AMUSEMENTS

Otago Daily Times, Issue 21360, 13 June 1931, Page 16

AMUSEMENTS

STRAND THEATRE While not in the ordinary sense of the word a double feature programme, which usually consists of a comedy and a drama or two of a kind, the fare offered at the Strand Theatre this week contains* two pictures that cannot be compared with each other in point of merit by reason of their marked difference in .character. The first is called “ Hunting Tigers in India, - ’ a magnificent* film of big game hunting in Nepal, while the other is a romantic drama entitled “ Men. on Call.” Generally it is the picture shown in the'second'half of the programme that is the main attraction to the public, but certain it is that the hunting film must draw as many people to the Strand Theatre during the coming week as “Men on Call” will. From that it must not be ■ inferred that the drama falls in any way short of expectations. It does not. It is , another of those pictures showing Edmund Lowe, of “What Price Glory?” fame, in his new character, without any sugggestion of the army about him. And it must be confessed that in his latest roles he is more likeable and really more entertaining. Playing opposite him is Mae Clarke, a little lady with .a musical speaking voice and a charming personality, well suited to her part. The picture is not without its thrills, depicting as it does the hazards of life on a coastguard station in California, with a spectacular fire at sea as a climax. , Fundamentally, it is the old, old story—a love affair and a misunderstanding, followed by three years of estrangement. “ Chuck ” Long, the locomotive driver, who loves and scorns Helen Gordon, smashes his train up in a moment of absent-mindedness, and, after bitter days of starvation, finds a friend in need who persuades him to join the coastguards—and it is on the sea coast that the rest of the action takes place, Warren Hymer, that delightful Bowery type, contributes an element of humour, to the picture, and William Harrigan_ and v Sharon Lynn also play conspicuous < parts in the picture. Of the hunting picture too much cannot be said. Pictures similar in character have been here before, but the suspicion that all is not quite genuine has almost invariably accompanied their screening. Here, however, there is no .room and no need for doubt. ‘ The film ip the record of an expedition beaded by Commander D. N. Dayott. on behalf of. the Museum of Natural History in ' New York, and every incident is clearly * explained by Commander Dayott in beautifully-spoken English. . A herd of wild elephants is shown and a rogue shot, and this is followed by q remarkable picture of the famous one-horned rhinos, of Nepal. These animals, it is explained, have a hide much thicker than that of their African prototypes, and are consequently harder to kill. However, a specimen is secured, and the gathering 'of the vultures makes an interesting spectacle. The real, thrill, of .course, is provided in the tiger hunting, and elaborate preparations are made to .reach the tiger country. A long line of elephants carries the hunters and their baggage and retinue, across rivers and thrpugh forest ; lands, and-the great animals form a ring around the beasts of prey lurking in the undergrowth. The photography of the ensuing scenes is really wonderful, and. the camera man is .not daunted even when an infuriated tiger rushes the elephants, inflicting wounds bn their trunks, and,' in one case, on the tail. Nor is the picture confined wholly to the jungle. Elephants are seen at work shifting logs, and then some intimate glimpses of. life among India's 330,000,000 are shown. It is, a most realistic film, and the looker-on completely forgets the theatre atmosphere, and lives in India for the nonce. An animated! sound cartoon entitled “ Stone Age Stunts,” .one of thb 2Ss6p*s Fables series, is included in the programme,and .is a first-class example of its type. There is also an interesting news reel. , The box plans are at the Bristol.

