AMUSEMENTS

Otago Daily Times, Issue 21531, 31 December 1931, Page 14

AMUSEMENTS

STRAND THEATRE With the. beautiful Ami Harding in the title role, “The Girl of the Golden West” has attracted large audiences to the Strand Theatre this week, and to-nighi the picture will be screened for the last time. 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 hie 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. ' “FIVE AND TEN.” “ Five and Ten,” the talkie version of Fannie Hurst’s celebrated novel, comes to the Strand to-morrow, with Marion Davies in the starring role. This film is of particular interest because it affords the star new latitude for her talents, supplying her with a more dramatic vehicle than the light comedies in which she recently appeared. Miss Davies’s characterisation in the new production is a striking one, demanding emotional intensity as well as the comedy flair for which she is famed. The story was adapted by Edith Fitzgerald from the Fannie Hurst novel of a newly-nch family, first appearing in serial form in Cosmopolitan Magazine, later attaining best-seller prominence in book form published by Harpers. It is a distinctly modern story, dealing with the futility of piling up wealth and the fight of two very modern young women of opposite ideals for the affections of a man. The picture lias as its locale New York, and the principal motivation is obtained in the founding of the Rerick fortune upon a world-wide chain of five-and-ten-cent stores. As a monument to this achievement the elder Rerick builds the tallest skyscraper on earth. His daughter, Jannifer, anxious to win the young architect, obtains the contract for him, but in so doing is misunderstood. Berry, believing she tried to “buy” him, promptly weds her society rival. Tragic complications are brought about through the suicide of the young brother, heartbroken at the discovery or his mother’s amours and the probable compromising of his sister. Particularly imposing is the supporting cast with which Miss Davies has been surrounded in her initial dramatic effort. Leslie Howard, distinguished young British stage star, plays opposite her as Berry, the architect of proud ancestry but impoverished purse. Howard will be remembered for his stage and screen work in “ Outward Bound.” He last .appeared in films in “ Never the Twain Shall Meet.” Included in the splendid east are Richard Bennett, father of Constance and Jean, Kent Douglass, and Mary Dimcan, the, screen’s dimiiiutive siren, who plays the part of the, “ other woman.” OCTAGON THEATRE Zane Grey’s famous story, “Fighting Caravans,” will be screened at the Octagon Theatre for the last time this .evening. Gary Cooper is seen as a young scout, who has been brought up by two old frontiersmen, played by Ernest Torence and Tully Marshall, 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. About this time the wagon train is coming into the “bad country,” and when a burning stage coach is found beside the trail, with the 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 in the subsequent events, during which 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 a strong supporting programme. The box plans are at the theatre and the Bristol. ■ “ FINN AND HATTIE.” Donald Ogdon Stewart’s humorous novel, “Mr and Mrs Haddock Abroad,” which leaped to the best-seller class overnight, has been made into an all-talking picture by Paramount, with Leon Errol and Zasm Pitts playing the roles of the “ Haddocks,” and little Mitzi Green raising the roof as their mischievous daughter. The picture, which will show at the Octagon Theatre for six days, beginning tomorrow, is called “ Fin and Hattie.” “ Finn and Hattie ” pictures the amazing advetnures of three funny people on their first trip to Europe, and is hailed as a new departure in talking picture comedy. The Haddocks are given a royal send-off as they leave their little home town, a send-off cut short by the sudden and unexpected departure of the train, under control of little .Mitzi! From then on things happen in New York, where the family is joined by Jackie Searl; aboard the boat where Lilyan Tashman, the blonde siren, appears as a princess to vamp Finn; in Paris, where Finn s fun-making and Mitzi’s mischief-making get the whole family into trouble with the police and hotel managements. Errol, who, with his famous “ rubber ” knee, made his first talking picture hits in “Social Errors” and ‘One Heavenly Night” recently, was a Zicgfeld star, and for years toured the world in vaudeville. Zusu Pitts is the mournful-eyed comedienne who almost turned Nancy Carrol’s dramatic sensation, “The Devil’s Holiday,” into a comedy because directors allowed her to appear ns telephone operator in one sequence. Mitzi Green, of “Sweetie” and “Love Among the Millionaires.” was the first youngster to be given a featured contract by Paramount. Little Jackie Searl, a nation-wide hit in a minor part, that of Jackie Coosa nV young and impudent brother in “ Tom Sawyer,” plays his first contract role in “ Finn and Hattie.” Lilyan Tashman will be remembered as the siren of “ The Marriage Playground.” And Regis Toomey, recently seen as the reporter in George Bancroft’s “ Scandal Sheet,” has an important part. The journey of “ The Haddocks,” from their Middle-Western home