AMUSEMENTS

Otago Daily Times, Issue 22197, 26 February 1934, Page 14

AMUSEMENTS

GRAND THEATRE Grade Fields uses her intensely amusing and captivating personality to greater effect than ever in “This Week.of Grace,” which is at present being screened to capacity houses at the Grand Theatre. On Saturday night the bookings were so heavy that every seat in the theatre was sold before the doors were opened, and a long queue of earlv-comers was disappointed, in not being able to gain admission. With her alertness to every humour and her whole-hearted, spontaneous acting,, this most popular player has given the picture high artistic merit. r ‘This Week of Grace ” is musical comedy of the most pleasing variety, and by virtue of the high standard of its musical entertainment 1 it does not require to rely to a great extent on its plot to carry it along. Miss Fieldgasings her way through the production in very happy and tuneful fashion. The audience is first captivated by “My Lucky Day,” and the numbers which follow arc equally attractive. They include “ Happy Ending,” “Heaven Will Protect a Working Girl,” “Mary Rose,” “ When Qupid Calls,” and “ Melody at Dawn.” The reproduction of these songs and of the dialogue throughout the picture leaves nothing to be desired, while the scenic effects introduced into the film play an important part in the success of the production. The basis of the plot of “This Week of Grace” is a theme which, though not new, has always been found well worthy of treatment on the screen. It concerns the struggles of a poor working girl, who has been raised to unexpected wealth, to take her place in a stratum of society to which she is quite unaccustomed. Gracie Fields is admirably suited to the interpretation of this role and gives a pleasing characterisation of the somewhat uncouth factory girl and of the girl who later is sure of herself in. any company. The actress is, therefore, seen not only in her own melodious Lanca-shire-mill-lass role, which is so familiar to her admirers, but skg also blossoms out into society. The family has been living in the slums, but one day Gracie accidentally meets the Duchess of Swinford, who, of course, lives on a plane far above that of Gracie and her family. At that time the duchess is heartilv disgusted with the heir to the title, Clive, and hie mother, who have allowed a fine old castle in their charge to go to ruins, and, as a grim jest, the old aristocrat determines to put Gracie in charge of the estate. It is theu that the fun begins. Clive, the lordling, has always been a reckless young man, but things change when Gracie comes on the scene. The tenants are soon much more contented, and in less than a year the castle and the estate are running like clockwork. There is later a misunderstanding between Gracie and Clive, and their fairy godmother puts the family back in the slums and sends Clive to work. Frank Pettingell’s broad accent fits him into the picture a« naturally as into the background, and Douglas Wakefield, as his faithful helper, Joe, is a character whom Dunedin audiences will want to see again. Henry Baird makes out of a not very important role something which impresses and pleases. For the high Value of its musical entertainmerit* the brilliance of its acting, and the numerous extremely tickling scenes and cpiaodes which occur during the telling of its story. “This Week of Grace is a picture which would well repay a second visit. There is in support a varied ami interesting programme, of short subjects. “ The Door of Asia." the first of two travelogues of the Vagabond Adventure scries, gives some enlightening glimpses of China and its hardworking, contented populations ine second is “ Singapore,” which is treated from a different angle, ami is amusing as well as entertaining. There is also a Fox Movietone newsreel and a Grant Rice Sportlight entitled “ Uncrowned Champions." The box plans are at the theatre and at Messrs Charles Begg and Co.’s. . -

