AMUSEMENTS

Otago Daily Times, Issue 21529, 29 December 1931, Page 4

AMUSEMENTS

EMPIRE THEATRE What is probably the finest musical production yet brought to the screen is being shown this week at the Empire Theatre. Telling a story of Irish life and the life of the musical world with all its laughter and tears, its successes and its failures, the picture is interpreted by a cast with whom hardly a fault can be found. But head and shoulders above them all stands the figure of the great Irich singer, John M'Corraack, whose glorious tenor voice is heard in half a dozen lyrics which will be remembered long after the picture itself has passed into oblivion. Without M'Gormack, the film would still be a fine study of Irish life, but with the singing of the tenor it becomes an epic. film. As a simple and understanding villager with a broken romance, M'Corraack has the sympathy and affection of all his neighbours, and it is small wonder that that marvellous voice of his, enriching the still evening air, makes him the adored centre, of a group of enchanted children. Again, as the master of melody in a great New York theatre, he holds some of the most critical audiences in the world under his magic spell—for has he not suffered, as all artists must suffer, to achieve real greatness? The singing in the theatre, indeed, is a masterpiece of recording, and, though it would be impossible to say which song he sings best, it must be said that the marvellous rendering of “I Hear You Calling Me ” is one of the triumphs of the sound screen. No less .appealing, however, is his song to his old sweetheart, “ Rose of Tralee," just before he departed for America. In contrast with this is a merry little song for the young villagers, “Kitty My Love,” and again the song “The Little Toy Dog is Covered with Dust,” stirs the emotions with its sweet pathos. The actual story has been entrusted to a highly accomplished cast, and the great performances of J. M. Kerrigan and Farrell Macdonald, who as the two old Irish cronies sincerely attached. to each other and yet cloaking their affection by a sort of continuous quarrel, is but another instance of the exceptional quality of thg production. Maureen O’Sullivan makes a charming little heroine with all the Irish warmth and sincerity, and the difficulties that her crabbed old aunt places between her and her sweetheart win a ready spmpathy from the audience. There is a strong supporting programme. The box plans are at the theatre' and the Bristol. “THE MAN IN POSSESSION.” Robert Montgomery is starred in “The Man in Possession,” the new ; Metro-Goldwyn-Mayer feature; which will open at the Empire Theatre on New Year s Day. The play from which the picture was adapted is one of the most recent works from the pen of the distinguished British author who wrote such successes as “ The Mask,” “ The Hotel Mouse, and “ The White-headed Boy.” Heading the supporting cast is the elongated Charlotte Greenwood, stage comedienne, who recently added to her laurels with outstanding screen roles in “ Parlour, Bedroom, and Bath,” and “Stepping Out. In the new film she plays the part of an English maid with an especial dislike and mistrust for the new butler, the part played by Montgomery. Irene Purcell, New York stage actress, plays the romantic lead opposite Montgomery in the new film. Miss Purcell, who won overwhelming success in the New York production of “Dancing Partner,” recently repeated this role with William Haines in the screen version titled “Just a Gigolo.' Others in the imposing cast are C. Aubrey Smith, of “ Impersonating a Lady ” fame; Beryl Mercer, distinguished character actress, who ■ last played in “ The Public Enemy”; Reginald Owen, who recently starred on the stage in “ Candlelight ”; Alan Mowbray, who last played in “Topaz” on the stage; Maude Eburne Forrester Harvey, and Yorke Sherwood, noted British players. The locale of the story is in England, and Montgomery plays the part of the young ne’er-do-well, who becomes a sheriff’s deputy, serving attachment writs. His duty takes him into the home of a ravishing widow, and he is persuaded to impersonate a butler to spare her the humiliation of having an attachment guard in her house during an important dinner party. There are many hilarious highlights, climaxed in the ousting of the wfdow’s suitors aud admirers. Of course the butler wins the lady fair, amid gay circumstances. The dialogue is sprightly and effervescent, and the story moves smartly with a sophisticated motivation. It is charmingly set in an English cottage, and the costumes and backgrounds are especially worthy of comment. SINGING ORGANIST ENGAGED. The Empire Theatre has engaged Paul Cullen, the singing organist, to play at the theatre for a season, and he will make his first appearance on Friday next. Mr Cullen has had engagements at the De Luxe Theatre, Wellington, and the Regent Theatre, Auckland, and