to the gay French capital, is one continuous laugh. During the trip Mitzi raises havoc with everything and everybody she meets, her chief attention being given to Jackie Sear]. Errol gets mixed up with a pseudo-princess who plays on the soft .chords of Miss Pitts’s heart until that mournful tnadame joins with her against Errol. REGENT THEATRE In "The Smiling Lieutenant,” which will be screened at the Regent Theatre for' the last time this evening, Maurice Chevalier, the genial Frenchman, has a role which could hardly have suited him better. He gives a spirited performance as Nikhi, 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 lust, 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. In addition, there is a delightful little pantomime by Miss Lily Stevens and Mr A. Regan, which is beautifully and excellently done. The news series contained in the supporting programme are of more than usual interest, including s’cenes 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 Minnie, provides a delightful interlude in the form of “ The Birthday Party,” a eartoon comedy in Disney’s best vein, which cannot fail to please. “ MOTHER’S MILLIONS.” George Arliss, Maurice Chevalier, Ruth Chattertou, Marlene Dietrich, to name just a few, are some of the famous stage id a,vers of the world that we would never have been able to enjoy only for talking pictures. Previously these famous artists were only for the stages and the audience*

of London, New York, Paris, and Berlin, but now that the screen talks they give their performances with the entire world as an audience. In the Universal picture, “ Mother's Millions,” the screen introduces to us for the first time May Robson, peeress of the American stage. Slay Robson brings to the screen, it is said, a mastery of stage technique, the like of which we have not seen for some time. The screen has recorded her voice with' all its power and character, . and those who have seen her qn the stage will no doubt agree that she excels herself in her first talking picture. May Robson might rightly be termed the _ feminine “ Grumpy.” Most have seen Cyril Maude, that famous English stage actor, in his masterpiece either on the stage or on the screen. Maude played and lived that part of the crabby but lovable “ Grumpy.’ May Robson’s work in “ Mother’s Millions” is similar to that of the famous Englishman’s, but her part is more forceful. Little has been seen in in talking pictures, it is claimed, to equal the heartthrobs in “Mother’s Millions,” screening at the Regent Theatre to-morrow. _ Ever since the inception of motion pictures we have seen mother love portrayed in all its beauty. We are familiar with mother-love in all its various forms through the medium of the screen, and have sorrowed as we saw the judge give the custody of the child to the father while the mother was led weeping from the dock. But now, in “Mother’s Millions,” we are presented, for the first time, with a story of the reactionary effect of power and wealth upon mother-love. It reveals to the world that those who move in moneyed circles are, not without their full share of the troubles and heartaches in life. Every family presents its own domestic difficulties, but greatest of all to those in. power is the fact that their children may be sought in marriage only for the inheritance that will follow their mother’s death. How Harriet Breen prevents any chance of such a thing happening to her son and daughter is told in “ Mother’s Millions.” Harriet Breen has matched her wits to" yeers against all the shrewdness and cunning of a gang of Wall Street crooks. She lias beaten the brokers in cornering the market in wheat and grain; secured the controlling interest in the biggest railroads in the land, and all the knowledge and wisdom learned through trying years of commercial-fight she puts to use protecting her children against losing in the future that which she has fought so hard for now. The picture is a drama full of laughs, with a delightful twist at the finish. For more than 20 years May Robson has thrilled and charmed millions of people in America and England with tier magnificent portrayal of Harriet Breen in “Mother’s Millions.” It is significant of this great artist that in all her 47 years on the stage as a public idol, she has never appeared in an unclean play. This probably has been a big factor in establishing her with all audiences as a favourite player over such a long .period. Today she still enjoys a wonderful reputation which she has so artistically earned. Miss Robsoxi played in the silent version of “The Rejuvenation of Aunt Mary.” She was far from satisfied, and vowing she would never make another picture as her power . was lost, it took five months of strong argument and consistent pleading to convince her that her most successful stage play would make an equally successful talking picture. In “ Mother’s Millions” she rises to great dramatic heights and gives a performance that surpasses her triumphs in the original stage play. On the directorial side James Flood,-has-.contributed-'llls share of the artistic success of “-Mother’s Millions.” EMPIRE THEATRE The final screenings of “ Bong o’ My Heart,” undoubtedly one of the .finest films of its kind that has yet been 'mane, will be held to-day. Anyone