AMUSEMENTS

Otago Daily Times, Issue 22284, 9 June 1934, Page 18

AMUSEMENTS

GRAND THEATRE Many films have been described as "unusual," but the epithet has never been so well- deserved as 'in the case of "Romantic New Zealand," which had its first public screening at the Grand : Theatre yesterday. It is not merely a scenic picture, nor is it an histori6al one, but is both, and something more as well. All the resources of the country we live in were called on parade before the eye of the camera to make this film the success that it is. Filmcraft, Ltd., a New Zealand enterprise, co-operated with the New Zealand Tourist and Publicity Department in the arrangements for making the Picture, and the assistance of Trucolour, Films, Ltd., was called in .to add a' touch of colour to the effort. In this connection it is of interest to note that the.process used by Tmcolour Films is a Dominion'invention, and all will readily admit that the scenes recorded by. this process are by far. the best colour pictures yet placed on the screen, The various methods that have been -used by overseas producers to record natural coloursJiave;all had weaknesses, many of a; glaring ;.,nature, but this is not the case;in the colour scenes in "Romantic New Zealand," which are practically perfectv reproductions. The best of these scenes are the seascapes, which ! have ibeen /transferred to the screen in a manner 'bordering/on the miraculous, and it is hot difficult f°r anyone watching the screen' to~ believe himself looking at .reality;''A' sunset recorded by this process'is one of the most striking scenes 'of, all, trie; many-coloured clouds and the >6range- sky'being surprisingly natural. One of .the most important reasons for the making-of the film wa g its possibilities as advertising propaganda in other lands, the object being the stimulation of the, tourist traffic. Opening with an excellent recording of the New Zealand National Anthem, '" God Defend New Zealand," sung both in English and in Maori, the film goes on.to relate the discovery of the Dominion by the Dutch sailors and later the 1 visits of-Captain Cook. .The Natives and - their customs are the subject of a; fair;; proportion of the picture, and these scenes are calculated to portray the characteristics of the Maori to the best possible, advantage. The songs and dances of .the Natives are presented with a wealth'o'f detail, and many of their •customs) such as .the..cooking of food, are shown. From a scenic point of view, the film leaves nothing to be desired. Com-' mehcing- witn the thermal region of the. North Island, the outstanding tourist attractions of air parts of the country are covered from many angles. In .the hot lakes district and around Roto'rua, the; cameraman has let few matters of interest 'escape him, and those who have visited 'these areas will' find the film the more'interesting -as- one: familiar incident after •another, is "unfolded. The* winter sports 'at Mouni Cook "and Tongariro National •Park are depicted in such a way that they leave one with a sense of loss if one has not taken part. The might of the great glaciers of the Southern Alps is graphically shown, arid the' 1 majestic Icauri in the far north and evergreens in the south-Hire given their share of atten-.. tion. "The. four main-centres of population are photographed ; from above and all around; Auckland, with its beautiful harbour and the great liners berthed in the very heart*of the.'city,' is placed before the audience first, and the capital city is next dealt with. Aerial views of Wellington and brief glimpses of its delightful seaside suburbs show New Zealand's chief city to advantage. Dunedin .is similarly portrayed; with special attention to its more notable architectural features, and Christchurch is also accorded its portion. The 'agricultural "pursuits of Canterbury aha the pastoral industry of Taranaki are scenes' which will be well remembered, and the great flocks of sheep seen' in many other .parts ,0f... the. country- represent the .Dominion's-,"greatest,.source.- ~o£.'. wealth. jWhile dealing; with 'this aspect,;,the pro--, ducers have not forgotten,the.go.ld mining .industry','] aind phptograplis'; of;.'.a great dredge, on thq West Coast, of \,the South Island and pf gold-rushes of the early days .in.jOtago.make it plain that the yellow ...metal, has not yet lost, its.;power to lure «man in.: search-of riches. Another out- ■ standing feature.of,the! film, is the manner 4ft -which the,= big': game of the, northern jarid the trout-fishing of Lakq T&i)po .and-many/ disThe* conclusion; is" reached to the -accompaniment of the" plaintive song offareAvell .of .the Maoris, sung by .'a Native, choir,* Throughout-, the screening a run,nihg .conimeritary viß,.pravided. which makes the ipictu^/ail;the:mpre .enjoyable.! There, is an excellent programme of short pictures 6^''Romahtic Jfejv Zea* land. I "'.'The boxplans/are.at Vth'i theatre and Begg's. ; : > >: ■'-' W. • --■?

