AMUSEMENTS

Otago Daily Times, Issue 22285, 11 June 1934, Page 12

AMUSEMENTS

GRAND THEATRE The first feature-length New Zealand film, “Romantic New Zealand,” which is now being screened at the Grand Theatre, is drawing the attention of all interested in. their own country. The film, which was produced by Filmcraft. Ltd-, in cooperation with Trucolour Films, Ltd., and the New Zealand Government Tourist and Publicity Department, is one deserving of the heartiest patronage, for not only does it provide entertainment of a standard of excellence seldom seen on the screen, but it offers educational possibilities which are not to be ignored. The part played by the Trucolour Company in producing some of the-country’s most, attractive, scenic gems in perfectly natural colour is an important one, as the photography is nearer perfection than has been the case in any other colour film presented here. Apart from this aspect, however, there is some outstanding • black and white photography, and the various studies of bird life_ give an astonishingly intimate insight into the ways of the Dominion’s most interesting native birds. The kiwi, in particular, is brought to the screen in a manner which has never before been equalled, and even those New Zealanders who are comparatively familiar with this interest, ing bird have an opportunity of inspecting it at closer range than before. In the opening scenes the life of the Maori is pictured as it was lived many years before the white man came to these shores, and from time to time the picturesque Native appears again, and his methods of cooking, playing, and fighting are graphically described. The picture goes on to describe the discovery of New Zealand, first by the Dutch sailors and later by Captain Cook, and some of the oldest buildings in the country—those at the Bay of Islands—are shown, as is the site of the signing of the Treaty of Waitangi. Modern New Zealand is next the subject of treatment, and the audience is transported by air over Auckland, Wellington, Dunedin, and Christchurch. In the first city the harbour which permits huge liners being berthed at the end of the main street is the main subject of interest, while Wellington's charming seaside suburbs, Dunedin’s stately architecture, and the beauty of Christchurch s willow-bordered Avon are the main features of the other cities. The big-game fishing of the northern waters is shown with all its thrills, and the trout fishing of Lake Taupo and the salmon fashing of Lake Te Anau are also dealt with in an attractive manner. This portion ot the picture should prove of _ particular value in advertising the Dominion overseas, for the specimens > shown of the anglers’ catches are sufficient to lure any enthusiast to the waters' that harbour such fish. The winter sports at Mount Cook, the Tongariro National Park, and on the mighty glaciers of the Southern Alps receive special treatment, and the mountain scenery in all parts of the countrv: Is displayed to the best advantage. In conclusion several _ scenic gems are shown to the accompaniment of the plaintive Maori song of farewell, which is delightfully rendered by a. mixed Maori choir. - The whole of the film is supplied with an interesting and amusing running commentary, and there ,is > ** background ” musical accompaniment, which assists considerably in rounding off ■the entertainment. The supporting films are all of a high standard, and the whole of the programme is well worth seeing. T)ie .box plans arc at the theatre and Begg’s. '

STATE THEATRE Now in. its second week at the State Theatre, “ Carolina" is continuing to prove a most satisfactory attraction. Xne film brings together, with very charming results, Janet Gaynor, Lionel Barrymore, and Robert Young in the old-world set- ■ ting of a Carolina home. _ The outstanding . performances of these principals, together with the romance, the comedy, and the drama of the film, all go to make it one of the best seen. The beautiful background of on old colonial mansion, with \* its superb trees, is a setting that contributes much to the success of the presentation. Particularly attractive is the singing of the negro servants and their soft speaking voices. The story .opens with a faithful picture of the Connolly family. unpractical and impoverished, living in the past among the old silver and family portraits, but with their credit seriously impaired at the little local store, Uncle Bob, veteran of the Civil War, still boasts of his former triumphs and dreams of bis disillusionment in love. Mrs Connolly still retains more than her share of Southern pride and •intolerance of modern- things,- while Will Connolly, . her son, makes half-hearted attempts to restore the decayed farm - lands of the estate. Info this atomsphere comes one of; the hated Northern families, growing the despised tobacco crop on leased from the Connollys. The inevitable happens when Will falls in love with Joanna, now an orphan with the charge of two small brothers and a heavy crop of tobacco. There begins the battle against a scornful parent, who in desperation and with an eye to a further bank overdraft plans for Will a marriage with a wealthy relative. Will, however, returns abruptly to find Joanna pleading for the right to harvest her crop before being turned of! her holding by the frustrated Mrs Connolly. The story comes to a climax in the vast hall of the Connolly home. The mother is faced with the alternative of losing her eon or retaining her prestige and chooses wisely, with a consequent happy ending to the story. The portrayals of Joanna by Janet Gaynor and of Uncle Bob by Lionel Barrymore are superb. • Robert, Young plays the part of Will Connolly very effectively, and as Mrs Connolly Henrietta Grosman gives an outstanding performance. The part of the old negro butler, Scipio, played by Stepin Fetchit, signals a, return to the films of one of America’s most interesting coloured comedians. The other tnem* bers of the cast, which includes Richard Cromwell, Mona Barrie, an Australian, aiid Russell Simpson, are all well suited to their roles, and acquit themselves with distinction. The supporting programme is in keeping with the principal film. Ine box plans are at the theatre and Begg b.