who has not thrilled to the beauty and melody of John M'Cormack’s incomparable voice in this exceptional picture should not miss the opportunity provided to-day. As a simple and understanding villager with a broken romance, M'Cormack has the sylnpathy 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. The singing in the theatre, indeed, is a masterpiece of recording. The marvellous recording 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,-arid 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 the 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 sympathy from the audience. A delightful comedy and a news reel complete the programme. Tim box plans are at the theatre and the Bristol. “ THE MAN IN POSSESSION.” Theatre-going Dunedin could do with more comedy of the kind that is contained in “ The Man in Possession,” which will be the feature of the new programme at the Empire Theatre to-mor-row. It was privately screened last night, and was proved to be one of the most engagingly robust and attractive comedies seen here for many months. The divcrtingly bright and clever tale of “ The Man in Possession ” revolves around the fortunes of Robert Montgomery as the Cambridge-educated son of a very much self-made man, who, with the assistance of Mr P. 6. Wodehouse, drops itches mercilessly and tacks them on somewhere else, and always contrives to say the wrong thing. The play is the screen version of A. M. Harewood’s brilliant stage comedy, and the adapter tion loses nothing in the transference. Furthermore, the already excellent and highly-amusing dialogue takes on a ‘ new lustre as the result of the interpolation of a few characteristic ideas from the inimitable mind of Mr P. G. Wodebouse. The story is unfolded in an atmosphere of delightful humour. There is a„ clever comparative analysis of conventional values underlying the play for those .who feel inclined to look for it beneath the mountain of engaging comedy which conceals it, but as an entertainment in the lightest and most enjoyable sense of the word “The'Man in. Possession ” has variety, superb characterisation, plenty of spice, is well acted, and should most certainly be seen. The opening moves of the film are so intelligently arrresting that interest is captured and ■ held from the first scene. The audience does not have to wait until half through the play for the players to get into their stride. The first characters to appear make such an altogether excellent impression that one is almost sorry to see them pushed unceremoniously into the background to make room for the principals. The complications and comical situations in the film crowd so quickly on one another that one is a little afraid that, to extricate himself from the tangled skein of happenings, the producer will have to descend to one of those final act flights into sentimental melodrama which make a simple ending, but spoil an otherwise good film. But not • so with 1 “The Mail In Possession.” The finishing touches, or one -should say, flourishes, are like the opening moves, ingeniously contrived, and the result is entirely pleasing and satisfactory. And to add to the special merit of the film there is a cast of unusual strength and attractiveness. Robert Montgomery, who has lately risen rapidly on the sound screen by the charm of his personality, coupled with real artistry, again scores a distinct success in “The Man in Possession.” It is his best effort - to date, and those who sec him in this role will not wish to miss his next film. Then there is Irene Purcell, blonde, petite, fascinating, a competent little actress with , a nice sense of comedy values and a charming manner. In (he role of Mrs Crystal Wetherby, the impecunious young widow, she will capture all hearts.' C. Aubrey Smith is characteristically vigorous and explosive in the part of stern father, investing the role with comedy all his own. He cannot fail to be a great attraction. Beryl Mercer also has an important place in the film, and Claude Allister acquits himself remarkably well as the elder son of the family in search of money by marriage. Charlotte Greenwood contributes some more of her boisterous and irresistible ‘humour in the role of Mrs Wetherby’a maid and a dozen others also do their share. Montgomery, as Bay-

morid Dabney, the,prodigal eon, has just been in prison for some little matter in connection with a motor car deal. Un his release his father, 0. Aubrey Smith, refuses to allow him. a home under the parental roof and seeks ,to get rid of the “black sheep” by paying him to get .out of the country. But Raymond declines to be paid off and eventually finds a job as a bailiff’s assistant. He is sent to take possession of the home of_an attractive young widow, a pdr.t taken admirably by Irene Purcell, who was in “ Just a Gigolo”’ Sympathising with the girl’s troubles, Dabney resolves to help. He becomes her butler, a very amateur one indeed,-but completely-charming., the only way pretty Mrs Crystal Vv etherby can meet her bills] is a marriage aviid money. By a coincidence she is, engaged to the prodigal’s weak brother. And so the plot is complicated, the meeting of the debonair butler with his brother and his father and mother at a dinner given in their honour by Mrs Wetherby. gives rise to amusing situatiops. When