REGENT THEATRE Apart from the superb acting of the principals and the general excellence of its production, “The Eight to Love,” which had its initial Dunedin screening at the Regent Theatre yesterday,,is noteworthy' for the wonderful clarity of its reproduction.' Although a comparative innovation, talking pictures have already reached a remarkable pitch of perfection as far as reproduction is concerned, and during the past few months Dunedin pic-ture-goers have witnessed several productions which they would be prepared to assert could hardly be improved on from the point of view of sound.' Yet, in all of these, there would creep in at some period during their' showing a trace — :’yery\ slight,'cfef tamly-r-of mechanical hoise,'which; although it did not interfere .with the picture as a whole, nevertheless reminded the audience that they were witnessing a mechanical production. In “ The Right to Love,”- which has been recorded by the Western Electric Company’s new noiseless recording process, ' all trace of any mechanical sound has been completely eliminated, with the .result that the whole picture, without doubt, marks a new era in the history of the talking screen.’. Every word comes but clearly and perfectly, and all extraneous sounds have been completely damped out —truly an achievement in talking picture recording. The . picture .itself, which is a screen adaptation ■of Susan Glaspell’s •novel,. “ Brook Evans,” is entirely worthy of the honour ;6f being one of the first ,fwo, productions to be made by the new process, for, added to .a ! ' powerful plot, it has one of the most perfectly-balanced casts that have been seen here for many a day, and the photography is a ' thing to wonder at. In evei*y scene detail is brought out with a distinctness that is amazing, and figures, landscapes, buildings,. and trees stand out with a stereoscopic effect that amounts almost to a fourth dimension. Moreover, by an extraordinary feat of duplex photography, Ruth Chatterton is seen as a mother talking to hersejf (as her daughter), and this, besides demonstrating the stars wonderful versatility, shows that such photography can be successfully carried out without giving the slightest appearance of faking. One can, pay Ruth Cliatterton no greater compliment than to say that her triple role of the girl, the mother, and the daughter is by far the finest piece of screen work she has ever done. The action of the story covers two generations and shows the star first as a young girl who, denied of every pleasure by her parents, steals happiness which leads again to .unhappiness. Married to a man whom' she does not love, she determines that her daughter, shall not hear the same burden, as she has had to do, and forthwith she plans for the girl to make a‘ runaway match with the man she imagines she loves, but fate, in the shape of a missionary, steps in, and the daughter is next seen in China, dead to all ; save good works. How her mother s desire for her happiness is fulfilled brings the story to an unorthodox but entirely satisfying climax, and. incidentally gives a somewhat remarkable illustration of bow history can repeat itself. Ruth Chatterton carries the burden of the acting on her shoulders, and of her three roles, perhaps the best is that of the mother, more especially as it is in, such distinct contrast to the other two. In the scene where she is seen talking to •her daughter (also played by herself) and urging her against .her inclination to snatch happiness while she may, she gives a powerful and dramatic character portrayal that grips one with its very intensity. In her dual role, she is two entirely separate entities,, and after one has heard the mellow matured tones of the mother, and the fresh and charming voice of the daughter, one finds it almost impossible to realise that two different players altogether are not, acting parts. Impossible though it’ may seem; the star has succeeded in creating two completely contrasting personalities, and portraying them in the same production, and those who do not witness the picture cannot gain even a faint idea of the outstanding nature of her performance. Another fine character sketch is that of Caleb Evans, which is played by Irving Pichel. As the dour, uncompromising puritanical stepfather, Pichel gives a most convincr ing rendering of the part, without at any time displaying any tendency to over-act. Eric, the daughter’s lover is played by Paul Lukas, who is. next to the star, the outstanding player in the picture. From every point of view “The Right to’ Love ” is one of the really good pictures of the year, and it can conscientiously be recommended as well worth seeing. The supporting programme comprises a comedy, an intensely funny and cleverly sychronised sound cartoon, an interesting study of the life of the hornet, and a news gazette. The box plans are at the theatre and the Bristol.