STATE THEATRE ,'. Although entering on the second week' of. its.Duhediiii season; ''Carolina," „the leading: attraction at'the State."Theatre, continues, to prove as , popular. as ever with "'.local picture-goers, and yesterday.; large audiences,again witnessed the screen-, iiigs 6f this delightful romance! Based on Paul Green's play, "The House of Connelly," the ..story tells, of the pld Southern family of. unpractical 'and",impoverished, who, failing to keep, up. with the times,, have-,let -thejr estate go to; rack and ruin and have fallen .deeply into debt. Uncle Bob, a veteran of the Civil War, spends the greater part of his time dreaming of his successes with the ladies and boasting of. his triumphs on the field. Mrs Connelly still lives in the past and maintains a haughty intolerance towards everything that is modern, and the only one who makes any attempt at all to restore the estate to it s former prosperity is the son, Will, whose efforts in this direction, however, are only halfhearted. Into this atmosphere comes one of the hated go-ahead Northern families, who earn the cordial, contempt of the Connellys by growing tobacco on land leased from them. Romance enters into the picture when Will falls in love with Joanna, the daughter of • the new tenants,, who is putting up a brave struggle to harvest and market the tobacco. Will's mother sets herself stubbornly against the match, and with a view to reinforcing the family fortunes essays' to arrange a marriage for him with a wealthy relative. Will discovers his mother's plan, and joins issue with his sweetheart in an effort to.give her a chance ; to harvest her crop before being turned.' off her holding by Mrs Connelly. In the va,st hall of the Connelly home the. story is brought to a climax when the mother,, faced with the alternative of losingyher son.or retaining her prestige, adopts a 'more reasonable attitude and everything ends happily., Lionel Barrymore, as one!of the elder .Connellys whose life c'ome^'to, a pathetic: end;.as the result of an unfortunate love affair, scores ft distinct, triumph ihjthe'-role, and gives a convincing 'and .polished,interpretation of a difficult part. Dainty';and appealing as' ever, Janet Gaynor interprets the part of Joanna with all the charm and sincerity that have made her such a favourite with film audiences, while Robert Young gives a deft character sketch of Will. The performance,of Henrietta: Crosman as Mrs Connelly ig also a clever piece of character acting,' and some acceptable comedy relief is introduced by Stephin Fetchit, who plays the part of the old negro butler Scipio. The. Tsackground of an old colonial mansion with its magnificent trees forms a setting that considerably enhances the value of the, production, another attractive feature being the plantation melodies sung at intervals by the negro servants. An unusually varied and entertaining supporting programme ie shown. The box plans are at the theatre and Messrs Charles Begg and Co.'s. "... '. . , EMPIRE THEATRE In "Cradle Song," the new film at the Empire Theatre, one: of .the early plays of Gregorio Martinez Sierra,' a distinguished Spanish dramatist, has been translated sensitively and conscientiously to the screen. It is V solemn- and 'austere study of a young girl who enters a closed order and leaves the.world for ever. On the physical ; plane ■■ practically nothing happens, and the action of the film _ is almost negligible. Even on the subjective plane the girlfs.emotional,experiences are not of the kind that lend .themselves to arresting expression in extravagant speech or elocutionary fireworks. But, notwithstanding all this, " Cradle Song" is a notable production, singular in content and conception, and striking in its execution. Clear, precise, and perhaps a trifle severe, its plot must appeal if for no other reason than on. account of its unusual character. .The fact that' the film explores.a problem which,, if not religious, is at least ecclesiastical, makes its appearance on the screen an even more interesting event. It is intc*«sting to

