AMUSEMENTS

Otago Daily Times, Issue 22286, 12 June 1934, Page 12

AMUSEMENTS

STATE THEATRE With Janet Gaynor, Lionel Barrymore, and Robert Young in .the stellar roles, “ Carolina," which is how in its second week at the State Theatre, is a romantic story in which the glamorous past of the (Southern States is blended with the present. Indeed,, the atmosphere of the whole production, with the beautiful background of an old colonial mansion, strikes an authentic note that does much to, make the film the success it is. An especially attractive feature is the harmonious singing of the negro servants, and'their , haunting melodies seem to pervade the whole picture. The story opens with, a study of the Connolly family, unpractical and impoverished—in fact, thoroughly gone to seed —living in the past among old silver and family portraits, but with their credit seriously, unpaired at- the local store". One of the principal characters is old Uncle Bob, a broken Civil War veteran,-still pathetically boasting of his former .triumphs, and with his mind in a maze as a consequence of an unfortunate love- affair in his youth. Mrs Connolly still retains more than her share ,of Southern pride and intolerance of modern things, while Will, her son, makes halfhearted attempts to restore ; the decayed farm lands of . the estate. Into this atmosphere comes a spirited young family from the north, Joanna and .her' two., small brothers, who set to work cultivating 'tobacco on ' some of the land leased from the'- Connollys; Will promptly falls in love with the, plucky orphan girl,-and ; immediately - his tyrannical mother opens hostilities. Mrs Connolly has a more ambitious match in view for her son* and orders Joanna, with her crop unharvested, off the estate. Will arrives while Joanna is pleading with Mrs Connnolly for a chance to harvest her .crop, and immediately a critical situation arises, the arrogant mother being compelled to capitulate as an alternative to losing her son for ever. Miss Gaynor has achieved yet another triumph in the role of Joanna, while Barrymore’s study of the unhappy old uncle is a .masterpiece. Robert Young plays the part, of Will Connolly with distinction, and Henrietta Grosmans portrayal of Mrs . Connolly, is also an . admir-able-performance. The other members of the cast are also well suited to their roles. There is,;, in addition, an entertaining and diversified supporting programme. The box'plans are at the theatre and the D.I.C. “ FLYING DOWN TO RIO.”' In “ Flying, Down to Rio,” which will be shown at the’ State - Theatre to-mor-row', Gene Raymond takes his American jazz -band to Rio dc Janeiro to open a show in a new. Hotel. He falls in, love with' Dolores D,el Rio, daughter of the hotel owner, and a rivalry develops between Raymond - and Raoul Roulien, a situation complicated by ; the fact that Roulieu has been engaged- to Del Kio tor years. When the “ heavies,” a syndicate of Greek gamblers, try to spoil the deal and ruin Dolores’ father by getting city officials to prohibit ■ Gene’s show, that young man foils them all by .taking his band and bis 200 beauties aloft. In full view of thousands of awed Brazilians, girls sing and dance on the wings qf aeroplanes, adagio dancers hurl their fair partners from, one plane to another, and ballet dancers trip the - light fantastic while fluttering earthward in parachutes. Dolores and Gene are then married by an aeroplane pilot, and everybody Jives happily ever afterward. Any attempt to list the delightful and thrilling innovations introduced in this production is futile. “ Flying Down to Rio is one of those films that . has to he seen to he apprccated. Del Rio. a s a Latin-Amen-can beauty, gives a fine performance, as does Raul Rbulieh, celebrated Spanish and South American star, whose beautiiul tenor voice lends enchantment to many of the romantic melodies written for the production by Vincent Yonmans, with ■ Ivrics bv Edward Eliscu and Gus Kahn, the picture also marks the film debut of'Fred Astaire in a stellar role. Astaire, idol of New York and London musical comedies, and one of the best character comedians on the stage to-day, is paired with Ginger Rogers in a humorous romance. Their exaggerated tangos come close to stealing the show, while Ginger s cow-girl ride on the tail of a plane is one of the production’s high spots. The film is elaborately staged against the tropical and architectural beauty of Rio de. Janeiro. Native instruments and orchestras are beard. Chorus routines, featuring 160 dark beauties said to have been selected from 10,000 California si,-Is enact many daring terpsicliorean novelties. One, of these is the, presentation of the tango by 16 couples, dancing iu unison and perfect formation. Of the sets, one in particular merits special mention. Representing a night' club of the future, -it ■ is, built. to the interior of a dirigible. The tables, of glass edged with polished silver, are shaped like the tail of an aeroplane, while the-orchestra, in a balloon basket, soars about over the heads of the dancers.

