AMUSEMENTS

Otago Daily Times, Issue 21538, 9 January 1932, Page 14

AMUSEMENTS

OCTAGON THEATRE Another excellent double-feature programme was presented at the Octagon Theatre last night, when the two pictures were witnessed by an unusually large audience. The first picture is “A Man From Wyoming,” in which the popular Gary Cooper has the leading role. He has the support of June Collyer, a charming and talented little actress, and a strong cast. The story is, perhaps, a little far-fetched, but it is none the less entertaining for all that. It concerns the adventures of a certain company of American engineers in the Great War, Cooper taking the part of the officer commanding tne company. There is in the story a girl who goes from America to France to “do her bit.” She finds the discipline of training quarters in Paris not to her liking, and she sets out for the front line to see what there is to be seen. Cooper takes her prisoner and treats her sternly, but is unable to resist her charms. They are married by an old French padre and Cooper almost immediately receives orders to return to the front line. He is reported to have been killed in action and his wife’s endeavours to forget her sorrow give him a bad impression when he returns to the land of the living. This situation forms the climax of the picture. The other production is “ The Public Defender,” which is a story of the quixotic actions of a young New York man who takes the law into his own hands in order to clear the name of the father of the girl he loves. It is a story of a type that is always popular, no matter in what form it is presented. Richard Dix makes an excellent hero, and Shirley Grey an equally excellent heroine. The story opens with the failure of a bank of which Barbara Gerry’s father is a director. He, by the_ crooked actions of his fellow-directors, is made to appear responsible, his home is sold up and he is to be prosecuted. Pike Winslow (Richard Dix) commences in his own way to bring the real crooks to book and, for this purpose, he assumes the role of “ The Reckoner,” a clever burglar who rifles the safes of the three crooked directors in turn. There are many dramatic twists in the story and plenty of excitement 's offered. The police are baffled all the time as to the identity of the “ Reckoner,” but the leader of the conspirators discovers the true position. He lays a trap for the yohng man by killing one of his friends and trying to make it appear that the crime was committed by the “ Reckoner,” but he is finally exposed and the story ends in the manner in which all stories should end. Miss Gray is not well known to Dunedin audiences, but her acting in “ The Public Defender ” is such as to stamp her as a decidedly talented player and one worthy to play opposite so excellent an actor as Dix. The work of the remainder of the cast is in keeping with the high standard set by the principals. The box plans are at the theatre and the Bristol.

REGENT THEATRE

Dorothy Brandon’s play, “ The Outsider,” which was presented throughout the Dominion by Maurice Moscovitch and his company, now comes to Dunedin in film form, and the reception which it received at the Regent Theatre last night, at its first screening, was sufficient to indicate that in its transposition from the stage to the screen this play has lost none of its poignant appeal. In fact, the latest interpretation of the piece is_ a further indication of the extent to which the screen can now perform what was once thought to be the unchallenged part of the legitimate theatre. The part of Anton Ragatzy, a Russian Jew, arrogant, boastful, but possessed of a magnetic personality which overcomes opposition in spite of everything, is admirably performed by Harold Huth, who plays an exceedingly difficult part with absolute sincerity and wonderful finesse, creating a character which easily dominates the whole of the story. He is the "outsider,” the man with whom none of the qualified doctors and surgeons of London will associate, to perfection, and as the greater part of the acting in the production falls on his shoulders, so does he carry off by far the greater proportion of honours in connection with the film. Splendid support is given by Joan Barry, who assumes the role of Lalage Sturdee, the crippled daughter of one of London's most famous surgeons, who places herself in the hands of Ragatzy in the hope that he will be able to cure her of her disability. Her performance is marked by a restraint and poise which immediately stamp her as an actress of parts, and she acquits herself with the highest honours in a role which calls for histrionic talents of very considerable worth. The part of Jasper Sturdee, the conservative London surgeon who will have no dealings with the “ quack ” who professes to be able to cure cripples, although he has gained no degree of medicine, is admirably portrayed by Norman M'Kinnell, last seen here in the role of Professor Moriarty in the Sherlock Holmes picture “The Sleeping Cardinal,” whilst another performance well worthy of mention is that of Annie Esmond, who plays the part of Pritchard, Lalage Sturdee’a faithful retainer, with striking effect. The story is that of Anton Ragatzy, a Russian Jew. who has gained a practical knowledge of anatomy in the slaughter yards of Chicago, but who is too poor to go through a medical course and gain a degree which would give him entrance to exclusive circles of qualified surgeons. He takes up the profession of manufacturer of surgical apparatus, and finally evolves a patent of his own which he declares will cure cases of paralysis and deformity which hove defied medical skill. Jasper Sturdee, one of London’s greatest surgeons, has a daughter who has been crippled almost from birth, but when Ragatzy announces that he can cure her permanently Sturdee will have none, of him, declaring him to be a charlatan and a “quack.” Despite the refusal of the medical world to recognise his successes, Ragatzy persists in his endeavours to convince Lalage Sturdee that he can cure her, and paints a wonderful picture of the change which will come into her life when she finally casts off the burden of her deformity and becomes as other women. Lalage loves a young man whom she thinks would love her but for her disability, and she consents to place herself in Ragatzy’s hands for a year, despite the strenuous opposition of her father. The year passes in pain and trial, but the time comes when the efficacy of Ragatzy’s treatment is to be tested. Here it is that the situation becomes tense and engrossing, and in a series of intensely absorbing scenes a thoroughly satisfactory finale is attained. The supporting programme is more than usually interesting, and includes an enjoyable travelogue dealing with Switzerland, a news reel, an exceptionally clever and ingenious animated cartoon, and another of the “ Curiosities of the World " series. The box plans are at the theatre and the Bristol.

