AMUSEMENTS

Otago Daily Times, Issue 21384, 11 July 1931, Page 17

AMUSEMENTS

OCTAGON THEATRE Funnier, more original, and more whimsical than ever, those two inimitable black-faced comedians, Moran and Mack, have once again come to a Dunedin screen, this time as the heroes in “ Anybody’s War,” which had its initial screening at the Octagon Theatre yesterday. A romantic story, liberally spiced with the droll humour for which these two artists are famous, forms the basis of the picture, and with its farcical situations and comical dialogue, no more suitable vehicle for these two comedians could have been chosen, for they are given unlimited opfor displaying to the full their remarkable genius for portraying the drawling humour, haphazard methods, and carefree characteristics of the American darky. Theirs is a type of humour that is unique. Some of the jokes may, perhaps, be a little old; some may at first appear to be pointless, whilst others may have a local application that is not altogether apparent to those who do not know and understand the negro; but despite all this, every minute in which the stars are before the audience provides a laugh. They have a manner all their own in' presenting their lines, and a subtle inflection of voice, a grimace, or the quaint phrasing of a few words, turn everything they say into sheer comedy. Tired as ever, Moran and Mack, as Willie and Anios Crow respectively, decide that they will join the other recruits from the little river town of Buford, Tennessee, and go to the war, just, as they say, “ for the ride.” Mack has been the town’s dog catcher, but he is so kind-hearted that he cannot bear to kill the dogs he captures, so he keeps them in his home. From the time they board the transport until they land in France is one unending sequence of hilarious misadventures, while all the time the audience is bombarded with the droll “ wisecracks,” clever cross-talk, and dry philosophy which have for so long been associated with the names of Moran and Mack. There is. for instance, a discussion on the proverb, “ Time and tide wait for no man,” surely a subject, one would imagine, from which little humour could be extracted: yet so adroitly do the two artists twist the phrase, and so easily do they run on from one idea to. another, that one suddenly finds himself chuckling at Mack’s demanding to know if his partner had ever looked a blue-eyed fish squarely in the eye.’ It. is- all very ridiculous, no doubt, and any tendency towards the conventional is soon diverted by some absurd irrelevancy; but this only helps to make the picture the first-class comedy that it is. It is doubtful, however, if anyone but Moran and Mack would be capable of turning all this nonsense into humour, and presentipg it so acceptably and with so little effort.. Truly, as far as they are concerned, it is “Anybody’s War.” It does not worry them particularly, and thus the picture runs along merrily to a riotous climax. On the more serious side of the picture Joan Peers, a charming and capable actress, is seen as Mary Jane Robinson, whose love for a soldier, with, of course, the'inevitable third side of the triangle in the person of a captain who eventually turns out to be a German spy, forms the basis of the slender plot. Neil Hamilton plays the part of her sweetheart convincingly. One of the most amusing ’characters in the production is a diminutive, nondescript dog named “ Deep Stuff,” whose antics and really clever tricks are features ot the picture. “Deep Stuff,” it may be explained, is Mack’s particular pet, and he has a part that runs right through the. picture. In addition, several dozen other dogs of varying sizes, types, and breeds act, as it were, as a supporting cast to the canine star. The supporting programme, although brief, is none the less entertaining. A news gazette and a Paramount sketch, “ Lady You Slay Me ” are shown, and an unusual, feature is a musical scena entitled “ Chords of Memory,” in which a harpist and a violinist provide some delightful harmony. An elephant and a diminutive boy are the principal actors in the remaining feature. Tons of Trouble,” which is a most attractive animal study. The bos .plans are at the theatre and the Bristol.