GRAND THEATRE “ Romantic New Zealand,” which is now being screened at the Grand Theatre, is continuing to draw well-deserved patronage. The film, which was made by Filmcraft, Ltd., with the assistance of the New Zealand Government Tourist and Publicity Department and Trucolour Filins, Ltd., is a pretentious production, an 4 it is expected to prove valuable tourist propaganda when shown overseas. Considerable taste has been shown in the preparation of the picture which may best be described as a cyclopaedia to New Zealand, for it deals not only, with the many and varied tourist attractions of the Dominion, but also with the history, progress, industries, bird. life and customs of the Natives. Opening with an excellent recording of the New Zealand National Anthem, “ God Defend New Zealand,” sung both in English and in Maori, the firm goes on to relate the discovery of the Dominion by the Dutch sailors and later the visits of Captain Cook. The Natives and their methods of living are the subject of a fair proportion of the film, the songs and dances of the Maori being portrayed with a wealth of descriptive detail. From a scenic point of view the film leaves nothing to be desired. Commencing with the thermal region of the North Island, the outstanding tourist attractions of all parts of the country are covered from many angles. In the hot lakes district and around Rotorua, the cameraman has jet few matters of interest escape him, while at Mount Cook and Tongariro N a ti° m ?l Park the winter sports are made particularly attractive by the ■ methods, of treatment accorded them. - The might of the great glaciers of. the Southern Alps > is graphically depicted and the majestic forests —kauri iu the north and evergreens in the south —are given their due share of attention. The four main centres of , population are photographed from above and all around. Auckland, with its beautiful harbour and liners berthed right in the heart of the city, is placed before the audience first, and the capital city ig next dealt with. Aerial views of Wellington and brief glimpses of its charming seaside suburbs, portray the chief city to excellent advantage. Dunedin is similarly treated, and Christchurch is accorded its portion. • The agricultural, pastoral, and secondary, industries are dealt with in some detail, and there are some very interesting scenes depicting the gold mining of early days and dredging as it-is-now earned out. The main film is supported by an entertaining picture, “ Ever Since Eve.” The box plans are at the theatre and Begg’s. EMPIRE THEATRE Featuring Dorothea Wieck in the leading role, “Cradle Song” occupies pride of place on the current bill at the Empire Theatre. Apart from the interesting story around which it is constructed, the picture affords a striking study of the psychology of mother love. , The, plot centres round a girl who, having entered a convent to escape the cares of the world, has her inherent spirit of motherhood stirred by the cries of some children playing outside the convent > gates. At length, a tiny waif, a baby girl, is left at the institution, and is immediately taken charge of by the young nun, who lavishes all her pent up affection on the foundling. Mothered by her, protectress, the child grows up in the peaceful seclusion of the convent, until romance enters with the appearance of a young engineer with whom she falls in love. Her foster mother is. now torn between the desire to do her duty to her order and to see the girl happy, and her subsequent decision and the events leading up to it make an appealing and exceedingly human storyAs the.-nun, Dorothea Wieck gives a brilliant performance, marked by a deep and intelligent-understanding; of the requirements of her past, and she :i$ fortunate in having the- assistance of, an unusually capable cast. Louise Dresser gives a convincing portrayal of the prioress of the content, and considerably enhances her performance by, her flashes of quiet humour. Evelyn Venables and Kent Taylor handle the subsidiary roles efficiently The supporting programme includes a news gazette, an interesting sportlight feature, a “Mickey Mouse” cartoon, and a novelty number entitled ■“ Please.”- Miss Iris Mason renders a programme of selected organ music. The box plans are at the theatre and the D.I.C. “TAKE A CHANCE.” “Take a Chance,” the-new Paramount musical film, which will commence at the Empire Theatre-on Friday,’is a gay bit of nonsense concealing the careers of four carnival side-show entertainers who become tired of small-town life and decide to snatch fame and fortune on Broadway. James Dunn and Cliff Edwards, who just cannot keep from pocketing other people’s watches and miscellaneous valuables, make a splendid team. Dunn, who 1 has played romantic leads exclusively in the past, steps oyer into farce-comedy though born to it. June Knight and Lillian Roth support them well. “Take a Chance ” has a much stronger plot than the usual musi-

