AMUSEMENTS

Otago Daily Times, Issue 22211, 14 March 1934, Page 4

AMUSEMENTS

GRAND THEATRE Although now in the third week o£ its Dunedin season, “This Week of Grace” continues to attract crowded houses to the Grand Theatre. A musical comedy of the most entertaining type, the picture is notable principally for the very fine performance given by the famous English comedienne, Oracie Fields, who, in the leading role, gives an artistic characterisation that is one of the best things she has yet done. Her delightful voice and charming personality hold, her audience from beginning to end, and in her own infectious and spontaneous manner she sings her way through such tuneful numbers as “My Lucky Day,” “ Happy Ending,” “ Heaven Will Protect an Honest Girl,” “ Mary Hose,” and “ When Cupid Calls.” The story of “This Week or Grace” centres round a working girl who, on suddenly becoming wealthy, is making a determined effort to take her place in a stratum of society to which she is totally unaccustomed. Miss Fields is seen as a typical Lancashire mill girl who afterwards blossoms out into society, as the result of a grim jest by an old aristocrat. She is installed in charge of the duchess’s estates, which hitherto have been a drag on the family, and in consequence of the zest with which Grade throws herself into her work the affairs of the estates are soon in apple-pie order. Later, however, she quarrels with the duchess’s eon, with disastrous results, but the change, although it affects her social status, does not alter her character, and to the end she is still the same bright personality as when she was first launched on her great adventure. The supporting cast is a particularly capable one, perhaps the outstanding member of it being Frank Pettingell, whoso broad accent fits him as naturally into the picture as into the background. Douglas Wakefield, as his faithful helper. ,Joe, also gives a deft character sketch which is one of the outstanding features of the production, and Henry Baird makes a distinct success of a not particularly important role. “ This Week of Grace” should on no account be missed by anyone who enjoys a first-class picture abounding in sparkling comedy, clever acting, and tuneful musical numbers. The supporting programme is unusually' varied and interesting, and includes two travelogues, a news gazette, and a Grantland Rice sportlight feature. The box plans are at the theatre and Messrs Charles Begg and Co.’s. “ORDERS IS ORDERS.” With what joy the authors of “ Orders is Orders,” which will be the next attraction at the Grand Theatre, realised the possibilities of their _ distinctly'original theme may well be imagined. The development of the story discloses how freely they allowed their imaginations to rove the flowery meads of humour, while, at the same time, respecting the boundaries beyond which extravaganza could not go, save at the risk of distorting characterisation. For “ Orders is is very definitely a series of character sketches, the faithful filming of which is a tribute alike to the ability of the authors and the artists. Never for an instant is the clarity lost of any of the types depicted, for all the speed of action and for all the racy humour of dialogue and situation. The picture is riotously funny from beginning to end. From the moment that Ed Waggermeyer and his fair assistant Wanda descend upon the barracks of the Royal Loarashires with their picture production unit hot from the cauldron of Hollywood, to the final volcanic eruption of British military officialism insisting that the film be destroyed—as destroyed it is, but not by the instructions of headquarters—that sacrosanct machine “ administration,” as the British army works it, is violated with a ruthlessnoss possible only to that most remarkable of all impudent despots—a hard-boiled movie producer. Both the British colonel and the American picture chief are men married to system. But the systems are mutually repellent and neither expert can see the viewpoint of the other. From the methods of movie producers, too, the authors of “ Orders is Orders" have drawn vivid caricatures, laughable in the extreme; and the whole absurd comedy is one of the merriest shows ever put on the screen, James Gleason, the well-known American actorauthor, presents a study of the film producer which is a brilliant satire on studio methods and manners; and he is ably assisted by his compatriot Charlotte Greenwood who, as Wanda, crashed the colonel (Cyril Maude) by judicious application of the acid of her blandishments to the metal of his ready susceptibility. Neither screen nor stage has ever seen a more soldierly or more “ British ” British colonel than Cyril Maude. He simply lives the part and enhances a reputation already brilliant, as thousands of New Zealanders, who have previously enjoyed so much of his fun-making, will readily agree. In this' enjoyable entertainment Gaumont-British Pictures have again impressed the clean quality of their product and we can do with a lot more of it.