has proved a strong attraction to the public. He pos cesses a beautiful light baritone voice, and sings his numbers while playing the organ. ST. JAMES THEATRE Joe Brown- scores a distinct success in “ Broadminded.” which occupies pride of place on the current programme at the St. James Theatre. His appearance alone is sufficient to provoke laughter, and he makes the best use of his natural qualifications as a comedian, but, in addition, he has a very shrewd knowledge of the art of the comedian, and is always the dominating figure in any film in. which he takes part. There are few periods during the screening of “ Broadminded ” when the audience is not laughing at some absurdity of speech or action. The opening scene of the film- is a particularly uproarious one. It is the “ baby party ” of a young woman who is destined to play an important part in subsequent events, and it offers great opportunities to Brown, who has the part of Ossie Simpson, a young man who qxtracts as much enjoyment, as he can from life, and who is obviously a very popular person among his friends. It so happens that he is also popular with a wealthy financier, his uncle, whose son finds himself forced into an engagement. Young Hackett is told that he must leave the city for a time in order that he can break with his old associates, and Ossie is sent with him as a guardian. The situation. of course, is one from which the audience expects a great deal, and it is not disappointed. After some exciting experiences in a small car, the pair are able to assist two young ladies who are having some trouble, with their ear, and this is the start of a double romance which has some very unpleasant interruptions. Two young women, a rather frigid aunt and an excitable South American, not to mention an actress and the girl who has announced her engagement to Hackett. are the people who are engaged in the whirl of events which follow. The supporting programme consists of a variety of short items which include some enjoyable'singing and not a little humour. The news films contain a description of the last Oxford-Cambridge boat race. The box plans are at Hall’s fruit shop and the theatre. “SON OF INDIA.” Adventure, romance and an_ exotic locale arc features of Ramon Novarro’s latest starring film, “Son of India,” which will commence in (lie St. James Theatre on Friday, It is the first time that Novarro lias been seen in an oriental role since “The Pagan,” and be equals the admirable performance of his former hit in this latter feature. The story concerns a young Hindu, who is left beggared when his father, a rajah, is killed and robbed by bandits. He has managed to save one huge diamond, but when ho tries to sell this to a disreputable dealer, the scoundrel charges him with theft of the diamond. Novarro is about to be sent to prison when he is rescued through the intervention of a young American, played by Conrad Nagel. Subsequently Novarro falls in love with an attractive white girl. On an exciting tiger hunt their friendship ripens into infatuation. The girl turns out to be the sister of the man who had saved Novarro from prison. When Nagel comes from America to stop the marriage of his sister to a man of another race, the story is brought (o a climax. “ Madge Evans, the New York stage star, plays the part of the heroine, and offers a performance which combines charm and capable dramatic work,” says a review. “ Excellent portrayals are also offered by Nagel. Marjorie Rambcau, 0. Aubrey Smith, Mitchell Lewis, John

Miljan and Nigel de Brulier. But chief honours must go to Novarro, who again proves himself one of the finest players on the screen. His performance is marked with sincerity, and he combines an unusual dramatic vigour with a charming flair for comedy.” The box plans are at the Bristol. STRAND THEATRE A double-feature programme of more than usual interest is at present being shown at the Strand Theatre. The first picture is “The Girl of the Golden West,” featuring Ann Harding, James Rennie, and Harry Bannister. It was into a reckless atmosphere, where law and order were absent, that David Belasco brought his girl, where she lived among the wild miners, to one of whom she eventually gave her heart; he was not worth it, but through the girl’s influence she worked a change in his nature which set him on a new trail, and in the end the girl’s belief in him was quite justified. The story is dramatic and full of thrills. “Wedding Rings,” the second production, is a story of a different type. The principal parts are taken by H. B. Warner, Lois Wilson, and Olive Borden. Cornelia Quinn, an attractive young artist, loves Lewie Dike, whom ehe meets in an art gallery. Dike, a wealthy clubman, also loves Cornelia until he meets Eve, her selfish, beautiful sister. Eve, thinking that Dike would be a very profitable match, sets out to win him from Cornelia, and before