EMPIRE THEATRE The standard of entertainment which is available at the Empire Theatre for the coming week is sure to attract. The audience which sampled its engaging variety and rare excellence last evening may be expected to prove effective propagandists for a programme of amusement that will certainly appeal to all tastes and inclinations. The combination of pictures and music which comprises the fare at the Empire Theatre is in the'last degree enjoyable, and those in search of a pleasant evening’s diversion could not do better than spend a night during the ensuing week at this popular house of entertainment. Gloria Swanson, a new and unquestionably charming Swanson, i 8 the feature of the programme in " Indiscreet,” a film which is arrestingly intelligent, strikingly frank, and pleasantly varied in the light and shade of comedy and romance which it contains. But no less outstanding is the contribution which Mr Paul Cullen makes to the enjoyment of the evening. At the organ he presents some rare pleasures, and his pleasing tenor voice is heard in two song numbers which must certainly be heard. The Christie organ is quite equal to any demand that may be made upon it, and last evening when Mr Cullen chose excerpts from ‘ il

Trovatore" as his classical offering he demonstrated the remarkable versatility and range of an instrument over which toe has the fullest command. To hear him interpret the grandeur and majesty of the “Miserere,” the full-toned sonority of “ The Anvil Chorus,” and the incomparable loveliness of other extracts from Verdi’s famous opera was to realise the beauty of tone, the glory of expression, and the splendour of musical colour which lies dormant in the great instrument, awaiting the touch of a skilled, competent, and sympathetic hand. Mr Paul Cullen is rapidly gathering to himself a warmly appreciative and satisfied public, and there can be no doubt that his nightly appearances are among the features which comprise the Empire Theatre’s greatest drawing card. The film programme this week is headed by “ Indiscreet,” a Gloria Swanson production, in which the famous star demonstrates her ability to adapt herself to the changing moods of the day. In “ Indiscreet ” she is as striking, ns notable, and as interesting as ever she was in the hey-day of her popularity in the days of the silent film. It is a Swanson that has not previously been seen on the sound screen who makes all the running in “Indiscreet.” It is her film, and she plays her part well. She has a voice and she uses it to excellent advantage. She has eyes which she can make speak volumes. She has expressive hands, a sense of both comedy and tragedy, and she uses every talent she _ possesses to make “ Indiscreet ” a filrn which everyone will understand and enjoy. _ Her delineation of the role of Geraldine Trent in “ Indiscreet ” will stand as the greatest achievement of her career to date. She had stars and to spare to back her up, but she needed none of them. She told the absorbingly interesting and intriguing tale of “ Indiscreet ” completely and to everybody’s satisfaction, and proved herself the equal of the best that the sound screen has produced in the past two years. “ Indiscreet ” is a type of film that catches the imagination from the scene—catches it and holds it until the last fade-out, a film that will be universally enjoyed. The story is a good one, cleverly told, and bearing the hall-mark of shrewd and calculating direction. The humorous interpolations are exquisitely placed. The admixture of romance, comedy, and drama could not be improved upon, and the result is a film that may readily and unhesitatingly bo recommended to one’s friends. Supporting Gloria Swanson in the principal role is Ben Lyons, a delightful personality at any time, but placed opposite Gloria Swanson, he shines with more brilliance than ever. As Anthony Blake, the enthusiastic lover to whom is put the awkward question, “Should a girl tell?" he acquits himself with rare and striking distinction. The pair between them tell a delightful story. Others in the cast include Barbara Kent, Arthur Lake, Monroe Owsley, and Maude Elburne. All have plenty to do, and do it well. “ Tndiscreet ” is a film that will be found to be different from every other picture of its kind, and for that reason it should not be missed. The supporting programme is one of exceptional merit. First and foremost is Mr Paul Cullen’s special item. “ The Rose of Tralee ” is a musical delight which cannot fail to please. The beautiful cadences, the irresistible poignance, and the inherent loveliness of this incomparable Irish ballad find perfect and full expression at his hands. His musical interpretation is faultless, and his vocal refrain, last night was such as to rouse his hearers to such a frenzy of applause that he could not leave the console of his organ until he had obliged with “ There Should be a Moonlight Saving Time,” a tinkling little number which he handled delightfully, greatly to the liking of his audience. Among the entr’acte numbers which Mr Cullen rendered during the interval were classical selections of the most acceptable kind, chief among them being Pederewski’s “Minuet" and Drdla’s “Souvenir," numbers which found striking interpretation on the Christie organ mid effective presentation at his hands. The short subjects on the programme include another of the Johnny Farrell golf films, entitled “ Under Par,” in which the pitfalls of the game are exposed; a Mickey Maguire which deals exclusively and humorously with juvenile aviation, and a series of news gazettes which are of undoubted interest and amusement. The box plans for the programme are at the theatre and at the Bristol.

