Deck,” and other famous musical comedies. Guy Bolton wrote the libretto, and Victor Schertzinger composed the musical score. The songs, specially written for the picture, include “ The Love Parade,” “ Anything to Please the Queen,” a duet sung by Chevalier and Jeanette MacDonald; “ My Dream Lover,” a solo by Miss MacDonald; “Paris Stay the Same,” a Chevalier solo; “Let’s Be Common,” a comedy duet by Lupino Lane and Lillian Roth; and the enchanting chorus number, “ Song of the Grenadiers.” KING EDWARD THEATRE. Adventures on land and sea, comic complications on a destroyer, combined with a romantic drama showing William Haines not only as the comedian, but as the delineator of the more serious side of life as well, mark the star’s first alltalking picture, “ Navy Blues,” which will be shown , at the King Edward Theatre to-day. ' The new Metro-Gold-wyn-Mayer production is one of the most elaborate starring vehicles Haines has ever had, and, under the deft direction of Clarence Brown, it sparkles with poignant bits of heart interest interspersed among tbe comedy sequences, in _ a perfectly rounded piece of entertainment. Haines’s whimsical humour is not lacking, and there are many amusing sequences. But in the love story that is the central theme of the picture, Haines strikes a 1 deeper note, to show himself not only a good comedian, but a fine actor of the serious_ and romantic emotions. The story is simple; the love of a sailor aboard a destroyer for a girl on shore; cruises and absences, shore leave, and a misunderstanding; finally, a reconciliation that follows a sensational fighting rescue. SKATING. KING’S RINK. There was an excellent attendance at the King’s Skating Rink last night and, as a result, just over £ll will be devoted_ to the Earthquake Relief Fund. The rink continues to offer excellent facilities for the healthy recreation of roller skating, and, as time goes on, the pastime 86 to attract more and more devotees. The manner in which the rink is conducted is undoubtedly one of the principal reasons for its continued popularity._ The excellent appointments of the rink and the courteous service offered by the large and capable staff leave nothing to be desired.