learn that it has received the endorsement of leaders of the Roman Catholic Church, who, in company with a considerable gathering of priests, witnessed a private screening in Wellington at the time of the Archbishop Redwood celebrations, an event which made possible the presence at that screening of archbishops and bishops from Australia as well as New Zealand. The girl who enters the nunnery is gentle and devoted. Yet .there is poignancy in the renunciation by so young and warm a creature of the colourful, pulsing life that continues beyond the grilles of the convent. But the act of dedication does not at one stroke exempt the devotee from all human affection. There is still the love of a child for whom the nun acts as an elected mother. This is the theme which the film explores gravely and quietly.'.-, But for all its quietness the film is richly - charged with emotion. Its characters are living people. Dorothea Wieck has the part of the youfig nun, and it is difficult to think of anyone who would have played it more adequately, with such stillness of pose, or ■with such sensitive yet quiet emphasis. The only music which breaks in on the sombre tone of the main theme is the chattering of. the less -grave sisters and .the complainings of an elder nun who is a puritan. Louise Dresser is sweetly grave as the mother prioress and Sir Guy Standing and Evelyn Veriables fall quietly into the picture in the tfbles of a bachelor doctor and the nun's adopted child respectively. The supporting programme is an excellent one, suitably varied; and Miss Iris Mason delights her audience with a delightful selection of numbers on the' organ. The box plans are at the theatre and at the D.I.C. OCTAGON THEATRE A modern comedy embracing life from quite a ; sophisticated point of view, excellently portrayed by Elissa Landi and Warner Baxter, is shown in "I Loved You Wednesday," which was screened at the Octagon Theatre for the first time yesterday. .The paths of romance followed ;by four people produce situations that call for much amusement and sympathetic appreciation on the part of the audience, and the variety and wide scope introduced into the scenes stamp the production as one which merits attention. The versatile side of Elissa Landi's talents is brought but in " I Loved Yon Wednesday," for- she is required to fill a part entirely different from her previous roles. Instead of the more serious characterisation, she plays a modern girl, Vicki Meredith, who is studying dancing in Paris. The man with whom, she first becomes enamoured is Randall Williams, played by Victor Jory, and up to 'the time that she learns of the existence of his wife their friendship.is full of happiness. The tone of the :story.-is tinged with old-time romance, although the treatment of the situations- '"provides' that particular type "of entertainment which appeals to presentday audiences. Dialogue that is to; the point, amusement: which is to be found 1 in a whirl of gaiety,,and the capabilities of the producer jn introducing settings which blend into the story all combine to furnish a high standard of filmcraft. When Vicki Meredith decides to forget her unhappiness in Paris, she chooses South America as her venue, and it is there that Philip Fletcher (Warner Baxter) is encountered. Meeting with success in her, dancing,. Vicki Meredith finds herself in New York some years later, and she and .Fletcher become engaged. But fate brings up some of the past that she has tried to forget when Randall Williams appears again and endeavours to influence her in the same way that he used to. Randall Williams's wife, Cynthia, is also in New York, 1 and the four 6f them display a disinterested curiosity, in each-other's affairs that is productive of unusual •humour. Some of the scenes in this picture were taken at Boulder Dam, Nevada, one of the great irrigation schemes in the United States, and there are some remarkable views of the construction work and the tremendous gelignite shots used to bring down thousands; of tons of earth from the face of the gorge. Miss Landi is a disturbingly at-, tractive young woman in this picture, .abounding .in that vivacity that distinguishes the Continental type from all others, and Randall Williams is also likeable, in spite of his complacency apd selfconfide'nee. Baxter is a sharp contrast with the other man, being more forthright and sincere, which is hot to say that he is lacking in'polish. Indeed, he wears his dress suit' with a distinction that rivals his opponent in the Jove contest. Altogether, " I Loved You Wednesday " is a delightful and thoroughly entertaining comedy-drama. The supporting programme contains a number of well-selected ifihort subjects, among'"-which,.;is a,-trivel •picture, "Cairo," showing views of scenic grandeur-jn thig meeting place of many nationalities. News reels, a Gaumont Graphic, and an amusing cartoon, "The Jealous Love," form the balance of the programme. The box-plans are at the theatre, Chas. ' Begg . and' Co.'s, and M'Cracken and Walls's.