: ST. JAMES THEATRE “Loyalties,” which is being. screened at the St. James Theatre, is an adaptation of the play by John Galsworthy, and is one of the most -gripping dramas that have been presented before Dunedin audiences. Its theme is of particular interest at the present time in view of the fact that public interest has recently been drawn to the ill-treatment of Jews in Germany and to reports of a possibility of similar action elsewhere. In “Loyalties” the position of the Jew,in society is dealt with in masterly fashion by one who was for many years England’s leading novelist and playwright, and in the hands of an unusually talented cast the play is moulded into a picture which makes entertainment of the most acceptable type. The task of the players is by no means an easy one, for there, is much that they must convey by action and emotion rather than by mere word of mouth, but they are equal to the demands that are made upon them, the work of Basil Rathbone in the leading role being such that bis performance must be classed as one of the outstanding efforts of recent screen history. He is cast as Ferdinand de Levis, an,ambitious Jew, and in presenting this difficult character, he gives a portrayal which ie marked by delicacy of gesture and intonation as well as by a poise which stamps him as an actor of infinite feeling and experience. The feeling of racial prejudice which exists in some form in almost every mind is dealt with in a manner which shows the author’s remarkable insight into human nature. De Levig is, of course, the central character, aiyl the story centres round an accusation ot thett which he makes against a prominent member ot the society in which he moves. While those who are closely associated with the person who is accused secretly believe that he is guilty, their reaction to the announcement of ins guilt is one of anger that be should have been accused by a Jew. They spare no effoit to persuade the Jew not to press, claim for the return of the money, but he insists upon doing so. His determine tion leads to interesting developments, ending in a surprising climax. A him displaying the scenic beauties of Miltora c n , mr i also shown. The box plans are at the theatre. Jacobs’s, M‘Cracken and Walls’s, and the D.I.C. OCTAGON THEATRE The two pictures which are being screened at the Octagon Theatre present excellent entertainment widely different in type. The principal feature is Big Brain.” which exposes the methods ot amassing money that arc adopted in certain sections of American life. Financial frauds op a large scale have come so prominently into the news recently that this picture is given a special interest. 4,n exceptionally fine performance is given by George E. Stone in the Reading role, lie is seen first as a barber's apprentice, who. despite his station in life, believes in bis own ability-to accumulate wealth. A man with few scruples he begins .by questionable methods to achieve his aim, and soon he is launching schemes of considerable magnitude. The success of these results in his becoming the leader of a band of financiers whose activities are of the widest nature, the ex-barber b, belief that conscience should not enter into financial matters together with his amazinrr confidence in his own infallibility "iving him special qualifications for the position which he occupies. He eventually finds himself in gaol, however, as the result of the activities of a woman. I he members of the supporting cast include Phillips Holmes, Fay Wray, and Minna Gombel, Also on the programme if the screen version of Rex Beach’s novel The Goose Woman,” filmed under the title of “ The Past of Mary Holmes.’ It is an intensely dramatic story of a famous singer who loses her voice when her son is born. As a result the child is hated by her. Years afterwards she is called upon to give evidence in a murder case and it is only after the proceedings are well advanced that she finds that the person accused is her own son. She makes frantic efforts to undo the harm that she has caused him. and the result is the finding by her of the real murderer. The film has many exciting moments as well as many tender passages.' Helen M‘Kel-

lar, a noted American stage actress, baa the- leading role, her performance being one which proves her to be remarkably talented. In the supporting cast are such popular players .as Sheets Gallagher, Roscoe Ates, and Jean Arthur. The boxplans are at the. theatre and the ‘D.I.C. ■ EMPIRE THEATRE Motion picture patrons in search of en. tertainment of the most acceptable kind should on no account miss “ Tugboat Annie,” which is. drawing large audiences to the Empire Theatre. ' That line combination of stars. Marie Dressier and Wallace Beery, who.will be remembered, for their work in “ Min' and Bill ” are together again in this picture, and they make just as much a success of it as their former effort. They are Seen as the owners of a tug on Puget Sound, but although Terry (Wallace Beery) is officially the master, it is hi* wife, Annie (Marie Dressier) who does most of the work. Terry’s activities are centered principally on securing supplies of liquor, a practice to which Annie puts a stop whenever possible, and it is his continual drunkenness that is responsible for most of the humour and also a large part of the pathos _ of the picture. They have a son, Alec, played in childhood by Frankie DarrO and later by Robert Young, whose ambition is to become a master mariner* and when he is eventually appointed to the command of a large passenger liner the parents’ delight knows no bounds. On his return from his first trip out they go out to meet him in their tug the Narcissus, but by the time the two ships are alongside Terry has discovered some forbidden liquor and is absolutely unpresentable. Finally, while trying to pick up a case of liquor he hag seen floating in the water Terry wrecks the tug and it has to be sold, although they are placed in charge of her when the new owners uses her tor towing garbage lighters. While on one of their trips in this capacity Terry redeems himself by a particularly courageous act in a storm, and the picture ends happily. It is an intensely human story, and one that will be enjoyed by anybody. There is also a good supporting programme, and Miss Iris Mason presents an attractive selection of items at the organ. Patrons of the theatre also have the opportunity of inspecting a magnificent display of gladioli in the foyer. The box plans are at the theatre and the D.I.C. “ THE MYSTERY OF THE WAX MUSEUM.” One of the strangest and most exciting thrillers, "The Mystery of the Wax Museum.” will open at the Empire Theatre on Friday, with Lionel Atwill, Glenda Farrell, Frank M’Hugh, and Fay Wray heading a large cast of sterling players, The story, taken from the play by Charles S. Belden, deals with a series of mysterious disappearances of both living persons and human bodies and the appearance of a terrifying monster. The plot centres about a wax museum which has on display exceptionally life-like figures of personages of history and notorious criminals. Important roles are enacted by Allen Vincent, Gavin Gordon, Edwin Maxwell, Holmes Herbert, Arthur Edmund Carewe, Thomas E. Jackson, and Monica, Bannister. The picture is photographed entirely in technicolour with unusual lighting effects used to heighten the fascinating mystery that dominates the production. The direction has been handled by Michael Curtiz, who is universally accepted as a past master in directing mystery thrillers. In addition to its excitement and suspense there is a romantic love angle with no end of humour supplied by smart, witty, dialogue. STRAND THEATRE Warner Oland has had considerable experience of interpreting Earl Derr Biggere’s novel and in "Charlie Chau’s Greatest Case,” which heads the current bill at the Strand Theatre, he once more presents the famous detective in an arresting and attractive fashion. The police arc unable to solve the mystery surrounding a crime and Chan is called in to try his powers. _ He goes about his work in the characteristic way which has become familiar to Dunedin audiences, but for some time he is unable to make any headway. Eventually he secure* the