EMPIRE THEATRE "Another Language,” a dramatic story of unusual characteristics, is at present being shown at the Empire Theatre. The principal male role is taken by Robert Montgomery, who plays with his customary skill and attention to detail the part of the dull husband who is quite satisfied with life in general, while Helen Hayes, as the wife with whom he originally eloped, is responsible for a whimsical and artistic characterisation of her part, her performance adding considerably to the inherent value of the story of how the two young people gradually drift apart. Louise Glosser Hale acts the part of a mother who subordinates the individuality of her sons ahd exertc a domineering influence for her own purposes. There are others well chosen to represent the other members of the family group, including Margaret Hamilson, Irene Cattell, and Maidel Turner, each of whom gives a personal touch to the whole story. Two young people, Stella and Vickie, return to New York after having spent a happy runaway honeymoon, but the ' association with such a large number of the members of Vickie s family creates unhappiness for Stella. She realises just where the influence of the family outlook will lead her husband, and because she will not fall into line with the commonplace ideas a rift appears in the home life. Further complications arise when Vickie’s nephew, also a rebel, falls violently in lov e with Stella. There is a good supporting programme, and Miss Iris Mason provides delightful musical interludes at the Christie organ. The box plans are at the theatre and the D.I.C. “INVISIBLE MAN.” Universal’s “ Invisible Man ” has arrived to join the fantastic cavalcade of characters who have stalked with intriguing steps across the silver screen. Ho will be seen—or, rather, not seen—at the Empire Theatre on Friday. With the filming of H. G. Wells’s fascinating tale, it seems that the ultimate in screen fantasy lias been reached. “ Griffin,” the Wells elusive character, is being counted or by Universal to provide this year’s sensation. R. C. Sheriff, who adapted tlie Wells story for the screen, has built this unique character into-a starring role, and Claude Rains, the famous London stage star, who plays it, is said to have risen to great heights in his portrayal. Hollywood calls him “ the mysterious star.” In this, his debut picture, Rains’s face is never seen, and in six or eight reels he will be wholly invisible. Universal has closely guarded the secret of the manner in which “ The Invisible Man ” was photographed, and until the picture is shown the secret will be kept. Claude Rains is seen walking jauntily along, completely dressed, and with a hat perched nonchalantly on what would be a head, if any head were there. In another scene ho will be shown disrobing and, as his clothes fall away, nothing but invisibility will remain. Rains has been wittily described as “ the greatest actor you have never seen! ” STRAND THEATRE “Lawyer Man,” featuring William Powell and Joan Blondell, is proving a big attraction at the Strand Theatre at the present time. It is a well-directed film, full of dramatic possibilities that have been intelligently exploited, and well calculated to hold the interest from beginning to cud. It deals with the curiously devious and baffling ways of American politicians with special reference to graft ami malfeasance. Powell takes the part of a young East Side lawyer who goes on to West Side in pursuit of fame and

fortune. He proves too honest for the politicians, however, is sacrificed to the god of graft. How he uses stealth to fight stealth and regains his professional reputation makes up an absorbing talc, and having done so he shakes the dust of the West Side off his shoes and returns to his own people on the East Side. The supporting programme of short subjects is a good one, embracing a wide variety of interesting topics. The box plans are at the theatre and at the D.I.C. “HER BODYGUARD" “Her Bodyguard,” a romantic comedy featuring Edmund Lowe and Wynne Gibson, will be the next attraction at the Strand Theatre, “ Her Bodyguard ”is the story of the romance between a beautiful stage star and the, private detective assigned by a jealous “ sugar daddy ” to guard her. It is a story of backstage intrigue and footlight frolics. Edward Arnold, Johnny Hines. Marjorie White, Alan Diuehart, and Fuzzy Knight head the cast supporting the two principal players. Miss Gibson is cast as the star. Dinehart is her producer and her ex-boy friend, who still hopes to win back her affections. Arnold is a millionaire who has the same designs.- -It is his idea to hire a bodyguard to see that she doesn’t get too friendly with the producer. Lowe, a burly Irishman, is hired for the task. Miss Gibson fumes at first, then discovers that she likes it. From then on, it is a game of hide-and-seek. Miss Gibson and Lowe do the hiding, with Arnold and Dinehart doing the seeking. It all winds up iu a frenzy of laughter. Introduced in the production is the new song hit, “ Where Have I Heard That Melody ? ” OCTAGON THEATRE An excellent double-feature programme at, the Octagon Theatre this week is headed by “ One Precious Year,” featuring the beautiful Aune Grey, who is seen as the wife of a Foreign Office official. She is told by Harley street specialists that she has only 12 months to live ; and, determined to extract the greatest amount of happiness out of life, accepts attentions from her husband’s friend when the former is too absorbed in his career to pay much attention to home life. Just as the husband is about to be appointed to an important position a plot between the wife and her lover to elope is discovered, and the story Sweeps on through a series of complications to a satisfactory ending. Owen Nares and Basil Rathbone are also responsible for attractive characterisations, The second feature is “ The Billion-dollar Scandal,” which deals with the activities and ultimate exposure of a group of wealthy financiers who take over large tracts of Government oil 'reserves and divert to their own use revenue which should have gone into the coffers of the State. A further chapter of the serial “Clancqy of the Mounted” is also shown. The box plans are at the theatre and the D.I.C.