. OCTAGON THEATRE To many people the thought occurs that any film presentation which has an historical basis must of necessity be rather dry entertainment, in which human interest has but a small part, and the accepted themes which constitute the usual film productions are sacrificed for scenes and incidents which are historically accurate. That idea cannot help but be dispelled by “Abraham Lincoln,” the latest attraction w'hich opened its Dunedin season at the Octagon Theatre yesterday, for in this narrative of the life of one of the greatest figures in American his,tory is embodied all the ingredients of really good entertainment, without the clouding or loss of the historical facts of Lincoln’s career. As pure entertainment, “Abraham Lincoln ” has many features which place it on a much higher plane than the majority of • the talking films presented for the amusement and edification of theatre patrons in this city, whilst as a page of American history of the time when that country was passing through one of the most desperate periojds of its existence it is an accurate and convincing record. The picture is as simple and unaffected as the man whose life story forms its basis, and in this the hand of D. VV, Griffith, perhaps the greatest producer in America to-day, is clearly seen. There is no attempt at exaggeration or overemphasis to be detected throughout the story, although small incidents are brought out in a manner which provides the theme with the necessary seasoning of humour and romance. In the principal role Walter Huston’s performance, is little short of superb. His portrayal of the lanky young Illinois farmer, who, after years of disappointments and failures, finally finds himself the principal man of the country, is remarkable for its restraint and conviction. The quaint, lovable man, on whose shoulders faU all the burden of the American Civil War, and whose indomitable courage and iron will made possible the creation of a united cduntrv where before had been a number of separate States of all shades of political. opinion, is brought back to life in striking fashion, his whimsical humour and unbounded faith in his ideals being reproduced in a manner which gives the story a character and strength remarkable in these days, when so many of The productions shown are of a superficial and rather empty nature. The story commences with the birth of Abraham Lincoln in a little log cabin in Illinois, and passes on to the time when, as a young man, Lincoln takes up the career of The law in a little town called Springfield._ Here he meets the. first tragedy of 1 his life, when his beloved Ann Rutledge, who has promised to be his wife, dies during an epidemic of feVer. Time heals the scar, however, and Lincoln meets another girl, an ambitious and dominating personality, who, when he marries her, determines that he shall be president, At this time there are rumblings in the South because of the proposal that all slaves shall be free and that The slave traffic shall cease. Lincoln espouses the cause of the North, and preaches union against the South’s secession. He, becomes president, thus realising his wife’s dream, but his refusal to countenance anv thought of a division in the country and his determination that the slave traffic shall cease bring civil wan in their train. Harrowed by the thought of the terrible bloodshed which, is going on, he still holds fast to his ideals, and at last seek his desires realised. Almost in the hour of his triumph, however, this simple, greathearted patriot is robbed of nis enjoyment of a peaceful and unharassed existence after the storms and trials of the years of war by an assassin’s bullet whilst attending a performance in the opera house. There is a strong supporting cast, which includes • Kay Hammond as Mary Todd Lincoln, Una Merkel as Ann Rutledge, Hobart Bosworth as Robert E. Lee, and Frank Campeau as Phil Sheridan. Two Pathe gazettes and an amusing animated cartoon complete; a programme which should not be missed ■ on any account. The box plans are at the theatre and the Bristol. i 'princess theatre I Those two old companions in adventure and misfortune, Cohen and Kelly, enact another series of uproarious incidents in their latest I picture, which • commenced its Dunedin screening at the Princess Theatre last evening. Cohen and Kelly have bullied and supported one. another in a score of countries, and on this- occasion the scene of their adventures is Africa, out of which, if the ancients were to be believed, comes always something new. Certainly this last picture is something decidedly new in the way of entertainment, and judging by the bursts of laughter which were continually breaking frpm last night’s audience the two comedians have lost nothing of their ability to extract the utmost amount of humour from every situation in which they are placed. It must be admitted- that the situations which occur in “The Cohens and Kellys in Africa” are at times a little incredulous, but that detracts not a whit from their entertainment value. George Sidney and Charlie Murray, who enact the principal roles, have a reputation for fun-making that places them in a class by themselves as film actors, and j although they have been seen together times without number there is none of that going back on old jokes which frequently occurs when twg comedians are associated for such a length of time. They have travelled the world in their pictures, and they extract the greater hilarity from 'The most unlikely sources. In that lies the secret of their popularity. Vera Gordon and Kate Price, as the respective wives of Cohen and Kelly), contribute very largely to the success of the picture. More than mere foils to the brilliance of the principals, they carry out a story of their own in a fashion