faintest of clues, but it ,i* .sufficient to give . him an . inkling of the truth. Oland appear* to be perfectly at home in his role, and he makes his way . through the film, suave and philosophic and finally he makes the denouement in an entirely satisfactory manner. Heather Angel, whose name seems destined to become well-known to screen patrons in the not Very distant future, has the chief eupporting role, and the cast also includes Roger Imhoff and John Warburton. The shorter picture* include news reels, an amusing cartoon, and a travelogue entitled “The Isle or Malta,” which presents some excellent scenic views, Tne box plans are at the theatre and the D.I.C. .. ... , REGENT THEATRE One of the most notable picture* dealing with the .romance of the’ air ever to have been screened here i* " Central Airport," which is now being shown: at the Regent Theatre. , A disabled: pas--, senger hydroplane adrift in the etormtossed Caribbean, buffeted by savage gales, reeling and rocking under the incessant pounding of foaming waves, each white-crested breaker grasping Hungrily at the half-dozen human being* clinging desperately to the derelict ship, threatening every second to sweep them into eter-nity-drenching sheets of tropical rain beating upon the castaway** as the .wild black gky is ripped from horizon to .horizon by jagged blades of blinding lightning —a lone pilot crouching beside hi* anguished charges, grimly sending up rocket after rocket in an appeal for help —suddenly, out of the deafening tumult of the storm, the welcome rhythmic murmur of an aeroplane engine, far-off at first, but coming nearer as the last rocket goes up to guide the unknown rescuer to his goal—out of the heart of the hurricane the rescue plane looming up, hover- ' ing, settling down beside the stricken vessel—*ix human beings snatched from certain death while the tempest howl* ,in impotent fury around them. Such is the climax of this drama of commercial atia-. tion. An unusually distinguished ' cast supports Richard Bafthelmes* in “Central Airport.” All of the nine leading players, ’ exclusive of Mr Bathelmess, who has been starred for many years, have had stellar roles on the screen or stage, arid some in both, of leading parts in many notable productions. Sally Eilers’ ■ has been starred in several picture*, is he has the leading feminine- role opposite • Barthelmess in “ Central Airport.” Tom Brown, who plays the part of a brother air pilot of Barthelmess, had *' leading; part in "The Lady Lies.” Jame* Mur-, ray ja Well known as one of the screen’* leading player*, appearing .in . “'Frisco Jenny.” There is an . attractive Supporting programme. The box plan* ar e at the theatre and the D.I.C. KING EDWARD THEATRE Clark Gable and Helen Hayes have the leading roles in “The Whit* Sister,” which opened to an enthusiastic audience at the King Edward Theatre oh Saturday night. The story of " The White Sister . is well known to mo*t people, and those who have read the book, will find that the screen version is faithful in every detail, while the leading players create the right atmosphere from the start and maintain it to the finish. This tale of the aristocratic Italian girl who falls in love with a soldier on the eve of her marriage to the man of her father’s choice gives Miss Hayes and Gable every opportunity for romantic portrayal* of the first order. Whether in the lighter scenes of the carnival at the commencement of the picture or at the dramatic moment when the soldier whom the heroine believed to be dead returns very much olive the work of the two stars is at all times convincing and effective.*, Another fine performance is that of Lewi.", Stone as the father, while Louise Closscy,' Hale and May Robson Contribute in’ ff'' small measure to the success of the - picture. A fine supporting programme if also shown.