AMUSEMENTS

Otago Daily Times, Issue 21545, 18 January 1932, Page 3

AMUSEMENTS

EMPIRE THEATRE A powerful picture, " A Free Soul,” in which Lionel Barrymore gives a splendid performance, is the featured attraction at the Empire Theatre this week. When other performances are forgotten Barrymore’s work as the drunken but brilliant barrister, Stephen Asche, the father of Jan (Norma Shearer), will be remembered, and bis dramatic defence of Dwight Winthrop, played by Leslie Howard, charged with the murder of the gangster, was the piece of work which undoubtedly won him the gold medal for 1931 for the best male character for the year, i Every little gesture—and he is a master of gesticulation—every inflexion of his voice, every pause, has a deeply compelling power that cannot fail to create a vital impression on the minds of the 12 good men and true. No less dramatic than the whole scene is the set of circumstances behind it —a lawyer tearing asunder the secrets of his own daughter’s downfall for the sake of the man she loves, and condemning himself as her father for failing in his duty towards her—for teaching her false doctrines, for developing in her a warped outlook on life. Here in truth is a picture that, full of dramatic interest, swift in action, achieves a genuine climax that does not fall into an anticlimax. The audience leaves the theatre with its mind full of that closing trial scene, of the tense, expectant faces, of that single, impassioned figure tearing the truth out of his daughter in the witness box and the heart out of himself, dominating the jury with his marvellous oratory, and fighting a losing fight against outraged nature. Exactly what a British barrister would say of the court proceedings may be a matter of conjecture to the layman, but any criticism in this direction must be futile when the picture is regarded as a whole. It is sound entertainment throughout, and the acting is beyond criticism. One singular incident in the picture' is the scene in which Ace Wilfong, the gambler, seated in a motor car with Jan Asche outside in a roadhouse, observes a motor car aproaching at full speed. With all the intuition of the gangster, he awakens the engine and backs quickly into a aide street, where they crouch behind the dashboard. The other car dashes past and a burst of machine gun bullets cuts a string of holes from one side of the screen to the other —a rival gang. The oustanding feature of the supporting programme is the musical offering by Paul Cullen, the young singing organist, who renders several numbers in a manner that cannot fail to please the audience. The box plans are at the theatre and the Bristol.

“THESE CHARMING PEOPLE.” Paramount's first British _ picture. “These Charming People,” starring Cyril Maude, one of England’s greatest actors, who will be remembered for his sterling role in “Grumpy,” will be shown on Friday next at the Empire Theatre. England has produced many fine pictures, but none so great or finer than “ These Charming People,” according to the critics of the London papers. This is the first effort of Paramount at production in England since the inception of talking pictures. Some 10 years ago Paramount produced silent pictures in England, but the time was not ripe for such an effort, and the studio was closed after a lot of money had been lost. Since talking pictures have come, however, a vaster field has opened. The beauty of the English countryside forms the ideal background for the stories that are rich in the thoughts of England. The writers, the actors, and the richness of material from the stage, have become available, and we now find that the first of these great stories to reach the screen is from the pen of Michael Arlen. This young playwright took the world by storm with his satire of Mayfair people and society, in ‘ The Green Hat' and * These Charming People,'' writes a critic. “ The latter is the first British picture made by Paramount, and as the impecunious Colonel Crawford, Cyril Maude, greatest of all English actors, plays a wonderful part. In addition there is Godfrey Tearle, Nora Swinburne, Ann Todd, Cyril Raymond, and a host of well-known and great English players in support.”

STRAND THEATRE “ The Matrimonial Problem,” one of the two features at the Strand Theatre this week, is a comedy of a highly-enter-taining type, full of action and excitement. The story concerns the confusion that overcomes a modern French family when a first husband, supposedly dead for five years, returns at an inopportune time as a victim of lost memory.. Without any knowledge of the intervening years, he proceeds to take up life where he left off. And, of course, it is here that the really complicated part of the story commences. Hie wife has married another man and has a child by her second husband. Then comes the astonishing development that the first husband has also been busy during hie fiveyear period of lost memory, as he has a wife, two sets of twins, and a multitude of lady friends. He is supposed to have been killed in a railroad accident five years before the opening of the story. His identity is restored by a hypnotist. Then he recalls his first wife and forgets his second wife and the two sets of twins. What happens when all the women get together makes the story. Lilyan Tashman, Florence Eldridge, Beryl Mercer, Frank Fay, and James Gleason play the leading parts. The second picture is “ Sinners’ Holiday,” a melodramatic romance with an accomplished cast. The box plans are at the Bristol and the theatre.