cal film, besides boasting of a chorus of Broadway’s prettiest girls and at least five hit songs. Opening at a small-town carnival, the picture follows the careers of the four irresponsible youngsters safely through the villainies -of a crooked gambler and a jealous actress* and ends with a double romance between Dunn and Miss Roth and Charles (“Buddy”) Rogers and June Knight. Robert Gleckler, as the gambler , who plots the rum of Miss Knight, and Lillian’ Bond, as the actress who - wants to force Rogers to marry her, provide both thrills and laughter throughout the story. OCTAGON THEATRE Elissa Land! and Warner Baxter are associated in the leading roles of ‘I Loved You Wednesday,” an entertaining comedy drama of the more sophisticated type, which is at present being shown at the Octagon Theatre. In her role of Vicki Meredith, who is . studying dancing in Paris, Miss Landi is given an opportunity of displaying another side to her versatile stage qualifications, for she is seen- in a modern' role which is a sharp contrast to her more serious parts. The man of whom she first becomes enamoured is Randall Williams, , played by Victor Jory, and their friendship is full of happiness until she hears of the existence of his wife. When she decides to forget her unhappiness in South America, Vicki encounters Philip Fletcher (Warner Baxter), and later when she becomes a' successful dancer and secures an engagement on the New Yoi’k stage, she and Fletcher are betrothed. Fate, however, resurrects some of the past which she has, been, determined to forget, when it brings Randall Williams again into her life, and Williams endeavours to'influence her as ho had been wont to do in Paris. Williams’s wife, Cynthia, is also in New York, and the four principal figm-es in the tangle display a disinterested curiosity . in each other’s affairs that is productive of unusual huuiour. The time of ‘ the story is tinged with old-time romance, while the dialogue is witty and to the point. There is an excellent supporting programme. The box plans are at the theatre and the D.I.C. " ' ' ■ REGENT THEATRE Helen Hayes, John and Lionel Barrymore, Clarke Gable, Robert Montgomery, and Myrna Loy are included in the talented cast assembled for “Night Flight,” the thrilling aviation picture now being shown' at the Regent Theatre. In this film the producer has covered the full sweep of. the night flying'force, permitting the onlooker first an insight into the organisation and disciplinary measures necessary in so dangerous an occupation. The camera is then shifted in sitrring and gripping effisodes to “shots” of certain characters who find themselyes close to death as a result of battle with the elements. And. finally, is seen the plight of the women left at home, the wives who are driven to desperation when they no longer know whether the men they love are still alive. The scenes work up to a compelling climax as the result of the manner in which the director has cut back and forth from Clark Gable in his storm-battling plane to John Barrymore, tense in his office, to Hel»n Hayes, frantic over unfavourable wireless reports. Both John and Lionel Barrymore, the one as the mail company’s stern manager and the other ns the easy-going mspector, are as usual in faultless form. Helen Hayes has never been seen to greater advantage than as the pathetic wife, Gable and Montgomery are excellent as the flyers, and Myrna Loy contributes an effective characterisation as the other wife left behind. Outstanding ; n lesser roles are William Gargan, C. Henry Gordon, Leslie Fenton. Harry Beresford, Frank Conroy, and Ralf Harolde. A strong supporting programme iq shown. The box plans are at the theatre and the D.I.C. “ROMAN SCANDALS.” Eddie Cantor in “ Roman Scandals,” a classic fable by George S. Kaufman and Robert Sherwood; comes to the Regent ' Theatre on Friday with Ruth Etting, Gloria Stuart, and David Manners. A whimsical and wild-eyed lad, always daydreaming of life in the days of the Caesars. Cantor suddenly finds himself a spokcsmaii for the poor and the oppressed before the mighty Emperor Valerius. The affairs of State and the course of true love both get a helping hand, but it is not until he attempts an escape from Rome to the sen, with the Emperor’s charioteers, thundering through the dust in pursuit, that the classics take on the form of real flesh and blood to him. As a screen play, “ Roman ■ Scandals ” de- i

