SCREEN AND STAGE

Otago Daily Times, Issue 22099, 1 November 1933, Page 3

SCREEN AND STAGE

v FROM GREEN ROOM AND STUDIO

BY HARLEQUIN,

Return of Jack Holt Jack Holt, who occupied a prominent place in the principal film productions of a decade ago, makes a return to the screen in “Thig Sporting Age,” which will be screened at the Grand Theatre on Friday. As Captain John Steele, Holt is persuaded by Johnny Raeburn, played by Hardie Albright, to go East and play in the forthcoming international polo match; and his portrayal of the adoring father, who wants to do everything possible for his motherless daughter and closest pal, Mickey (Evalyn Knapp) is strong and appealingly sympathetic. What happens to these two before they return to the west provides the interest of the story. The plot of the story is unusually interesting and different, and it is worked out by a well-chosen cast. There is a

genuine and pretty romance between Mickey) and Raeburn. But one of the players on the visiting team makes ardent love to her during,the dance in honour of the visitors. Incidentally Steele’s best polo pony becomes mysteriously sick ai the same time that Steele has fallen in love with a fascinating widow. Steele finds out about everything and plays like a demon in the international polo match which brings the entertainment to a spectacular climax. ' In addition to Holt, Miss Knapp, and Albright, the cast includes Walter Byron in the heavy role, J. Farrell MacDonald, Ruth Weston, and Nora Lane. American Picture Acclaimed ' “ Dinner at Eight,” presented at the Palace Theatre, Cambridge Circus, on a recent night, is the most brilliant talking picture yet produced in Hollywood (writes the film critic of the Daily Mail) “ Dinner at Eight ” has everything that the finest studios could possibly put into a picture. It has everything that the most exacting filmgoer could possibly expect in a picture. The central situation is .that Mrs Jordan, marvellously played by'Miss Billie Burke, is giving a dinner This social circumstance has been made the occasion for presenting a variety of vivid human characters of every shape and hue. Miss Marie Dressier is simply glorious as an old actress livipg on her memories of the gay nineties. This is unquestionably her loveliest performance. Mr John Barrymore, as a fallen film star, creates a portrait of immense sincerity and of tremendous dramatic force.

Mr Wallace Beery, as a man of 'bia business and little conscience, has an excellent part which rises to irresistible heights in those comedy passages with Miss Jean Harlow, who plays to perfec tion the part of his flamboyant wife. Mr Lionel Barrymore, as the shipowner, offers one of the most thoughtful character studies he has ever presented in pictures These are the principal players in " Dinner at Eight,” and fllriigoers may argue interminably as to which gives the finest performance. But there are others. Mr Lee Tracy, Mr Edmund Lowe, Miss Madge Evans, Mr Jean Hersholt, Miss Karen Morley, Mr Phillips Holmes, and Miss May Robson are all, excellent.

There is no film with which “ Dinner at Eight ” can be properly compared. The nearest is ‘'Grand Hotel.” But in the human quality of its drama, in the insight, and incisivencss of its direction, and in the general brilliance of ita acting it is miles ahead of its all-star predecessor. “ Dinner at Eight ” must be acknowledged without reserve as one of those rare talking pictures which stand out like a mountain peak dominating a landscape.

“ The Warrior’s Husband ” "The Warrior’s Husband” is a broad satire very cleverly done. With masculinity among females on the rampage in Hollywood, "The Warrior’s Husband,” coming on Friday next to the Octagon Theatre, becomes a surprisingly modern tale in its translation to the screen. Woman’s desire to emulate man did not start with the Hollywood star who donned trousers. Homer, Herodotus, and Virgil had something to say about it. Recent excavations in Troy are considered by some to have proved that a nation of Amazons really did live and love in Pontus, near the shores of the Euxine Sea, where they founded an independent government under the leadership of a queen. The enslavement of men is the basic situation of “The Warrior’s Husband,” in which Marjorie Rambeau, as the Amazon queen, is forced to accept the diminutive Ernest Truex as her husband because his mother is a royal banker. Elissa Landi, sister of the Queen, falls

in love with the leader of the Greeks, played by David Manners, and things become quite complicated in the telling. Film Stars Mobbed ■ Scenes of wild enthusiasm attended the appearance of Mr Wallace Beery at the Palace Theatre on a recent night. A detaehmeiit of police kept the roadway reasonably open until Mr Beery arrived, accompanied by hig wife, but the moment his car appeared the crowd surged forward and a melee followed. The police (states the, Daily Mail) were swept bodily forward into the vestibule of the theatre, and Mr/and Mrs Beery were separated in the rush. Mr Beery managed to escape upstairs, but it was some time before Mrs Beery could be rescued by the police. Miss Laura La Plante, who arrived a few minutes later, was instantly recog-

nised and mobbed and had to be rescued by the police. Meantime Mr Beery had been shown into an ante-room on the first floor. The windows were open. He was seen from Shaftesbury avenue, and immediately the street was filled with cheering people who had surged round from Cambridge circus.

