AMUSEMENTS

Otago Daily Times, Issue 22005, 14 July 1933, Page 6

AMUSEMENTS

GRAND THEATRE One of the world’s most famous and talented of prime donnas, Marguerite Namara, makes her talkie scrceu debut in “Carmen,” released as “Gipsy Blood,'’ the British International sound film based on the opera and accompanied by the immortal music of Bizet, which will be shown at the Grand Theatre to-day. An American, Madame Namara commenced her musical career as a concert pianiste at the early age of eight years and continued in this profession until she was 16. During this time she wrote compositions which were published and widely performed. Her vocal career commenced in Genoa ami Milan, ami so rapidly did her talent develop that at 17 she made her debut in grand opera. Success abroad was followed by further triumphs at home in the’ Boston Opera Company for two seasons and the Chicago Opera Company for five. After appearing successfully in New York, under the management of the Schuberts, she toured America with her own company, and the repertoire included “Carmen,” "H.M.S. Pinafore,” and “The Mikado.” For two years Madame Namara sang the principal roles in Paris at the Opera Comic,ue, and then she toured England with Sir Laiidon Ronald in a concert season. Although “ Gipsy Blood ” is Marguerite Namara’s first talking picture production, she performed in an American silent film, " Stolen Moments.” Her vis-a-vis in this picture was the late Rudolph Valentino, and was immediately prior to his triumph in “The Four Horsemen of the Apocalypse.” In “Gipsy Blood,” which will present opera in what is claimed will be its ideal form, Madame Namara Will sing the 10 principal arias. During the production of “ Gipsy Blood ” a magnificent set representing a market place in Seville was built at Elstree studios. Here, dressed in their gorgeously coloured garb, more than 100 people, including dozens of soldiers in their blue and white uniforms and plumes, moved among the stalls containing fruit, flowers, and baskets. The art department transported the southern atmosphere to Elstree. The village filled the entire studio, and was composed of a cigarette factory, the municipal buildings, and streets of houses. There were quaint cobbled paths running up to the cigarette factory, while the sand underfoot in the main court yard and the whiteness of the houses conveyed a suggestion of heat and dust such as would be encountered in Seville. An exotic touch of colour was obtained with the geraniums which hung through iron grills from windows splashed with richlycoloured hangings, the market stalls with their quaint wares, and the old-fashioned red tiles on the houses. Early in the shots a touch of comedy was introduced by a refractory donkey which refused to budge from the sand on the court yard to the cobbles leading up a slight incline past the cigarette factory, In spite of every effort to persuade him, he remained and finally a substitute had to be obtained which at first also showed signs of following the example of his predecessor. Sugar, however, proved a successful offering from the hand of Marguerite Namara, and the donkey in his enthusiasm for more followed her about the set to the amusement of everybody. V . ST. JAMES THEATRE To-day’s first screening at the St. James Theatre at 2.1 S p.m. of' Ralph Lynn’s latest farce-comedy triumph, “Just My Luck,” will mark the inauguration of the new British Dominions Films all-British policy under the direction of Sir Benjamin and Mr John Fuller, and patrons may anticipate a real talking picture treat, for the fame of the film has preceded it. Ralph Lynn is recognised on all sides as the most popular comedian on the London stage, and the man’s career as related by himself is an object lesson as to what .can be achieved by perseverance, backed by real ability. In writing of it, Ralph Lynn likens his experience to that of Mrs Henry Wood with her world-famous book and play, “ East Lynne.” Mrs Wood sent her play to manager after manager in England for II years before it was accepted by Madge Robertson, afterwards Lady Kendall, and won success wherever the English language was spoken. Lynn offered liis services, just as Mrs Wood offered her book, to manager after manager for years, but never achieved anything beyond a salary of SO shillings a week until perseverance in the end brought along a chance which Lynn grasped with both hands, with the result that there is now no higher salaried or better comedian on earth. He has transferred all his stage successes through the talking screen with ever-growing success, hia latest triumph being “Just My Luck,” which hag met with unbounded appreciation everywhere, and may be seen and enjoyed by lovers of the best in British pictures in Dunedin, from today onward. An outstanding feature of all Ralph Lynn’s presentations is the excellence of the supporting artists, the gi’eatest care being exercised in selecting them with the object of securing a performance of all-round brilliancy. The famous Aldwych Theatre players, Vera Pearce, Phyllis Clare. David Burnaby, Robertson HarC, Frederick Burtwell, and the ever’-welcome Winifred Shotter are all West End artists of distinction. Add to this the fact that “Just My Luck” is from the pen of Ben Travers, greatest of living English farce writers, and an entertainment far above the average is virtually assured. On account of the popularity of the play and the players intending patrons are counselled to book early to save inconvenience. STRAND THEATRE The new attraction at the Strand Theatre to-day is the screen adaptation of one of Zane Grey’s ever-popular Western romances,•“The Mysterious Rider,” with! a cast headed by Kent Taylor, Lona Andre, Irving Pichel, and Warren Hyraer. The story deals with a young man’s solo battle against powerful forces which seek to evict many ranchers ( and their families from the property which they own and love. The attempt is set under way by a crooked lawyer, who, after discovering that the land occupied by the ranchers is not legally theirs, employs underhand methods in transferring it to a powerful financier. The latter demands that the ranchers be thrown out of their homes, and when Taylor, their leader, urges them to resist he iands in gaol for his efforts. But he bursts loose, and at risk of his life exposes the entire swindle, to bring the picture to a breathless climax. The supporting programme includes a film showing the match played in Hollywood by the Australian cricket team last year. A brief sketch is given of the game’s early history, and then the audience is