EMPIRE THEATRE Long hands reaching through the darkness, the mournful howl 1 of the wolf growing slowly upon the midnight air, coffin lids-creaking in the vaults of ruined castles, and the weird, terrible form of Count Dracula growing out of the mist, an audience sitting tensely in its seats, an occasional scream or', an hysterical laugh telling of highly-strung nerves talced beyond endurance—such was the setting last night for the screening at the Empire Theatre of the film yfersion of Bran Stoker’s fantastic tale of a human vampire, “ Dracula.” Hundreds of thousands of people have shivered at Stoker’s story of the “undead” Count Dracula, who in his Transly'vanian castle, waking to new life as the last rays of the setting sun died upon the mountain tops, held his orgies of blood, how he transferred his operations to the ruins of an English abbey, claimed his victims among women and men, and, finally tracked to his lair by a man of science, perished with a wooden stake through his heart. Those who have shuddered at the novel will admit readily that the picture has succeeded in. capturing the atmosphere of uncanny ferror which was its most outstanding characteristic, , and that the screen version is even more a thing of | horror than was the story. All the aids , which the producers have been able to ; summon have been drawn upon to create j an effect of ghostly weirdness —dimly seen shapes flitting through the night, unnatural mists swirling in through open windows, screams ‘ and the cry of owls from ivied ruins—which, try as he might, the most blase and nerveless of theatregoers finds it impossible completely to ignore. But involuable as these artificial aids are, the picture could never be really convincing without a master actor in the leading role—that of the terrible, inhuman Count Dracula. The director made a wonderful selection, and Bela Lugosi has given a rendering of the part which Js, nothing short of the marvellous. His very first appearance drew gasps of dismay from every section of the theatre It was not that he was a monstrosity of human ugliness. He was simply a man, apparently without the aid of any other make-up than that of an evening suit, who, by his facial expression, his wonderful acting, his ability to create an impression of something utterly evil and terrifying, gave an impersonation of the human yampire which could hardly he eclipsed. Others there -were in the cast who gave splendid renderings, such as Dwight Frye, whose acting as the madman, crazed with the lust for ■ blood and helpless in the power of Count Dracula gibbering, moaning, laughing with Satanic glee, was a most powerful piece of work; but Lugosi towered above them all. In the weeks to come, when “ Dracula ” is a memory, the audiences which saw the film will remember long after much is forgotten that terrible face peering from the night. Though he should never be seen in another picture here. Bela Lugos’ is assured of remembrance. Of the other principals in the cast, suffice it to say that never for one instant by an act w a word do they strike an unnatural note or detract from the general effect of th° production. “ Dracula ” is most cer tainly not light entertainment, but it is a picture which those ip search of a “thrill” and of something decidedly out of the ordinary should not miss. Pile supporting programme contains a Uni vcrsal news reel, an Oswald, the Rabbi*, cartoon, and a Slim Summerville comedv is even funnier than usual. In addition. Mr Leslie V Harvey rcndeis on the Christie organ the numbers “At Dawning” and “You’re Driving Me Crazy.” The box plans are at the theatre and the Bristol. REGENT THEATRE It is unfortunately seldom that picturetheatre audiences arc- privileged to see a production which embodies the best in plot, staging, attention to detail, and indiv’dual acting by the players, but • Dixiana.” the latest screen -attraction which received its initial performance at the Regent Theatre yesterday, undoubtedly, comes into that category. As a spectacle purely and simply it is a remarkable ach’evement. the 'staging being not so much a lavish affair as a striking example of what can be achieved by close nttoritmn to the finer points of stagecraft and bv making the most of the material to band. The undoubted merit of " Dixiana.” however, does not lie solely in the setting of some of the major scenes, for these are only incidental to the story, but in the treatment of the actual theme by the players themselves, the cast as a whole maintaining a uniformly high standard of artistic effort throughout the production. Under able direction the colourful scenes of life in the south of America in the

days before the Civil War, when ladies wore crinolines, and slaves worked on their masters’ plantations, are invested with a romance which is singularly appealing, the final scenes of the mardi gras, filmed in technicolour, achieving a brilliant climax to a production in which the standard of settings, photography, and sound recording is consistently high. There is also a wealth of excellent music running through the film, several of the priu cipals being heard in tuneful and enjoyable vocal numbers, whilst the accompaniments for the ballets and general ensemble work are particularly bright and catchy The principal feminine role is taken by Bebe Daniels, whose popularity with pic-ture-theatre patrons has been a firmly established fact for a number of years, and whose personal charm and stage accomplishments, have steadily won her increasing numbers of admirers since hei entry into the field of sound productions. As Dixiana, the little circus girl who is beloved by the heir of a rich southern planter, she is afforded innumerable opportunities of displaying her talents as an actress and a singer, whilst her vivacity and charm are unfailing. Miss Daniels is given admirable support by. Everett Marshall, who assumes the principal male role of Carl Van Horn, the only son of Cornelia i Van Horn, a slightly, eccentric but wholly delightful old Dutch planter. Added to Everett Marshall’s accomplishment.