which is calculated to win laughs from the most sober of picturegoers. In their latest film Cohen and Kelly are seen ' as piano manufacturers whose way is not altogether strewn with roses, their constant bickerings and quarrels providing a wealth of hilarious entertainment. To add to their troubles they find that the celluloid from which the keys of their instruments are made falls far short of the exacting requirements of their patrons. In desperation, they'gullibly believe the tale of a man who styles himself as an explorer, and who telle an alluring tale of the ivory elephant tusks—excellent material for piano keysr-that are to be obtained in Africa for the picking up. The partners decide that the only thing to do to recoup their failing business is to make a trip to Africa in search of ivory. Not to allow their susceptible husbands to brave alone the perils and attractions of the Dark Continent, Mrs Cohen and Mrs Kelly decide to accompany them, and when the four find themselves in the depths of the tropical jungle the fun begins. When ' they are captured by man-eating savages the resourcefulness of the comedians is asserted, and they effect an escape by dressing in lions’ skins and frightening their captors. Other fearful adventures are concerned with mad elephants, cannibals, and baboons, so that the riots of laughter caused by the antics of Murray, and Sidney can well be imagined. Another danger which confronts the partners—although they did (not look at it that way—is . a troupe of dusky dancing girls, whose undeniable charms hold them in sway until they are discovered by their wives, who take immediate action. \ The fun is capped when Cohen and Kelly struggle their way to freedom, only to fall foul of a powerful sheik, who is holding their wives for ransom, and the excruciatingly humorous situation which ensues in the harem is one that is alone worth paying the price of admission to see. “ The Cohens and Kellys in Africa ” is certainly wonderful entertainment, and will worthily repay a visit to the Princess Theatre during the coming week. Also on the programme there is an exceedingly laughable comedy entitled “ Oo La La,” in which that prince of comedians, Slim Summerville, is featured. Time cannot efface bis inimitable power of causing amusement, and in this picture he is more entertaining than ever. The Universal talking reporter explains shots of doings all over the world in an interesting manner, and an “ Oswald the Rabbit ” cartoon rounds off an entirely satisfying bill. The box plans are at the Bristol, the theatre, and Hall’s Fruit Shop. EMPIRE THEATRE P. G. Wodehouse has gained the name of being one of the- foremost of presentday humorous story writers and Reginald Denny has the well-earned reputation of being in the front rank of screen comedians, so it was only to be expected that the first screening of “ Those Three French Girls.” which was adapted from a Wodehouse book and which has Denny in the most prominent part, should prove an immediate success. This it did, and there should be no doubt that it will be a

decided attraction at the Empire Theatre for the next week. The production, which takes the form, in same part, of musical comedy, is one long laugh from beginning to end as the story follows the somewhat ridiculous adventures of a young Englishman. two Americans, and three French girls. Denny has the part of the Englishman, Larry, nephew of the Earl of Ippleton, who is played by George Grossmith. Fifi Dorsay is seen in the leading role as Charmaine and the other two girls are Yola D’Avril and Sandra Ravel. “Ukelele Ike” (Cliff Edwards) and his “buddy,” Edward Brophy, arc also included in the cast. Up to the present, Denny’s best picture has generally been considered to be “Skinner’s Dreed Suit,” in which he appeared in the days of the silent film, but even that excellent effort must take second place to “Those Three French Girls,” which can only be described as a riot of fun. The story commences with Larry’s efforts to rescue the girls from ejection by their landlord, and goes on to show how his methods of dealing with the man land the four of them in gaol. They are joined there by two Americans who explain that they were brought in Tor playing at elephants and pulling up the trees in the avenue. It is in this setting that the sextet, “What Charming People You Meet in Gaol ”is sung. The ruse by which they escape from durance Vile and their subsequent adventures with a dilapidated motor car in a storm at night keep the merriment going strongly, and the night the six spend in a barn in company with a miscellaneous assortment of animals, is really hectic. From here the party goes on to Larry’s uncle’s chateau where the “Oil” as he is dubbed by the men from across the Atlantic, endeavours to rescue Larry from his entanglement with Charmaine. Unfortunately, however, he releases him from the wrong girl and then falls in .dove with Charmaine himself. The inevitable estrangement ensues between the hero and the heroine, but, in a series of madcap pranks, which only Denny could bring to life on the screen, the necessary happy ending is reached. Too much praise can scarcely be given to the several players for their excellent work in this production. Miss 'Dorsay, always one of the most charming of figures, is in her element, and she receives good support from her two companions. Grossmith is indeed the ideal earl—the English nobleman abroad and the two Americans are their usual cheerful selves. The dialogue, written by Wodehouse, is far above the usual standard of the talking pictures, and the French atmosphere is well maintained from start to finish. The supporting programme this week is also an outstanding one. Metrotone brings the news of the world to the screen in an entertaining’' fashion, and, several