REGENT THEATRE A story which typifies the spirit of the great air mail services of the world, with their countless deeds of heroism and skill, which are passed over as being just part of the job in hand, is embodied in "Night Flight," which commenced its season at the Regent Theatre yesterday. The plot, tenuous though it is, depicts the unswerving devotion to duty on the part of the mail plane pilots, on whose shoulders rests the principal responsibility for the arid speedy cariage of mails even under the most trying and dangerous conditions,' and in this respect the production succeeds in conveying an extremely vivid and graphic picture. In. its air scenes the picture reaches remarkable heights of photographic interest, while in this section of the production there are enough dramatic and thrilling episodes to satisfy the most exacting, but on the ground the story narrowly escapes becoming rather more melodramatic than its structure warrants.. .. The cast itself is an lfnposmg one, consisting of John and Lionel Barrymore, Clark Gable, Helen Hayes, Robert Montgomery, Myrna Loy, and William Gntgan, with the result that considerable difficulty has been experienced in discovering for them sufficiently prominent places irt the progress of the story, as there is no plot in the accepted sense of the word, but simply a series of, incidents arising out.of t!ie attempt to establish night flying on the transcontinental air line of South America*. All the action takes place within 24 hours, and a strong contrast is drawn between the commercial and the domestic in modern aviation, the duties of the pilots always being in conflict with their home ties. The theme of the story, however, is" The mails must go through," and the cost is discounted in favour of the public service which is achieved. The various incidents are linked together by the progress of a box of serum from the Pacific to the Atlantic across the'South American continent, the serum being urgently required in Rio de Janeiro to combat an epidemic of infantile paralysis. John Barrymore has considerable scope for his dramatic talents as the heartless and tyrannical chief of the air line who is determined to establish night flying, despite the opposition ot the elements and his own directors, and as the result of his unbending demands two aviators lose their lives in a cyclone which carries them to sea. Clark Gable is one of the ill-fated airmen, and his appearance in the production is confined to bis long vigil, ending in tragedy, in the cockpit of his machine.' Robert Montgomery is another pilot who has a miracufdus escape from death in the Andes during a stprm. and Helen Hayes and Myrna Loy present the constant fear and anxiety of "the aviators' wives while their husbands arc carrying out their duties. In its' scones of planes battling their way over the huge, terrifying- peaks and canyons of the Andes, and struggling pitifullv yet heroically against raging storms, "Night Flicht" is packed full of suspense, and presents entertainment of an attractive character. There is a varied and enjoyable supporting programme, which' includes a newsreel, a collection of unusual and interesting shots entitled " Chili Chills," a Russian travelogue, and a cartoon. The box plans are at the theatre and the D.I.C. ST! JAMES THEATRE A British production, "The House of Trent," is the leading feature in the new programme at the St. James's Theatre. There is a fine finish in the staging of this film; the acting of the large cast, especially that of John Stuart, reaches a high standard all through, and the story unfolded, with its pleasing domestic scenes, its idyllic tone theme, it a tragic interludes, and its happy ending, holds the keen attention of the audience throughout. The story opens with the marriage

of Dr John Trent (John Stuart), and his arrival, at the old home of the Trents with his bride Rosemary (Anne Grey). The years pass happily, and the pair live contentedly with their young family, comprising John Trent, jun., and two girlsThen cornea tragedy. The baby daughter, I played later by Wendy Barrie, of the lord of the manor is stricken with illness, and to the urgent call for his help Dr Trent goes out into the stormy night. He saves the child, but as a result of the exposure he falls ill and dies. Rosemary finds consolation in the care of her children and in watching the promising career of her son John, who follows the profession of his father. The son is also played by John Stuart. Then comes the meeting of the young Dr Trent and the daughter of the lord, who is also the head of the powerful newspaper, the Daily Sun. The meeting of the two and their attraction for each other marks the introduction of another tragedy. The girl loves the successful young doctor, but she is hurt by a remark of his mother, Rosemary, that "he travels farthest who travels alone," and she decides to sacrifice herself for John's career and to marry the man who has long sought her hand. In despair John foolishly gives way to a drunken bout, despite the fact that he has had that night to be in hospital to attend a very sick patient. The fact that he has arranged with another doctor to relieve him on this particular night does not save him when the inquest is held on the patient, and ,the Daily Sun gets to hear of the incident. The great newspaper has been interested, in order to increase its circulation, in a campaign to raise £1,000,000 for hospital work, and it seizes the opportunity to in itg venture and attack Dr Trent. Scenes are shown of the bustle-of the newspaper office. in rushing its issues through the presses—issues which are to bring,, about the downfall of the young