EMPIRE THEATRE

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

EMPIRE THEATRE

Dorothea Wieck, the screen personality who created a sensation overseas in the recent “Maedchen in Uniform,” which has not been presented in New Zealand, scores a definite triumph,in “Cradle Sons,” the principal attraction at the Umpire Theatre. The film was screened for the first time at the theatre on Friday, and the audience was impressed with its beauty and sincerity. In a role bristling with difficulties, Dorothea Wieck gives a convincing and moving performance with an art that conceals its own cleverness. Although based on the rather hackneyed theme of mother love, the production never lapses into sentimentality, due to the sympathetic and experienced direction of Mitchell Lcisen. He has carefully pre-

served the spirit of Martinez Sierra’s play, of which “Cradle Song” is the film version. The story is unfolded with an unusual dignity and charm and through it all there dominates the personality of Dorothea Wieck. The more emotional scenes she carries off in an effortless manner, yet her acting is vibrant. From the time she tenderly .farewells the family she has mothered from babyhood to enter a Spanish convent, until the poignant final scenes of the production, the actress make a dignified, unobstrusive conquest of the audience. Apart from the narrative interest, “Cradle Song” affords a splendid study of the psychology of mother love. A strong supporting programme ia shown, and Miss Iris Mason presents several attractive organ selections. \The box plans are at the theatre and the D.I.C. “TAKE A CHANCE.” What happens when four irresponsible side-show entertainers decide to brave the perils of the Great White Way in search of fame and fortune will be revealed at the Empire Theatre on Friday, when “ Take a Chance,” which ia aaid to be one of the year’s finest musical comedies, will be presented for the first time in New Zealand. A feature of the piece is Lillian Roth’s singing of “Eadie Was a Lady,” but this is only one of the many song hits. In one of his songs Cliff Edwards uses a new development in film technique. It is done in a typical Graham M’Namee manner and adds much to the enjoyment of the tune. Cliff’s subjugation of a tribe of head-hunters by means of his abbreviated banjo is a joy to witness. Several of the dances performed by the chorus also are worthy of note. “New Deal Rhythm ” particularly shows what can ho done with interpretative dancing. The number, which endeavours to explain the increased tempo of American life under the impetus of N.R.A. first presents a beautiful chorus of 50 in a typical pre-depression jazz number. Through trick photography the girls’ frilly costumes change into full dress as they dance a “Wall Street High Hat” routine.

KING EDWARD THEATRE Slim Summerville and Zasu Pitts are seen together in “ Love, Honour; and Oh, Baby,” an' uproarious comedy, which is being screened at the King Edward Theatre this week. Slim plays the part of a lawyer, while Zasu, as his girl friend, is a file clerk who acquires all the facts of life from her “ hard-boiled ” employer. The story is centred round _ a breach of promise action, in which Slim acts for the plaintiff, and Zasu is an important witness, and some remarkably ludicrous situations arise. Verree Teasdale is the blonde villainess, and .George Barbier, Lucille Gleason, Donald Meek, Purnell Pratt, and Adrienne Dore are also in the cast. A gripping film of polar adventure, “ S.O.S. Iceberg,” is another feature of the programme.