"FLYING DOWN TO RIO.” Entertainment of a novel and more than usually attractive nature ia promised in “ Flying Down to Rio,” the spectacular musical extravaganza which will open its Dunedin season at the State Theatre on Wednesday. Gorgeously staged, replete with tuneful melodies and fascinating dance numbers, and, strangely enough, constructed around a logical story, tins production should make an instant appeal to picture-goers who enjoy something out of the ordinary, for not only is it superbly acted by a cast featuring such players a 9 Dolores Del Rio, Fred .Astaire, Gene Raymond, to name only a few, but it adds surprise to surprise until it reaches a novel climax. A feature of the production is the fact that where most American pictures of its type are set to staccato jazz music, “ Flying Down to Rio ” is attuned to slow ivoluptuous Spanish dance rhythm, and takes its tempo throughout from the carioca. a languorous dance which is unmistakably Latin in origin. The humour is sparkling and sophisticated, and is cleverly presented, and the producers have given full sway to the bright dialogue with which the picture abounds, and reduced sentiment to a refreshing minimum. Native instruments and orchestras are heard, and set against the tropical beauty of Rio do Janeiro, one sees a night club of the future, built to resemble the interior of a dirigible. The tables are shaped like the tail of an aeroplane, and over the heads of the dancers soars the orchestra, safely ensconced in a balloon basket. Girls dancing on the wings of aeroplanes, girls literally dancing on air as they descend to earth suspended from parachutes, girls being tossed from plane to plane by adagio dancers are only a few of the surprises that the picture bas in store for the audience, and allied to it all are the striking theme songs, “Flying Down to Rio,” “Music Makes Me,” and two dreamy tangos. “ Carioca ” and “ Orchid* in the Moonlight,” the last two of which are played and sung by Brazalian and American jazz orchestras, and are highly effective. Dolores Del Rio. as a Latin-American beauty, gives one of the best performances of her screen career, another of the players who is sure to be popular being Raoul Roulien, a tenor who is heard in several of the delightful melodies that are included in the picture. Fred Astaire is given all the scope that his clever dancing and talent for comedy work deserve, and Ginger Rogers, as his partner, is as