REGENT THEATRE Eddie Cantor and Charlotte Greenwood are the featured players in “ Palmy Days” at the Regent Theatre this week. “ Palmy Days ” is unbridled nonsense from start to finish, and no one should expect anything serious, logical, or sober in it. It is genuine fun and _ should not be missed. Eddie Cantor gives an astonishingly good account of himself in the principle role of erstwhile charlatan's rouseabout, suddenly turned efficiency expert in a large bakery business. His humour is of a kind which few actors have the ability or the constitution to affect. In speech, in action, and by implication he is screamingly funny. He can keep up a running fire of wisecracks and jests the while he performs acrobatic feats of the most amazing kind. Eddie Cantor appears first as the unwilling accomplice of a gang of crooks who exhibit a willingness to do anything at all for money, so long as the money is lying about in large enough sums. By a strange chance he finds himself appointed efficiency expert in a large bakery establishment which is remarkable, not so much for the, quality of the article it produces, as for the wonderful array of Hollywood beauty to be found in cook-house, storeroom, and shop. Then, of course, there is the romantic side of the tale, which is entrusted to very capable performers, at the head of whom are Charlotte Greenwood and charming little Barbara Weeks. Charlotte Greenwood throws her immense bulk about a marvellously-equipped gymnasium while she sees to the physical fitness of the bakery employees, maintaining a continual fire of nonsense in her own peculiar style. Among the musical numbers whic-i punctuate the show are “ Bend Down Ladies,” sung by Charlotte Greenwood and chorus, and “I’m Glad She Saul Yes, Yes,” which appears to be Cantor s pa>’ticular refrain. Special mention, however, must be made of the incomparable ballets engaged in “ Palmy Days.” Such precision and artistry lias seldom il ever been seen on the screen in such circumstances. The dancers represent the Inst word in well-trained artistic performers, and the dances themselves are astonishing for the fertility of invention and ingenuity which must have gone to their arrangement. The supporting programme is of an equally high standard. The box plans are at the theatre and the Bristol. “THE MILLIONAIRE.” Breaking records is a favourite topic conversation among theatre managers, more especially when a current picture hag just broken all existing figures, and it can be assumed that whenever this subject does crop up one name stands out above all the rest of the stars and one picture still holds records the world oyer which have never been beaten. We refer to George Arliss and “ Disraeli.” In Dunedin this wonderful combination of artistry and entertainment ran for several weeks to capacity business. When one reads, therefore, in English and American journals that that same wonderful old man, George Arliss, has eclipsed all hie previous accomplishments in his latest production, “ The Millionaire,” it can be

imagined what a treat is in store for theatregoers when this attraction commences a season (strictly limited to one week only) at the Regent Theatre on Friday next. Additional interest will be given to “The Millionaire” when it is learned that it will be the first modern “talkie” role essayed by Arliss. One of the greatest of the London journals recently wrote about this picture: “Arliss in ‘Disraeli’ was great to watch and listen to . . . Arliss in ‘ The Millionaire ’ is even greater. His artistry in this, his first modern role for the . talkies, is perfection without reservation of any kind, and to miss seeing it will be to regret it for ever and a day.” In “ The Millionaire,” George Arlii's has the 1 role of Alden, head of a big motor company, who is ordered by his doctor to retire for his health’s sake. When idleness palls upon him, he secretly sets up in business as a garage keeper, buying a half interest in a service station with an enthusiastic youngster, who looks upon Alden just as a kindly old worker struggling to make a living for hie wife and daughter. Finding they have been swindled, they set up in direct opposition to the man who tried , to beat them for their money, and by shrewd application of Aldeh’s business knowledge, they- win. Meanwhile the young partner has accidently met Alden’s daughter, and the two have fallen in love, although neither knows the trick the old man is playing. After the garage prospers and is sold out at a handsome figure, the youngster decides he is justified in asking the girl’s father to consent to their marriage. The denouement is delightfully handled, and supplies a brilliant finish to a brilliant picture. Evelyn Knapp and David Manners get everything possible out of the juvenile roles, while there is further interest in the fact that Florence Arliss, who playa the part of the wife of George Arliss on the screep, is his wife in real life, too. « ST. JAMES THEATRE A most arresting plot is worked out in “ Transatlantic,” which heads the current, programme at the St. James Theatre. Inthe opening scenes the crowds of passengers are shown boarding the vessel; the “good-byes” are, as it were, presented, and the hoarse sound of the whistles of the vessel to indicate that the time has come when she has to leave the wharf to start on her voyage oversea gives one quite a thrill by its realism. The spectator is then given an idea of the life on a large transantlantic liner, and overshadowing all is the virile story of villainy defeated and happiness at last brought to those whose prospects of happiness were seemingly becoming very remote, if not indeed hopeless. The story has to do with really two heroines —one the somewhat unhappy wife of a husband infatuated with an adventuress and the other a charming girl whose American father has at last saved sufficient to take his daughter for a grand tour of Europe. There is also the dashing manly gambler who is to cheek the machinations of the gang who are out to despoil the infatuated husband, manager of the Graham Investment Corporation, and also to bring husband and wife together again. The gambler (splendidly enacted by Mr Edmund Lowe) is übiquitous, and he has an almost uncanny intuition of what is going to happen. He breaks up the intrigue between Graham and the adventuress (Miss Greta Nissen gives a stroking piece of acting in this part), and enables the husband and wife (Myrna Loy) to be restored to happy married life, and he is