- as an actor of parts is the fact that he is the po,sessor of a rich baritone voice which records excellently. He is heard to great advantage in some solos, and is also associated with Mbs Daniels in a number of charming duets, in which the singers both demonstrate conclusively that they are voraliits of no mean order. The great bulk of the comedy work of the production, of which there is an ample supply is in the hands of that inimitable pair. Robert Woolsey ’and Bert Wheeler, whose clever burlesques and enjoyable absurdities provide a broad streak of very acceptable humour during the course of the story. Joseph,» Cawthorn, as Cornelius Van Horn, and Jobyna Howland, as Mrs Van Horn, the domineering woman whose greatest desire appears to be to associate herself with the “best people” only, provide excellent performances, whilst Ralf Harolde is particularly convincing as Royal Montague, the villain of the piece. Although simple, the plot is cleverly worked out, and its embellishments are not sufficient to spoil the continuity of the story. Briefly, it tells how Carl Van Horn falls in love with Dixiana. a little circus girl, and takes her to his parents’ home with the intention of marrying her Through the instrumentality of Pee Wee and Ginger, two of her circus friends, who have managed to get themselves included in the invitation, she is disclosed as a circus performer before a large gathering of guests, and to escape further humiliation returns to the circus, only to find that one Royal Montague. _ who has some hold over the circus proprietor, has forbidden the latter to take her back. Dixiana agrees to dance in Montague’s gambling saloon, and there she finds Carl Van Horn, whom Montague is trying to ruin. Carl is still in love with Dixiana. and she with him, but she dare not allow Montague to become aware of this in case he should attempt to harrn Carl, his reputation being somewhat sinister The scenes sweep swiftly along to the mardi gras, in which Dixiana is crowned queen of the brilliant carnival, and then tragedy swoops on the scene. There is a wealth of excellent entertainment in “Dixiana,” which should find high favour with audiences during the coming week. The supporting programme is exceptionally interesting, and includes _ two sound news gazettes and an amusing variety turn of unusual character entitled “ Humanettes.” The box plans are at the, theatre and the Bristol. STRAND THEATRE A first-class picture is the present attraction at the Strand Theatre, “The Boudoir Diplomat,” in which comedy sparkles throughout, and afterwards as well, and gives a tone of merriment to the minds of all who see it. The amorous entanglements of a gay bachelor amid the gorgeous settings of rich homes and stately castles are at the base of the plot, and so tersely told are the incidents that make up the story that time passes in that magic manner in which time always passes when one 'is pleased. The unfolding of the plot reveals that Baron Valmi is a member of the European diplomatic service, who has objects in view which, if carried through,' will bring many advantages to the kingdom of Monteveria. The channels he employs are devious and dark and sufficient, it would seem, to secure the end in view. He is instructed by the ambassador of his country that a certain treaty is indispensable to him, and in order to influence the vote of the Minister of War he makes love to the Minister's wife, with such success that the Minister is led to. give support to the desired agreement. Many schemes are arranged by the diplomat and the lady to bring this result about, and it is in the ■working out of the plans that much of the humour of the plot is found. Betty Compson and Mary Duncan, who play the principal feminine parts, are seen in negligee costumes of the most charming description in boudoir scenes. Jeanette Loff fills the role of Greata, to whose charms the wily diplomat finally loses his heart. lan Keith, who was a stage star before going to the screen, is an ideal choice for the part of the gay Baron Valmi. Among the other principals are Lawrence Grant, Lionel Belmore, and Andre Beranger. All the splendour of a European court life is shown in a number of coloured scenes, one of ■which represents the terrace outside the royal palace of the kingdom of Luvaria during a State ball, the majority of the men in attendance being dressed in the uniforms of their various military units, while women in court dress throng the splendid floors. Altogether, it is a superb entertainment. The supporting items include a rollicking comedy, “ Hot and Bothered,” starring the two favourites of “The Cohens and Kellys in Africa,” Charlie Murray and George Sidey, and a talking newsreel is also shown. The box plan is at the Bristol. PRINCESS THEATRE Since British pictures have come into prominence their excellence has given audiences many pleasant surprises, and they have set a standard which few must previously have thought possible. To say, therefore, that “The Skin Game,” which was screened for the first time at the Princess Theatre yesterday, is a long way ahead of anything from Elstree that has yet been shown in Dunedin may be to make a claim for it which will seem an exaggeration. Nevertheless, it