vivacious and dainty as ever. The culminating spectacle is cleverly photographed and full of novelty and vitality, but the picture is one in which nearly everything is good, and which does not have to rely on a final extravagant scene for its success. i ST. JAMES THEATRE Acted by an entirely British cast and set against a background of typical English scenery, “The House of Trent,” with Anne Grey and John Stuart in the leading roles, is the principal attraction on the current bill at the St. James Theatre. The story opens with the arrival of a newlywedded couple at Monk’s Mere, their future home, and the husband’s entrance into private practice as a physician. From ■1906 the audience is transferred to 1912, when tbe couple’s cares are fully devoted . to the upbringing of a young family. It is in the years immediately preceding the outbreak of war that the unbroken happiness of the young wife and children is cruelly struck by the untimely death of their father. Years of struggle follow and the family is next seen in 1933. The children are now young in their early ; twenties. John, after a successful unii varsity career, returns to his home to wait until he is called to enter a famous London hospital. By accident he meets i Angela, the attractive daughter of Lord Fairdown, and although she is meant by her father for another to join two large newspaper interests, both fall deeply in love with each other. Unexpectedly John ia called to London and a series of circumstances are set in motion which lead the Trent family through great suffering to happiness and the fulfilment of the hopes of the devoted couple. The supports include a Pathe newsreel, a pictorial record of the M*Kay expedition in Central Australia, and an interesting series giving a demonstration of the leg theory by Harold Larwood with Hendren and other well-known batsmen at the wicket. The box plans are at the theatre, Jacobs’s, and the D.I.C. REGENT THEATRE An air picture which will undoubtedly find considerable favour with Dunedin audiences during its season is “ Night Flight,” which is now being shown at the Regent Theatre. Dealing with the trials and dangers attendant upon the inauguration of a night air mail service in South America, “ Night Flight ” is really a story of the heroism and unswerving devotion to duty of the pilots on whose shoulders rests the responsibility of carrying the mails through and maintaining an unbroken service despite the dangerous and apparently impossible conditions with which they are faced. The air scenes in “ Night Flight ” are remarkable for their wild beauty, the shots of a plane speeding over the huge, threatening peaks of the Andes, and being caugnt in a tremendous down-draught which drops it 2000 feet in a few seconds so that it is forced to zig-zag madly through a rocky canyon to escape destruction, and of another machine fighting an heroic but pitifully unequal _ battle with a cyclone, which eventually brings destruction to it and its occupants, being two of the most arresting features of the production. _ There ia an unusually strong cast, including John and Lionel Barrymore, Clark Gable, Robert Montgomery, Helen Hayes, Myrna Loy, and William Gargan, and each carries out his or her part in a manner which makes the most of the opportunities offering, the character of (the story militating somewhat against anything in the nature of arresting individual performance. Despite this fact “ Night Flight" is definitely a picture to be seen, for it is a sincere tribute to the undying heroism of the men who place duty before self in order that their fellow-men might be served. There is an excellent supporting programme. The box plans are at the theatre and the D.I.C.

STRAND THEATRE Edward G. Robinson, noted for his dynamic portrayals in character roles, has a congenial part in "I Loved a Woman," the entertaining Warner production which heads the current bill at the Strand Theatre., The actor gives a forceful performance, and, although he is supported by a very strong cast, be is the dominating figure in the story. The plot of the film is biographical in character, and. has apparently' been based on the life of a merchant prince who lived m Chicago between the years 1892 and 1910. Robinson appears as a young man whose artistic sensibility completely outweighs his business attributes, and who is suddenly recalled from Europe by the death of his father,: finding himself unexpectedly the head of a large canning factory. The young man’s charming but ineffectual wife cannot inspire in him any spark of ambition, and it is only when he comes into contact with an ambitious opera singer, who wins his love, that he makes'a serious endeavour to become a captain of , industry. Kay. Francis and Genevieve Tobin set forth with fine artistry the characters of the two, women. There is an intensely dramatic climax, which provides a gripping conclusion to an unusual story. The supporting programme is as entertaining as it is varied.. The box plans are at the theatre and the D.I.C.

OCTAGON THEATRE “I Loved You Wednesday,” a modern comedy drama with a broad vein of sophistication, is the principal picture at the Octagon Theatre this week. The story is portrayed by Elissa Landi, who has never been seen to greater advantage, and Warner Baxter, whose performance os an American engineer of the strong, masculine type ia also an admirable piece of work. 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 out in “I Loved You 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 Mere, dith, who is studying dancing in Paris. The man of 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 ia 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 pres-ent-day audiences. Dialogue that is to the point, amusement which is to be found in a whirl of gaiety, and the capabilities of the producer in 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 js there that Philip Fletcher (Warner Baxter) is encountered. Meeting with success in her dancing, Vicki finds herself in New York some years later, and she and Fletcher become engaged. But fate bringup 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. Williams’s wife, Cynthia, is also iu New York, and the fom of them display a disinterested curiosity in each other’s affairs that is productive of unusual humour. Miss Landi is a disturbingly attractive young woman in this picture, showing that vivacious charm peculiar to Continent”! types, while Victor Jory ns Randall Williams, in spite of his evident self-sati'fnction. is an engaging young man. In every respect. the picture is a thoroughly entertaining comedy that never flags for n moment. The Supports also are of a verv high standard, and include a wide range of subjects. The box plans are at the theatre. Charles Begg and Co.’s, and M'Cvackcn and Walls’s.