the cards are tabled and the brother, wiio, by the way, believes he is marrying money, whereas he is affianced to a Midget of unpaid accounts, realises that Mrs Wetherby is penniless, he withdraws,' leaving the field to the butler, young Raymond. An excellent supporting programme includes new gazettes and ona of Hal Roach’s “ Our Gang ” comedies. MR PAUL CULLEN’S ENGAGEMENT. One of the features of the coming week’s programme will be the appearance of Mr Paul Cullen, the singing organist at the Christie organ. ■Special provision has been made for his nightly performances. and his opening renderings will be of a varied and highly popular character. Mr Cullen has earned an enviable reputation in the north as an entertainer, and has something new and enjoyable to show Dunedin audiences in the way of musical diversion. He has a fine tenor voice of good range and quality, and accompanies himself on the organ with remarkable effect and success. At the De Luxe Theatre in Wellington and the Regent Theatre in Auckland ,he proved a great attraction for long periods of engagement, and it is certain that Dunedin audiences will find him no less interesting and enjoyable,. more especially since his claims to notice include, the fact that he is a native of Dunedin. ST. JAMES THEATRE ; “ Broadminded ” is proving very popular at St. James Theatre this week. Joe E. Brown has the leading' role, and provides comedy fare of the most uproarious, kind 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 port of Ossie Simpson, a young man who extracts 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 sept with him qs ,a guardian._ The situation, of course, is one from which the audience expects , a great deal, -and it -is nbt 'disappointed. After some 1 exciting experi; ences in a small cap. the pair are able.to assist two young ladies who are having some trouble with their car, and this is the start of a double romance which' has some very unpleasant’ interruptions. 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 rot the last Osford-Carhbridge boat. race. The box plans arc at Hall’s fruit shop and the theatre. v ' ' “SON OF INDIA.” For. its special New Year programme the St. James Theatre will'present tomorrow “ Son of India,”'the much-heralded Ramon Novarro-Courad Nagel success, which has been aptly described as “ The Sheik” of the talkies. Incidentally, there will be included on tile programme the latest Charley Chase comedy, “ The Panic Is On,” in which the fever-popular- comedian is said to be at his funniest. The following commentary on “ Son of India ’■ ivas made by the critic of the Christchurch Sun:—“lt is.hard to believe that ‘ Son of India’ ivas made in HollyAvood, so elaborate are spine of > the Indian scenes. Clever photography and brilliant settings, aided by the able direction of Jacques Feyder, combine to create an illusion of exotic charm and barbaric beauty, ‘Son of India’ presents an unusual and satisfying entertainment. The story is taken from F. Marion CraAvford’s novel, ‘Mr Isaacs,’ and.in its screen form deals Avith the subject of ‘ East is East and West is West,’ etc. There have been many books 'and almost as niariy films made about, this subject, blit ‘Son. of, India,’ although- it deals with bility of marriage betAveen’the AA'hile and coloured races, is treated Avith a spirited touch that gives novelty .to the theme. Whatever education and the intermingling of the races may have accomplished, caste and the colour bar still exists to keep happiness from those Avho* attempt ,to defy the conventions,, and so the Indian hero and the European heroine are left separated, believing in the philosophy of the Orient, that the perfection'of. real love is only to be found in its renunciation, and content to Avait for its sublimation in the life to come. Novarro. fits into his part like a hand in a glove, but he is not the only notable one-in : the cast. The role of Janice is taken by Madge Evans, Avho once used to be a child star in the silent films, -and now after a successful career on the. i New York stage, looks as if she is going to develop into an adult talkie star of great brilliance in the Hollywood heaven. She speaks Avell, looks Avell, and acts even better. Others 1 of importance in' the reallv excellent cast" are Conrad Nagel, Niged de Brulier, John Miljan, Marjorie Rambeau, and C. Aubrey Smith.” The box plans are at the Bristol. , KING EDWARD THEATRE Lawrence Tibbetts, in “ The Prodigal,”, is the new feature at the King Edivard Theatre just now. Tibbetts appears as a prodigal son Avho- has been roaming the country Avith a band of tramps. He goes home to see his Mother, and for the first time becomes acquainted with his brother’s Avife, Antonia. Antonin is miserably unhappy Avith her tyrannical husband,' and is about to elope Avith a. former loA r er. In his attempts to preserve the family integrity, Tibbett succumbs to the charms of the beAvitcliing Antonia, and finds himself in a compromising position. The unravelling of the situation makes for an extremely dramatic ‘screen plot. Scenes in the “tramps’” camp are among the novelties of the production,’and in these sequences Tibbett sings De Glory Road,” a number. avKicli he has made famous on the concert stage. Esther Ralston plays opposite Tibbett.