is safe to predict that this will be the verdict of all who take the opportunity of seeing this remarkable play. The first fact which may be relied upon to bring it prominently before theatre-goers is that it was written by John Galsworthy, who is in the very front rank of British dramatists and who is widely recognised as Britain’s greatest novelist. The second is that the picture is acted by the identical cast which presented the play to London audiences, and a third and very important factor is that it is essentially English in every particular. From many points of view this picture stands .out far above the ordinary and in no particular does it descend to the ordinary. From the point of view of the construction of the play itself, from its superb acting, and from the perfection with which the producers have carried out their task, “ The Skin Game ” represents the highest pinnacle of screen entertain ment, and it will indeed be surprising if it does not prove to be the greatest attraction that the management of the theatre has yet presented to Dunedin audiences. British producers so far have mainly con centrated on comedies, and with these alone they have established themselves in such a position that Hollywood will have to make considerable advances on its pre vious standard before it can hope to Jis place them. This, however, is serious drama, in which English studios must be expected to reach their greatest heights, and as this is merely_ the beginning of their efforts, possibilities are opened up for the future which are indeed pleasant to contemplate. Although it may be difficult to believe that such a standard as is set in this picture will be kept up, it. has to be remembered that British producers have only begun to draw' upon their vast store of material. The piccait will be remembered as much as anything for the acting of Edmund Gwenn in the role ot Mr Hornblower. From first to last his performance is a sheer delight, and he invests hie work with a dramatic power which holds the audience as it has seldom been held before by any one actor. But it is not hie acting alone which places the work „of the cast on a level which hae not previously been reached in a British picture. There are the performances of C. V. Vance as the aristocratic Mr Hillcrist, Jill Esmond as his beautiful and charming dauhter, Helen Haye as Mrs Hillcrist, and Phyllis Konstam, whose acting in the part of the unfortunate

Chloe Hornblower calls for unstinted admiration. Indeed, one can recall no single weakness in the cast. The manner in which the story grips the audience, its powers of apppealing to the emotions without the slightest hint of sentimentality, and the fact that the dialogue so accurately meets every situation, disclose the genius of the author. One looks in vain for any instance in which acting is overdone or where the story touches upon the impossible. It is a story straight from life, and its spirit is admirably caught by the cast. With all that it hae to commend it in its various parts one prefers to remember the picture as a whole, and it indeed leaves one lost in admiration* The story itself is as gripping as any thriller, but combined with this are all that is best in screen entertainment. It is easily the greatest of Britain’s contributions to the screen that has been seen in Dunedin. There is a varied supporting programme. The box plans are at Halls fruit.shop, the theatre, and the Bristol. KING EDWARD THEATRE The management of the King Edward Theatre has been fortunate in securing for presentation to-day " Romance," starring Greta Garbo, Lewis Stone, and Gavin Gordon. The story runs thus: —It is New Year’s Eve in New’ York. Young Harry rushes to his grandfather, Bishop Armstrong, to tell of his great affection for an actress whom he wishes to marry The bishop unfolds this story for him: Fifty years before, the young pastor of St. Giles, Tom Armstrong, fell madly in love fith Rita Cavallini, an exotic Italian opera star, during a farewell appearance in old New York. To shake the pastor from this mad infatuation. Van Tuyl, his best friend, tells him that Cavallini has been his mistress for years. Tom disbelieves Van Tuyl, but Rita reveals the truth, that she has been what Van Tuyl said. On New Year’s night, Cavallini is singing her farewell, a tearful one, since she loves Tom, the minister, whose devotion is denied her because of her past. Tom, wandering blindly through the night, his mind tormented, makes his way to her apartment where she is preparing- to leave, and again offers her his love. But for his sake she refuses for the last time, and they part for ever, the clergyman to his church, the prima donna to Europe. “And you want me to give up this girl■ I love?” pleads Harry to the old bishop. “No, my boy.” counsels the bishop, “ that was real romance — don’t let it get away from you! ” And as he does, he fingers a newspaper clip; ping announcing the dea f h of Cavallini in a convent, 50 years later. ROLLER SKATING KING’S RINK. The fascination of easy, almost effortless motion and the graceful movements of the roller skater as he skims lightly round the smooth surface of the wellprepared floor continues to be felt by the public of Dunedin, and the sjiort appears to have a firm hold in this city. Among the rinks in Dunedin the King’s Rink in Dowling street, by reason of its central situation and excellent appointments, has become very popular. A carnival is held every Wednesday. Last Wednesday’s prize winners were as follow:—Musical circles, Miss Yardley: tyre race, Miss Barton; hurdles, Mr M‘Lean; most graceful trio—Miss Evans, Mrs Wills, and Mr Smithers.