“COLLEGE HUMOUR” AND “THE WOMAN ACCUSED.”

Described as a picture of college life as it ought to be, " College Humour*’ will be one of the attractions at the Octagon Theatre on Friday. In its cast are Bing Crosby, Richard Arlen, Mary Carlisle, Jack Oakie, George Burns, and Gracie Allen, Lon a Andre and Mary Kornman. The Ox-Road Co-Eds provide the dancing. Its music—“ Learn to Croon,” “ Moonstruck,and “The Old Ox Road"—was written by Sam Coslow and Arthur Johnston. A striking romance, " The Woman Accused,” will ■be the other attraction, with Nancy Carroll, Cary Grant, and John Halliday in featured roles. % The action of the film centres around Miss Carroll, On the eve of her marriage to Grant, a former lover confronts her and demands that she returns to him. She refuses flatly, and he, infuriated, phones a gangster acquaintance with the object of having Grant murdered. But. before he can give the order Miss Carroll hits him over the head with the nearest object at hand—a’ bronze figurine. She is horrified to discover that she has killed him. Halliday follows when she flees aboard the boat with Grant, and spends the voyage trying to dig up evidence incriminating her. He is almost successful until Grant steps in. In a dramatic climax, he clears Nancy of all guilt and carries her off to freedom and safety.

ST. JAMES THEATRE An Australian comedy of an unusually entertaining type, “ Waltzing Matilda.” is the principal feature of the current bill at the St. James Theatre. The greater part of the comedy, work is in the hands of Pat Hanna, who, as the leader of “ The Diggers,” won such popularity among patrons of vaudeville a few years ago, but he receives yeoman support from ooe Valli, and the pair are responsible for a succession of hilarious incidents that are as funny as they are cleverly presented. They are seen as a pair of fugitives from justice, who take employment on a huge sheep run, the owner of which is unaware of their identity. His daughter appears on the scene, and the inemable result is that one of them falls in love with her. causing all manner of complications, which provide the main interest of the production.. Dorothy Parnhaiq has the role of the heroine. It eventually transpires that the two runaways are innocent of the charge that had been levelled against them, and the romance comes to a conclusion that is satisfactory to everyone. The supporting programme includes an hilarious comedy and two interesting newsreels. The box plans are at the theatre, M'Cracken and Walls’s, the D.1.C., and Jacobs’s. “LOVE’S OLD SWEET SONG.” • “ Usually the last few minutes of a screen play are marred by the audience searching for wraps and other incidentals prior to departure, but the premiere of ‘ Love’s Old Sweet Song’ was singularly free from this,” said an exchange, in reviewing this production, which will be released at the St. James Theatre on Friday. “ The packed audience sat very, very still, even for a few seconds after the light had pone up, as though reluctant to leave. Such was the effect of ‘ Love's Old Sweet Song,’ an exquisite story deserving all and more of the extravagant adjectives which have acclaimed lesser dramas. Many features, for instance, have been termed ‘ epic,’ but this is one of the very few to which this term may be truthfully applied. The hauntingly beautiful song, from which the name of the picture is taken, forms the background for one of the most absorbing stories ever translated on to the screen. Lest the term * absorbing ’ be misunderstood by some, this is no cheap, sensational affair, nor is there anything of sickly sentiment about it —it is British art at its greatest!” To the strains of “ Love’s Old Sweet Song ’ one is transported into rural England, the opening' scenes being in a delightful old farm cottage, where lovely Mary Dean (Joan Wyndham), a famous radio singer, is resting. Jimmy Croft (William Lreemafi) is the young owner of the farm, who is deeply in love with Mary, and j 8 fast persuading her that she loves bitn, when .their romance is shattered. Just as he is about to make her really believe it along comes Paul Kingslakc (John Stuart), her manager, hopelessly in love with her ior years to drag her back to the city lights and fame. From this tangle emerges a remarkably unexpected, but logical, solution.