“ Up for the Derby ” When patrons of the St. James Theatre see the Sydney Howard'.comedy, “Up for the Derby,” on Friday, they will see one of the biggest and most impressive “sets” ever built for use in a British picture. It is the set representing the stable yard. It not only took up all the available studio space, but also .extended right out into

the studio grounds, where genuine trees and hayricks gave a still mdre authentic “ air ” to the scene.

The cobbled, sandy yard, the area of which was at least 4000 feet square, was surrounded by large horse boxes and the usual paraphernalia associated with stables. To lend the finishing touch to the scene and one that conjures up memories of the sport of kings in days gone by, is a water pump situated in the middle of the yard with the date 1790 clearly discernible on the creener-covered walls. Six thoroughbreds were brought specially from championship stables at Epsom to figure in the stable sequences, and the way they behave speaks volumes for their excellent breeding. The inimitable Sydney Howard is the star of the production. Supporting him is Frank Harvey, who will be remembered for his appearances on the stage, Mark

Daly, and beautiful Dorothy Bartlam, who supplies the feminine charm to the production.

Promising Younger Players The new season of the screen is just beginning. With its advent should come a number of new stars to brighten the heavens of pictures and to gladden the hearts of theatre managers by bringing in big box office returns. But the horizon shows few luminaries rising into the empyrean (remarks an American critic). By a stretch of probability one may count a dozen players who will be, elevated in the. early season to stardom. Of course, there may be many cases of sudden and startling effulgence in some of the now minor actors, due largely to opportunties, a good part in a good picture. The new stars one sees as set for the year run from year-old Baby Leßoy to the seasoned and skilful May Robson, who has at last won her place among the elect in the camera world, although she has been a star on the stage for half a century, lacking one year. Counting Baby Leßoy as a man, there arc four of the masculine gender who will figure in electric lights, Francis Lederer, the Czecho-Slovakian wonder, who had New York women filling the theatre where he appeared in a weak little play; Jan Kiepura, the Polish tenor, who made a sensation in the foreign-made picture, “ Be, Mine Tonight,” and. possibly, Laurence Olivier, who came from London to be Greta Garbo’s leading man in “ Queen Christina,” but was replaced by John Gilbert,

Miss .Garbo’s first • leading man.. In consequence, Olivier has been given a new and very favourable contract, which allows him to do pretty much as he pleases. , > The preponderance of foreigners seen among the men does not hold for the women stars, only two probabilities being of that class. They are Dorothea Wieck, who created a furore by her impersona-1 tion of the kindly teacher in “ Maedchen in Uniform,” a German picture, and Anna )Sten. who was brought over from Russia nearly two ypars ago, but has not yet appeared onithd screen. One of the most promising of the new principals is Katherine Hepburn, whose latest film is “ Morning Glory.” She has just finished making “Little Women,”

taken from Louisa May Alcott’s classic of girlhood, in which Miss Hepburn is the Jo March.

May Robson, delightful veteran of the stage, has been in pictures for half a dozen years, always giving fine performances, distinguishing herself in “ Strange Interlude ” and “ Letty Lynton,” but not until “ Lady For a Day ” came along did she come into her proper place as a star.

Other possibilities among the stare arc Bette Davis, pretty blonde lady, who has been doing excellent ,/ork in support ot George Arliss and other stars; Genevieve Tobin, who has been acting since she was three years old on the stage, but who is only now, after many, many years, getting recognition on the screen; Margaret Lindsay, the lowa girl who managed to get into the all-English cast of “ Cavalcade” because the producer believed her to be British, and Evalyn Knapp, who promises to be a serial star. She is to be the Pauline in the remaking of “ The Perils of Pauline," which made the name of Pearl White famous and still remembered.

Opera on the Screen “ Kies Me Again,” the delightful light opera in colour, comes to the Regent Theatre on Friday. Despite a somewhat misleading title, settings, romance, eatchv numbers, and a liberal sprinkling of excellent comedy are the qualities which make this film one to be remembered.

The story is set in Paris, where there arc so many subjects responding to colour treatment in an unforgettable manner. The wonderful dresses of the women are olfset by the military blue of French uniforms. Part of the action takes place in a modiste’s shop, where dainty frocks, gorgeously dressed assistants, and becom-ingly-gowned purchasers combine to form a riot of colour. Then there is action in a gay cafe where life moves fast. The final scenes show a noble palace where lofty ceilings, beautiful period furnishings, and spacious rooms, beautifully carpeted, form a fitting background for the revels of charming women and brightly uniformed men. The colour is a delight. It is used m moderation in the spectacular settings, and is never garish or wearisome to the eye. The individual triumph of the production goes to Bernice Claire, a petite beauty with a delightful voice. She sings several songs, the best of which is the theme number, "Kiss Me Again,” which has a lilt to delight the ear.