“A FREE SOUL.” An engrossing story, brilliant acting, expert directing, and ultra lavish settings contrive to make Norma Shearer’s new screen drama, “ A Free Soul,” coming to the Empire Theatre next Friday, one of the outstanding pictures of the year. Miss Shearer, who seems to be turning out one success after another, never looked or acted more convincingly, it is said, than in this dramatic and fastmoving story of a modern girl who has been brought up by a brilliant but constantly intoxicated father whose theories on freedom estrange her from those she loves, and eventually make her the central figure of a spectacular murder case. When the father finds his daughter in the arms of a notorious gambler, he realises that freedom may be all right in theory but not in practice. Torn between love for her father and the gambler, the girl attempts to make a compromise by consenting to give up her lover if her father will renounce the drinking which is bringing him lower and lower in the esteem of others. When he fails, the disillusioned heroine decides to abandon herself to the gambler, but fate decrees otherwise. Lionel Barrymore is a dominant figure as the lawyer father who bares his own past in court to save the happiness of the girl who, in his love, he has so terribly wronged. Excellent performances are also offered by Leslie Howard as a millionaire sportsman in love with Miss Shearer, and by Clai'k Gable. James Gleeson, and Lucy Beaumont do well by smaller roles. Chief honours must go to Miss Shearer, who combines an unusual beauty with a magnificent acting ability and a power to make the most of every dramatic opportunity. In her new vehicle she proves herself to be even more fascinating than in her two earlier successes, “ The Divorcee ” and “ Let us be Gay,” The direction of Clarence Brown combines an artistic standard.with deft presentation of dramatic values.

STRAND THEATRE Lila Lee again proves herself one of the screen’s most versatile actresses as heroine in “The Gorilla,” a new screen version of the famous Ralph Spence mystery. It is worth going a long way to see, with its eerie thrills, its surprising situations, and its suspended mysteries, which are understood only in the final scenes of the play. The film version is even more entertaining than was the play, one of the reasons being that a group of the most popular screen stars was chosen to play the featured roles and that the author devised many new features of merit for the picture. Those who saw the play will well recollect the story, the basis of which is that a mysterious menace terrories a city. Man or beast, he strangles his victims, and leaves them with the mark of a gorilla's paw on their chests, and in all his horrible work he seemed to be directed by a human intelligence. Cyrus Stevens is warned that he is to be the next victim, and he adopts all sorts of precautions to secure the animal and prevent harm to his guests. The sensational happenings that follow are followed by an audience with the closest attention, and the mystery has a startling close and solution in a way that few, if any, suspected. Miss Lee has the remarkable experience of being kidnapper by a gorilla. This is part of the plot. The famous comedy detectives of the piece, Garrity and Mulligan, arc played by Joe Frisco and Harry Gribbon, and Walter Pidgeon supports Miss Lee in the love affair that winds through the hilarious mirth of the plot. The second picture on the programme is “ Divorce Among Friends,” an adaptation of “Twotime Marriages,” a popular magazine story, George Morris returns to his bride after a night’s absence. They quarrel about a perfumed handkerchief she finds in his pocket and agree to separate. Two friends arrive—Paul, a hard-drinking mis-chief-maker, and Joan, who is in the same category. The newly-wed couple make up their quarrel, but later the blonde gets hold of the cigarette lighter Helen had given her husband; there are more alibis and tiffs, and Helen is thrown into undeserved trouble, but the tippling friend, who thinks he has made a conquest, gets the shock of his life when he finds out that Helen had used him only to win back her errant mate. It is a most captivating play, starring Irene Delroy, James Hall, Lew Cody, and Natalie Moorhead.