treated to demonstrations of the various departments of cricket by such famous players as Richardson, Bradman, Muiley, Kippax, and other members of the Australian side. OCTAGON THEATRE Several of Charlie Chaplin’s most popular two-reel comedies have been reissued with sound effects, and the first of the series, entitled “ Easy Street,” will be released at tire Octagon Theatre to-day. The picture has been included in programmes in the north, where it was definitely proved that Chaplin has lost none of his tremendous popularity. W. W. Jacobs’s well-known short story, “ The Monkey’s Paw,” has been adapted by the R.K.O. Radio Studios to the screen, and will be the main feature on the new programme. The story of the monkey’s paw, brought to England from In’dia by Sergeant-major Tom Morris, is familiar to readers of fiction. The soldier tolls his crony, John White, of a monkey’s paw with magic properties, given to him by a fakir, and the plot takes an intei’esting turn when White steals the paw. A further episode, “Poisoned Fangs,” of the thrilling serial, “Jungle Mystery,” will also be. shown, and to-morrow afternoon there "'ill be a special children’s matinee, when Tim M‘Coy, the dare-devil rider, will be seen in his latest cowboy picture, “The Whirlwind.” EMPIRE THEATRE It is so long since the early cycle of "talkies” about back-stage life that it is almost refreshing to hear of such a film as “ 42nd Street,” the Warner Bros, production which will begin to-day at the Empire Theatre. In cvci’y way, it is said, it is a great show, staged with a lavishness that eclipses even the big musical films of a year or so ago, acted by a cast that contains no weak links, brightened by several melodious numbers and with the true atmosphere of stage life convincingly and interestingly depicted. “ 42nd Street ” should, in particular, be seen by anyone who still cherishes the archaic idea that the life of a stage actor or actress is an easy one. It is revealed instead as a life of almost unceasing and hectic toil; but while the superficial glamour has gone, the real glamour of the theatrical profession remains in this story of Broadway and the men and women who have made this street the hub of America’s show world. The picture carries a distinguished all-star cast, including Ruby Keeler, Warner Baxter, Bebe Daniels, Ginger Rogers, George Brent, Dick Powell, Guy Kibbee, Una Merkel, Ned Sparks, and Allen Jenkins. REGENT THEATRE Seldom has a stranger, more dramatic, more fascinating romance been unfolded than the one enacted with rare artistry by Kay Francis and William Powell in “ One Way Passage,” which will be the attraction at the Regent Theatre to-day. New technique and a new type of story are revealed in “ One Way Passage.” Two people, strangers to each jother until they jog elbows in a Hongkong cafe, meet by accident on the 6ve of their steamer’s departure for San Francisco. Both are under sentence of death, though of a widely different sort. Powell is Dan Hardesty, on the way back to the gallows on a murder charge. Kay Francis is Joan Ames, a lovely invalid dancing on the brink of death, with a heart that threatens to stop after the least excitement. William Powell and Kay Francis are ideally cast in the roles of Dan and Joan. Against the tragic hopelessness of bis situation Powell’s jaunty, debonair manner stands out in vivid contrast. Kay Francis, with her sparkling beauty, interprets to perfection the finclybi’ed, sensitive, intelligent woman. Brilliant comedy relief is given to the story by Warren Hymer, Aline MacMahon, axxd Frank M'Hugh. KING EDWARD THEATRE Heading the current programme at the King Edward Theatre is “ Arrowsmith,” a screen adaptation of Sinclair Lewis’s well-known book. Ronald Colman has the role of Martin Arrowsmith, the young medical student whose adventures during his years of study and later when he goes further afield, made such interesting reading, and he imbues the role with an air of reality that is worthy of more than passing notice. The other picture is a Sydney Howard comedy entitled “They Knew What They Wanted.”