She is ably partnered by the dashing Walter Pidgeon, who makes the most of the role allotted to him, Bernice Claire’s

part is- that of Fill, the modiste turned opera (singer, and the story written round her, aa adapted from Victor Herbert a opera, “Mile. Modiste,” is a veritable ‘'Midsummer Night’s Dream” muddle of upset romances. New Role for Joan Crawford

Joan Crawford essays a new type of role in "Rain,”, which will commence a season at the Empire Theatre on Friday. Joan Crawford had come to be known as the exponent of the modern girl. But here she is portraying a character of another generation,- a young ' woman of questionable morals, and she does it as if she had been doing this sort of portrayal from the first. “Rain,” of course, has’ had the advantage of production by Lewis Milestone, that surprising directorproducer who gave us “ All Quiet on the Western Front,” and other masterpieces. The brimstone-smelling missionary is portrayed by Walter Huston, one of the best character actors upon stage and screen, and William Gargan, last season’s Broadway stage .sensation. lias the role of the young marine sergeant. Every least member of the company, even down to the native- extras, appears to have caught the fervour with which Producer Milestone has permeated his story. The photography, which was done on the island of Catalina, off the coast of California, is said to be some of the best seen for many a day

“ Diplomaniacs ” “ Diplomaniacs,” hailed as an hilarious burlesque on world problems of the present day, embroidered with musical numbers and nonsensical situations, commences on Friday at the Strand Theatre. It is the first tuneful show to be based on the ineffectualities of the peace conferences and the pomp of some of its less notable delegates. Its outstanding cast is headed by Bert Wheeler and Robert Woolsejf. Marjorie White, the featured comedienne of the stage, and Phyllis Barry, who . recently scored sensational screen successes with Ronald Coleman, in “ Cynara ’ and- with Buster Keaton in “What! No Beer?,” support thq comical

pair. The appearance of such wellknown comedians and stars as Hugh Herbert, Louie Calhern, Richard Carle, Charles Coleman, and Neely Edwards make the supporting cast one of the most notable of the season. The production is lavishly staged. Its backgrounds, rapidly shifting, take in a Red Indian reservation, a liner at sea, Paris and ite Apache rendezvous, as well as Switzerland. A group of 24 selected and trained Hollywood beauties appears in several spectacular musical ensembles.

I asked Mr Maugham if, from the Pisgah Heights of his “advanced age,”—he will be 60 next year—he had any advice to give the younger generation of playwrights. He was reluctant to do anything so Olympian, but he did say that the theatre is not the place for realism. “ I always feel that you do not want truth on the stage, but verisimilitude. A dramatist must give a semblance of truth, to persuade people—even in a melodrama —that while they are in the theatre the happenings are true. The audience must believe it all at the time even if afterwards in the Savoy grill they tell themselves it's really all bosh.”

Praise for “ Don Quixote ” The London press critics give high praise to Chaliapin for his performance in the film “Don Quixote.” The Times comments as follows:—“ Chaliapin is indeed the figure of the exultant idealist of La Mancha—every look and gesture confirming our belief that it has sprung straight from -the mind of Cervantes. Chaliapin makes of the externals a superb figure of fun.” And the Daily Telegraph says:—“This is a brave production and' a very beautiful one. ‘Don Quixote' is an unusual picture. The strength of the film is in Chaliapin’s singing, the Sancho Panza of Cfeorge Tlobey (a first-class bit of characterisation) and some of the loveliest photography ever brought to the screen. One of the greatest voices of the age ha* been captured for all time.”

Theatre No Place for Realism ,: Mr Somerset Maugham has been in Lo»don for the rehearsals of “‘Sheppey' (writes G. W. Bishop in the Daily .telegraph). Some time ago he'told me that this would be his last play, and when I met him again 1 asked him if he had changed his mind. “ I am hoping that ' Sheppey ’ will be my last work.as a professional dramatist,” h e replied. “ I have written a play a year for the last 27 years, and now I want the greater freedom that an author ■ gets in other forms of literature. , I do not want to be hampered by considerations of.'space and time or worried by the thought that I may be boring people. “If an author' is dull in a pbvel his readers can skip a few' .pages, but on the stage it is fatal to be boring even for a second or two. Nowadays I am really more interested in telling stories in books, and I can only hope that the ideas that come to me will not insist in taking shape as plays. At my advanced age.” Mr Maugham continued with a smile, “writing for the theatre has become an inconvenient business.”