recent happenings in Australia, including the Anzao Day celebrations, are seen on the Fox Movietone news reel. Burton Holmes takes his audience on a trip into Morocco in one of his everpopular travelogues, and Hal Roaebe’s “ Boy Friends ” are to the fore in a high-speed comedy entitled “High Gear.” This film is particularly notable for some clever Tumbling and acrobatic work by one member of the cast. If the nature of the applause may be taken as a criterion, one of the most popular features of the bill is Mr Leslie V. Harvey s organ interlude. His numbers this week are “Light Cavalry” and “One More Waltz.” The box plans are at the Theatre and the Bristol. ; KING EDWARD THEATRE In “Good News,” which will be commenced to-day at the King Edward ?heatre, one of the familiar features of ait College is the romance between Tom Marlowe (Stanley Smith), football captain, and Patricia Bringham (Lola Lane), the collage belle. Tom has proposed many times and even ‘ written a note asking her to marry him, and Patricia has been preserving the note for future use. , Two days before the big ■ football game .it is discovered that Tom is behind in his astronomy and must take a special examination in order to be able to play on Saturday. He asks Patricia to coach hfm, but she is too busy and suggests her cousin Constance, thinking it a great joke on both of them, as Constance has never been much of a success with men. Tom, however, *is delighted with Cour stance’s quiet charm and falls desperately in love with her. He tells her so and she finally believes him. When /Tom’s playing ie assured by . the professor s indulgent marking, Patricia realises she has a rival in Constance and publicly announces that she will marry Tom if Tait wins the big game. Tom between his desire to win the gaine and his wish to be rid of Patricia, Tom plays m a listless fashion, -which demoralises the team. Little; Bobbie Randall has been a substitute on the team for two years 1 with no chance to play, and when the coach between halves hears him bewailing his luck he tells him he ,can go in for the second half, as he couldn’t be worse than Tom. The score stays at 3 to nil against Tait until almost the end of the game, when Tom breaks away for a long run and is followed some yards behind by Randall, where he can be of no help and is ,a possible hindrance.; Tom is tackled hear the goal by the safety man and fumbles the ball, which bounces into the arms of the astonished Randall, who carries it over for a touchdown. Tom’s dilemma is relieved by Patricia, who tells him she doesn’t, want, anyone who doesn’t want her and relinquishes him to Constance. Randalll, with ludicrous pomposity, reads to an admiring group the newspaper i account of hie spectacular play and basks in the unusual glory of being a hero. ROXY THEATRE, —— ' ! , ;. / Double-feature programmes of a Very high standard have been shown at. the Roxy Theatre of late. Such programmes have become so popular that the management has wisely decided to continue the practice. Two excellent pictures of a gay character are included on the new bill that commenced yesterday. Both films are most amusing and entertaining. “ The Hot Heiress ” can be described as a sparkling comedy, played by a great cast. The featured players are Ben Lyon, Thelma Todd (the attractive girl of the Charley Chase comedies), and Ona Munson. The last-named is a new comedienne to the screen, and haa already become very popular.;. In a thoroughly original manner “ The Hot Heiress” tells of the amusing romance of Juliette Hunter and Hap Harrigan, a riveter who works on new buildings. The girl has more money than she knows what to do with, and when the pair endeavour to conduct a romance along conventional lines the parents of the heiress become interested. It is then that the real fun begins. Innumerable. comedy sequences follow in quick succession, and the result is thoroughly good amusement throughout. The second picture is “ The Widow from Chicago,” which is a story of mystery, fun. and adventure;. The production stars Edward G. Robinson, the famous character actor '(who will be remembered for his excellent portrayal of the polished Chinaman in “ East is West”), Neil Hamilton, and Alice W/nte. In the story thrills and comedy are freely mingled, and the whole plot is well conceived, giving the principal characters every opportunity to display their talents. “The Widow from Chicago” provides a contrast to the first picture on the programme, but the two films, taken together, make one of the best entertainments that the management of the Roxy Theatre has offered for some time, the new programme also includes an iEsop Fable Cartoon. ,SKATING REGAL RINK. The Regal Skating Rink continues to attract largo attendances at every session. The spacious floor offers a perfect surface for skaters, and the easy-running skates .that are provided by the management for the use of patrons make an hour or two spent at the rink an exceedingly 'pleasurable experience. The general appointments of the rink are very attractive, imd skaters and spectators alike are provided with every comfort and convenience. A' competent staff of instructors is always in attendance, and beginners have every opportunity of becoming proficient under expert tuition, j An attractive musical programme adds j greatly to the enjoyment of patrons. KING’S RINK. Scores of enthusiasts derive a great deal of pleasure from the sport of roller skating at the King’s Rink in Dowling street. Patrons are provided with every convenience, and beginners can always be assured of every assistance from competent instructors, who, with the attendants, do everything in their power to make a visit to the. rink as pleasant as possible. The spacious floor offers an excellent surface for skaters.