ST. JAMES THEATRE Bacon, when he wrote his famous aphorism “He who hath taken unto himself wife and children hath given hostages to fortune" uttered a truth that has been echoed by every succeeding generation, which found in these words a comprehensive and comforting explanation for many a failure and many a stifled ambition, “ Seed,” the Universal film, which made its first appearance at the St. James Theatre, might well have been inspired by Bacon’s pithy observation, for it is the story of a man, his career, and his family—and of the other woman. “ Seed ” comes to Dunedin with a certain reputation behind it, and now that it haa had its initial screening in this city, it is clear that its reputation is not without justification. The picture is one with a universal appeal, for it deals intimately with all those household gods that are an integral part of the life of every man and woman, be they of high degree or low, rich or poor. It is a compelling theme, and, what is more, an extremely provocative one, demonstrating that the lure of the outside world is but a transient thing when brought into conflict with one’s own flesh and blood. How many men would be prepared to say, offhand, whether they would give up their home and children for a great career, should the acceptance of one demand the sacrifice of the other? “Seed” is based on this idea, and after seeing it one is forced _to admit _ that its conclusion is sound in all essentials. It _ has been handled with a rare delicacy, and the cast to which the various parts have been entrusted acquit themselVes with great distinction, for the picture is one in which, in the wrong hands, the more poignant passages could have degenerated into mere sentiment. A high moral tone is maintained throughout, and the beauty of home life, of motherhood and of happy children is portrayed with a masterly touch. The story presents the problem of the domesticated woman who is married to a husband possessed of the artistic temperament, which has lain dormant since his marriage and the growth of his family of five children. When the story opens Bart Carter is shown as a clerk in a publishing firm, who once possessed an inclination to be a writer, but who has been handicapped by marriage and parental responsibilities. His wife, Peggy, is a natural, home-loving woman, who delights in the manifold cares of her family. Such is the situation when Mildred, Bart’s sweetheart in the days when he was full of ambition, enters. Under her influence he reawakens his urge to write, and with her assistance he eventually completes the noval -which he could never write in his own home. With success cornea the realisation of a problem that haa arisen. Peggy, feeling that Bart places literary success before his family, decides to take the children away so that they will not handicap him in_ his writing. Bart, however, goes to Mildred, whom he marries after obtaining to divorce from Peggy. An interval of 10 years is skipped, and the children are _ shown as a handsome family awaiting the return of their famous father. Seeing them' again, Bart’s old love for his family is awakened, and he offers the children a career, and Peggy has to face the prospect of losing her children. An intensely poignant situation arises, and Peggy, through her wonderful mother’s love, reaps her reward, long overdue. Although Genevieve Tobin, who plays the part of Mildred, is one of the foremost stare of the screen, her fine performance is overshadowed by that of Lois Wilson, who plays the part of Peggy with a naturalness and beauty that makes one forget that one is witnessing a mere picture. John Boles is the ambitious husband whose love for his family ultimately triumphs, and the children who appear are all gifted young artists. _ The incomparable Zasu Pitts is seen in one of the roles that have made her famous—that of the general servant and nursegirl. “ Seed ” is a picture that teaches a valuable lesson. The supporting _ programme_ i s also a highly entertaining one, consisting of two Graham M‘Namee_ news reels of unusual interest and a ludicrously funny “Oswald the Rabbit” cartoon called “School Days.” The box plans are at the Bristol, Hall’s fruit shop, and the theatre.

KING EDWARD THEATRE The King Edward Theatre has secured an excellent feature for screening to-day in _ “ Stepping Out." Reginald Denny, Leila Hyams, Charlotte Greenwood, Cliff Edwards —these are some of the favourites appearing in the new comedy hit to guarantee its popularity. Denny and Harry Stubbs play the roles of two husbands who have a speculative propensity for backing independent movies, Stubbs in particular being fascinated with the idea of playing around with two attractive young brunettes who volunteer to “ co-operate' as stars of the projected extended season riot. The idea is developing magnificently when the wives of the men—played by Leila Hyams and Charlotte Greenwood—discover that a “conference” with the “ stars ” is held right on the domestic hearth while the wives are away—in fact, right in the swimming pool. Then the wives decide to do some “ stepping out" of their own accord, and what follows is entertaining to a degree.