also responsible for lifting the charge of attempted murder of Graham from Mr Kramer (Jean Hersholt) and sheeting it home to the right man. In the final scene the gambler takes a reluctant farewell of Kramer’s daughter (Lois Moran). The girl makes a last advance, but is told it is top late —the gambler must take the bitter w'ith the sweet (to quote his loquacious steward), and so the story ends. There is a strong supporting programme, which includes a comedy entitled “ Drumming It In,” and a particularly fine series of news reels. The box plans are at the Bristol, Hall’s fruit shop, and the theatre. "GUILTY HANDS.” "From first to last ‘Guilty Hands ’ is full or thrills, surprising situations, and dramatic climaxes, which carry the audience through the gamut of emotions until the final denouement leaves them gasping,” wrote a critic of the film coming to the St. James Theatre next Friday. “ The film is a new departure in mystery stories. The audience is taken into confidence right at the beginning, and the murderer is known, but events move so, surprisingly and unexpectedly that the’ ending-presents a surprise even" greater thafl’ the usual revelation in most mystery Lionel Barrymore is seen at the height of his art, in a role which gives him ample scope for his talented dramatic ability, and'he plays the part,of a retired Crown prosecutor, who goes to the length of murder to secure' his daughter’s happiness, with a force which captures the audience from the outset. His daughter htft fallen in love with a wealthy middle-aged man, whom he knows only too well, and, rather than-see her mar her happiness by marrying a man with such a disreputable character, the father kills the lover. He makes the, crime appear as suicide, having boasted that, owing to his long association with murders and murderers, he could construct the perfect crime. As usual, it was the small things that mattered, and his guilt was discovered by a girl who loved the dead man. The scenes which follow are as powerful as any ever screened, and the dramatic story ends surprisingly and abruptly with the avenging of the dead man. Playing her role as dramatically, as Lionel Barrymore, Kay Francis adds another to her already long list of successful studies, and the talented cast includes Madge Evans and Alan Mowbray.” OCTAGON THEATRE “ Huckleberry Finn,” Mark Twain’s immortal character, has been brought to life on the scren in a picture which is nothing short of outstanding. The principal roles are taken by Jackie Coogan and Junior Durkin, and the latter, in particular, is responsible for a wonderfully fine piece of work. Hig presentation of the very human but by not means easily managed youth. Huckleberry Finn, the despair of his teacher, the laughing stock of the village children, and the incurable dreamer, is something of which a much older actor might well be proud. Perhaps even'more* than Jackie Coogan he succeeds in lending to the picture that air of complete naturalness without which it would inevitably fail in its appeal to the audience. Briefly, the story has to do with a pair of American boys of the middle of last century, who grow up in a village upon the banks of the Mississippi, the one incurably a dreamer, the other very much concerned with the present, but- burning with a thirst for adventure. Huckleberry Finn, the dreamer, has been adopted by a widow !

who endeavours to give him the type of training which she imagines will fit him to take his rightful place in life. Her plans for his future and the boy’s own differ rather radically, and when the latter’s father, a villain of the lowest type, appears on the scene and takes him by force from the home of the widow, Huckleberry Finn and Tom Sawyer are launched upon a series of adventures which satisfy even the restless spirit of Tom. There is an excellent * supporting programme, and the box plans are at the theatre and the Bristol. ' . "MOTHER'S MILLIONS.” In response to many applications from patrons, it has been arranged for “ Mother’s Millions ” to come back to Dunedin for a short return season of one week. This will begin at the Octagon Theatre on Friday next. It can be at once said that the management has never received so many applications for the re-, turn of a picture before,, and there is ho doubt that May Robson endeared herself to picture enthusiasts of Dunedin during her season of “Mother’s -Millions” at the Regent Theatre recently.. There isvery little which need be sard ’ofT,.Kef. amazing picture.debuUiitf.’“Mother’s-Mil* lions.” Thousands-thrilled at her''performances recently KING EDWARD THEATRE "Free and Easy” and “It Pays to Advertise,” two pictures of outstanding merit, were screened at the King Edward Theatre for a first time on Saturday. Most of the action of the former, which is a satire of Hollywood activities, takes place within the studio confines, and’the - moviegoer is given the unexpected treat of seeing a favourite actor' portraying emotion before the camera and microphone while a well-known director stands on the side-lines giving orders. Some of the players and directors who appear in the various sequences are Buster Keaton, who, by the way, talks and sings for the first time on the screen, and proves himself doubly funny in doing so; Anita Page, Robert Montgomery, Trixie Friganza, Dorothy Sebastian, Karl Dane, John Miljan, Gwen Lee, Lionel Barrymore, Fied Niblo. and Cecil B. De Mille. Then there are William Haines and-Wil-T liarri Collier, gen. “It Pays to Advertise,” which features Sheets GallagheivNorman Foster, Eugene Pallette, and Carole Lombard, is a screamingly funny farce of a particularly acceptable kind.'.