REGENT THEATRE "The Song of Songs” is a film that cannot fail to win general approval, not alone on account of its arresting content and the outstanding dramatic performance of the incomparable Marlene Dietrich in the leading role, but also os a result of the conspicuous brilliance of its direelion. The production of the film has been carried out by an expert, and the fullest possible use has been made ot the competent cast and the interesting and intelligent story which the film tells. Marlene Dietrich has many outstanding successes to her credit, but it is doubtful whether in any of her appearances _ to date she has made a more profound impression than in the role of Lily, the young girl who comes to Berlin to make a living after the untimely death of her father and finally finds herself the Baroness Mcrzbach. She is called upon to face a variety of experiences before she finds that eminence, however, and then, having attained it, she throws it all away because her splendid and exalted position deprived her of what to her was the one essential in love —love. Her study of the shy. retiring, connti’y girl, blossoming into the bright and vivacious woman of the world is an excellent piece of work, characterised by fine restraint and a keen understanding of the requirements of the part. Brian Ahernc in the leading role makes a good impression also.

The supporting cast ie a good one, and there is an excellent programme of short subjects. A feature of the supporting programme is the manikin parade, during the course of which the audience is treated to a most attractive display of the latest styles in ladies' frocks, evening gowns, and fur coats. The box plans are at the theatre and at the D.I.C. « THE PRIVATE LIFE OF HENRY . VIII." Widespread interest has been aroused in the forthcoming screening of “ The Private Life of Henry VIII” at the Regent Theatre next Friday. The picture has proved an unprecedented success in America and in Europe. The London Morning Post said: “This is at last a great English film, which can be stated, without equivocation or without reserve, the finest film of the year from any country in the world, the best film ever turned out in England, and the first British picture worthy of the name of a national film." Charles Laughton’s performance ot Henry VIII” is unreservedly praised by the critics, and is stated to be the most delightful ever recorded by the cameras. The career of the merry, marrying monarch is made into no pompous historical melodrama, but into robust eomedy, deftly tinged with pathos. He is no caricature, but $n illustration of Henry, He assumes for an ishing and uproarious vitality, modulated to the most delicate changes of mood. The film shows that Henry’s first wife was a good woman; he divorced her. Ihe second, Anne Boleyn, was bad; he had her executed. . So that no time would be wasted before bis marriage to Jane Seymour, he had a drum give the signal the instant Anne’s head rolled off the block. Jane Seymour died furnishing aa heir to the throne one day when the king was out hunting. His courtiers persuaded him to marry again, this time to a clever German princess, who, because she was in love with someone else, contrived to seem so unattractive that the king was willing to spend his wedding night playing cards. After their divor'ce Henry tell in love with Catharine Howard, married her, and comfortably remarked to his Court that “life has found its meaning. He believed it until he Catharine was having a love affair. When her head had been chopped off he cried. By the time he acquired his last wire, Catharine Parr, his children’s nurse, he was a feeble, broken-hearted old man Witn barely enough enthusiasm left to go on gnawing a chicken wing when Catharine said that it would give him indigestion. Excellent supporting featuretteai are provided for this programme, including Walt Disney’s latest coloured silly symphony, “ The Night Before Christmas."

KING EDWARD THEATRE A little-known but highly-dramatic phase of the great World War is B ra P"} c * ally portrayed in Universal s Ihe Doomed Battalion,” which commences to. night at the King Edward Theatre. Ihe setting of this film is laid in the rugged -grandeur of the Dolomite Alps of Austria, where thrilling battles between Austrian and Italian mountain troops decided important issues in the recent struggle of nations. Tala Bircll makes her American debut as the loyal wife of an Austrian mountain guide, who must harbour the man commissioned to de.stroy her husband’s company. The tense situation and its exciting solution provide • the screen with one of the most dramatic sequences afforded in years, according to advance reports. Other featured members of the cast of “The Doomed Battalion” include Luis Trenker, Victor Yarconi. and Henri Armetta. The picture was directed by Cyril Gardner, Luis Trenker for many years actually lived the part he enacts in this picture. The supporting programme includes "Who, Me, Albertson, a comedy, Victory Plays, sports reel, and a Universal uews reel.