long Eve and Dike are married, despite Cornelia’s efforts to keep them apart. _ Cornelia really loves Dike, and after his marriage to Eve ehe changes from an easy-going young person into a purposeful and determined woman. How she succeeded in making Dike see her love and Eve’s infidelity is quite an engrossing story. “FIVE AND TEN.” The following criticism of the new Marion Davies film that will be seen at the Strand Theatre on Friday appeared in a leading English newspaper: “It occurred to this reviewer that Marion Davies’s ability has been neglected in her assignment in the past to straight comedy. For in ‘ Five and Ten,’ her new picture, she stepped out of her familiar type of characterisation and walked right away with as dramatic a role as could be offered. The picturisation of the Fannie Hurst novel will establish a new mark in Miss Davies’s career, in this reviewer's opinion, winning for her fresh recognition and placing her in a niche as one of the most amazingly versatile of screen players. She negotiates this transition with confidence, apparently as perfectly at home in a vale of tears as she is in a gale of laughter. Not that she overlooks any comedy opportunity. But her dramatic moments monopolise her appeal. . Leslie Howard, Richard Bennett, Irene Rich, and Kent Douglass give very effective support.” The box plans are at the Bristol. OCTAGON THEATRE Gary Cooper and Lily Damita head a strong cast of players in “ Fighting Caravans,” the current attraction at the Octagon Theatre. This story is from the pen of Zane Grey, one of the most famous writers of early American history, and its presentation on the screen is of such a character that it loses none of its strength. The story deals with the trials and dangers encountered by a wagon train travelling through the great wastes of the western side or the American continent during the time of the American Civil War. Gary Cooper is seen as a young scout, who has been brought up by two old frontiersmen, played by Ernest Torence. and Tully Mashall, who continue the characterisations they created in “The Covered Wagon.” These three constitute the principal scouts for the train, but dissension enters in through the appearance of a girl, played by Lily Damita, who is travelling alone and who is befriended by Cooper. The old men see the loss of their young protege looming before them, and attempt in many ways the dissolution of the attachment which is rapidly springing up between the two young people. About this time the wagon train is coming into the “ bad country,” and when a burning stage coach is found beside the trail, with its crew lying near it, the scouts redouble their efforts to pick up traces of the Indians in the vicinity. Included in the band of men accompanying the train is a suspected traitor, played by Fred Kohler, who is looked on by the old scouts with not a little suspicion on account of the fact that he was the sole survivor of an attack on an earlier wagon train by Indians. How well-founded their suspicions are is given striking proof when the train is attacked by ferocious red men just as it is fording a river in the fastnesses of a wild range of mountains. The train is divided in half by the river and a fierce fight breaks out, but the Indians have the advantage of information supplied through the treachery of the renegade. When all seems hopeless, a daring act by the young scout defeats the efforts of the opposing forces, and a portion of the train wins through to safety. There is much that is of intensely absorbing > interest in “ Fighting Caravans,” which should become very popular during the week. There is a strong supporting programme. The box plans are at the theatre and the Bristol. REGENT THEATRE “The Smiling Lieutenant,” featuring Maurice Chevalier, Claudette Colbert, and Miriam Hopkins, is enjoying a good season at the Regent Theatre. In addition there is the delightful little dancing pantomime arranged by Miss Lily Stevens and Mr A. Regan to make the evening’s enjoyment complete. “ The Smiling Lieutenant ” has the quick charm of unexpectedness. _ The characters Lubitsch has put into fjiis diverting screen version of “The Waltz Dream” are all good in themselves, but it is his pleasing knack of selecting and arranging them which vests them with most of their attraction. One sets off another, the contasting characteristics of this figure and that enhancing the values of each. No one with_ an ear for good comedy, an appreciation of subtle inference and clever suggestion, should miss .this opportunity of revelling in them at the Regent Theatre. See “ The Smiling Lieutenant ” and know the genius of Lubitsch. It is a very exceptional talent that can handle character, plot, talk, and whimsy so unerringly, making of the most ordinary tale a sparkling, vivacious comedy-romance of the most striking kind. Chevalier gives his customarily brisk and spirited