doctor, whose father many years before had saved the daughter of the press magnate. • Rosemary i 9 fearful of what may happen to her son and, though she had refused many times previously to part with her old home, so that the press magnate may extend his property, she sacrifices herself and her two daughters and sells the place in order to find the funds to defend her son's reputation. The newspaper magnate has no scruples when the circulation of his paper is in question, and he is prepared to exploit any aspect of modern life and its. activities that has news value so that it cannot be said that any other paper has a larger circulation than the Daily Sun. Moreover, he does not hesitate to drive his staff unmercifully when there is a possibility of what, in newspaper phraseology, •; is called a " scoop." But, as the saying goes, every lane'has a turning, and at last: the silver lining breaks through the clouds which have overhung the house of Trent, and all ends happily. The acting is convincingly carried through, and a thread of comedy runs through the story. The staging and the views of the country homes and - landscapes are beautifully' presented. The snapshots in the first part of the programme are particularly interesting. ■ These include the presentation of an honour by the King to Miss Dorothy Thomas, the heroic Middlesex Hospital nurse, views of motor oar racing, Miss .Joan Meakin making her record longdistance glide, the Ii.A.F. on parade in Iraq, scenes in India, etc. Mention should also be made of the fascinating views of the _ M'Kay expedition .in Central Australia and of a remarkable series of views showing Haroold Larwood at the bowling crease, with Hehdren at the wicket and other well-known cricketers ,in the field, A splendid idea of the leg theory and how it is worked is given. The box plana are at the theatre, Jacobs'a, M'Cracken and Walls's, and the D.I.C. STRAND THEATRE "I Loved a Woman," which was presented for the first time ■at the Strand Theatre" yesterday, is a biographical film in which the principal character goes under a fictitious name, but the story eeems obviously to have been based on the career of a merchant prince who lived in Chicago between 1892 and 1919. it provides an excellent vehicle for that highly individual actor, Edward G. Robinson. Dowered with keen artistic ability, but no business head, the young man or the story is recalled from Europe hj. *,he death of his father, and finds himself faced with the responsibility of conducts ing a large • canning factory. The director has set forth with delightful authenticity to detail the Chicago backgrounds and the curious costumes of the 'nineties. The canning business fails to prosper. Only when the young director 'goes, outside the influence of his charming but futile wife, and becomes inspired to ruthless ambition by the love of an opera singer who is equally ruthless in her personal ambition*-does he become a captain of industry. The rest of the story develops the terrible fruit that springs from this seed. .'• The man imagines that he knows both women —his wife and the one who is his inspiration. But in both cases he is blind to their real being. Kay Francis and Genevieve Tobin—two of the most gracious actresses on the screen — set forth with fine artistry* the character of the two women. " I Loved a Woman " ig a picture which is well calculated. to make any audience think. It deals with a slice of real life, and does so in a manner which will make the picture live in the memory. The main feature is supported by a list of short films of a standard seldom seen. Variety as well as entertainment is provided in this portion of the programme, which is one deserving of patronage. The box plans are, at the theatre and the D.I.C. . KING EDWARD THEATRE A breach of promise suit with Slim Summerville as the lawyer and Zasu Pitts as the girl is the theme of " Love, Honour, and Oh, Baby," which will head a double-feature programme at the King Edward-Theatre to-night. It is said to be the most uproarious of the popular comedies screened by these entertainers. The plot revolves around Slim, cast _as a ne'er-do-well* lawyer, and Zasu, filing clerk, who gets all the facts of life from her employer. Verree Teasdale takes the part of, the blonde villained. George Barbier, Lucille Gleason, Miss Teasdale, Donald Meek, Purnell Pratt, and Adrienne Dore, the latter said to be one of the: most beautiful women in Hollywood, are also in the cast. A gripping film of polar adventure, "S.O.S. Iceberg," will also be screened. ■. _'•■•-' ••. GREEN ISLAND KINEMA With Marie Dressier as Annie, redoubtable feminine skipper of Puget Sound, and; Wallace Berry as the irresponsible but irresistible Captain' Ter,ry, "Tugboat Annie," will commence at the Green Island ICinema to-night. The picture marks the first co-starring appearance of Miss Dressier and Beery since the memorable "Min and Bill." Miss Dressier plays the aggressive feminine tugboat captain whose husband, Beery, is a shiftless drunkard. Throughout various entertaining episodes they are seen in hilarious quarrels and difficulties. Then their son grows up and becomes the captain of a liner. To save him .from a wreck the " useless " father saves him by an heroic sacrifice. Among the story's highlights are the race for the wrecked ship, Beery's comical theft of the tug's hawser and its denouement, the hilarious celebration aboard the liner when . Miss Dressier samples the punch, the stirring wreck sequence, the run of the tug to the rescue through churning seas, and Beery's "big moment" when he enters the firebox of a boiler to plug its tubes and thug save the endangered ship of his son.