performance in the role of Nikki, the romantic young lieutenant, whose ill-timed smiles and winks on parade are intercepted by a royal princess, who imagines herself to be the subject of them. And Claudette Colbert, the fascinating brunette with the beautiful eyes, makes a completely delightful and enthralling Franzi, with Miriam Hopkins as Princess Anna, coming into her own at last, sitting at a piano in daringly alluring negligee, tempting her husband by her vigorous rendering of “Jazz Up Your Lingerie,” an exhortation which she herself follows with startling and romantic results. The pantomime is beautifully and excellently done. The opening chorus and dance last night were perfect, and among the items wliich followed “The Dance of the Wooden Doll ” was as good as any, although the delightful little costume duo featuring “ A Bicycle Built for Two ” was no less enthusiastically received. The news series contained in the supporting programme arc of more than usual interest, including scenes from some of the world’s greatest speed experiments, such as the Schneider Cup event, the speed boat championship of the world, and other international feats. Mickey the Mouse, with the equally amusing Minnid, provides a delightful interlude in the form of “ The Birthday Party,” n cartoon comedy in Disney's best vein, which cannot fail to please. “ MOTHER’S MILLIONS.” May Robson, who is making her debut in “Mother’s Millions,” which will be shown at the Regent Theatre on Friday, is said to be the greatest character actress on the stage to-day. She has had 47 years’ experience at it. In the old days, 14 or 15 years ago-, May Robson played in a number of her stage successes for Cecil De Mille, but she never was satisfied with the silent screen as a medium for character playing, and very soon went buck to the stage. Talking pictures, however have turned the screen upside down as lar as character playing is concerned. The success of Marie Dressier is merely one case in point. Her extraordinary success in “Mothers’ Millions” is certain (it is claimed) to place Miss Robson in high demand for a second production. At a late age it seems as though the greatest opportunity of her entire life lias opened up to her. Carl Laeinmle, of Universal Pictures, very boldly offers a solution of the what-to-seo and where-to-go theatrical problem in “ Mother’s Millions.” The skilful playing of May Robson, for whom it was ori-

ginally written as a stage play, has almost placed it in the category of a comedy and certainly it is comedy of a certain type. The story is absorbing and the character delineations convincing in portraying a tale of young love about to be crushed by the iron hand of untold millions. May Robson, who achieved remarkable success in the original stage production, plays the role of Harriet Breen, a female financial genius who apparently handles her children with the same ruthlessness that she uses in fighting her rival giants of Wall street. The climax of the story, however, is startling in its revelation of a X’eally beautiful character under the mask of a shrewd, relentless business woman. Miss Robson takes stellar honours in this one. Her support, including James Hall, Frances Dade, Lawrence Gray, and Edmund Breese. The theme of the story is that of a mother’s love hidden through fear of her enemies’ attempts to reach her and hurt her through her children. In doing this she must appear to treat her children with a coldness and aloofness that threatens to ruin their happiness and kill the romance that have come into their lives. How she eventually understands and rewards their loyalty gives to the picture its poignant sense of drama. The story was written by Howard M'Kent Barnes especially for Miss Robson, and the picture as directed by James Flood, follows the original story closely. Mr Flood has done a particularly fine job—his keen understanding of good human interest situations coming to the fore in many of the scenes between the younger members of the cast. James Hall, as the secretary of Harriet Breen, handles his role with great finesse. Frances Dade is charming, and puts just the right amount of drama into her role as the young daughter of the female financial giant, and the sweetheart of her mother’s secretary. Lawrence Gray as the young son will win sympathy, and Edmund Breese as the rival financial genius does a fine and stimulating piece of acting. KING EDWARD THEATRE “ Chasing Rainbows ” is the feature of the current programme at the King Edward Theatre. It is a bright and colourful picture full of action and merriment. The fact that Charles King, Bessie Love, Marie Dressier, and Polly Moran are included in the cast is in itself an indication of the entertainment value of the picture. The supporting programme includes a Mickey the Mouse cartoon called “ Traffic Troubles,” and the eleventh episode of “ Heroes of the Flames.”