! mands more of. Cantor than any thing, he has yet attempted in talking pictures. His role is a human, believable one; the story alternates between the simplest human comedy and the wildest nightmare of fantasy. A hundred beautiful girls keep time with their dancing feet to Eddie’s new ditties and the mellow ballads of Ruth Etting. Frank Tuttle directed the picture. ’ ST. JAMES THEATRE ■■ Baaed on a struggle regarding principles between two professions—medicine and; journalism—“ The House of Trent,” a dramatic picture of intense human interest, is now being shown at the, St. Janies Theatre. It is a gripping story of cruel misunderstanding, ignorance, unwarranted condemnation and deep affection—both in the family 'of young Dr Trent and outside of it. The human interest and the appealing artist's who.play out the plot make this picture well worth seeing.. It is a welcome, change from society or gangster melodrama, and *an entertainment refreshingly presented. The acting throughout is effortless enough to ensure an hour of unstrained entertainment, for all the . roles are "well taken. ■ The' beautiful Wendy Barrie is a fitting secondary lead to Anne Grey, whose reputation, now needs no special mention to pieturegoers. Anne Grey is first the'bride of 30 years ago and later the mother of to-day, and she plays her , part with tbe enthusiasm of youth :,and. the .sympathy of .maturity as the periods demand. Her son, John. Trent, is played by John Stuart,' who is a pleasing young doctor and a generally sane lover. The less important roles are suitably cast. “ House of Trent” is a challenge to those who are hard of heart and quick to judge, and for anyone it is.a restful entertainment. The short features include a newsreel, a travel talk of remote Africa and Larwood’s demonstration of leg theory bowling, showing several of England’s best known cricketers. ■V “ON THE AIR.” The accumulation of the best turns of a number of extremely, popular British Broadcasting Company stars • and the weaving of a story around their clever and novel presentations has resulted iu a delightful radio musical entitled “On the Air.” It is seldom that the opportunity occurs for one to both see and "hear favourite broadcasting and recording artists, and for.this reason alone “ On the Air ’’ should prove, very acceptable entertainment. The fame of the many artists concerned makes it unnecessary to dilate on their talent as screen performers, for in practically every instance they register their act precisely as they would before the microphone, and, patrons who know their radio, stars will know, exactly what to expect. It . is. sufficient to state that among the most prominent in a cast of 50 stars are Clapham and Dwyer, Scott and Whaley, Teddy Brown, Betty Astell, Reginald Purdell, Davy Burnaby, Derek Oldham, Anona Winn, Hugh Wright, Mario de Pietro, Jane Carr, Eve Beck, Harry Champion, Max .Wall, Laurie Devine, Edwin Styles, Buddy Bradley’s Rhythm Girls, and Roy Fox’s band. “On the Air” will be next Friday’s attraction at the St. James Theatre. STRAND THEATRE A performance of considerable dramatic force-is achieved by Edward G. Robinson in “ I Loved a Woman,” which heads the programme at. the Strand Theatre this week. Noted for his dynamic portrayals in character roles, Robinson handles his part in a manner that, although he is supported by a very strong cast, permits him to dominate the story completely. Biographical in its characteristics, the plot has apparently been based on the life of a merchant prince who lived in Chicago between the years 1892 and 1919. Robinson appears as a young man whose thoughts ' are turned more to matters artistic than to commerce, until he is unexpectedly recalled from Europe to assume control of a large canning business on the death of his father. The young man is somewhat, hampered in his attempts to enter big business by the lack of support afforded him by his charming but somewhat futile wife, and it is on'y when he falls in love with an opera star, whose intense ambition fires in him a similar sentiment, that lie succeeds in stepping into the shoes of his progenitor. There is an intensely: stirring climax, which provides an excellent conclusion to an unusual story. The parts af the two women in the case are played by Kay Francis and Genevieve Tobin. There is an entertaining programme of short subjects. The box plans are at the theatre and the D.I.C.

. . “ BOMBAY MAIL.” A bizarre and exotic backgroundroaring railroad trains, teeming railroad stations, docks, and an , ocean liner—is among the most interesting features of t}ie gripping “Bombay -Mail,” an Oriental murder mystery, which will be the jffrand Theatre's next attraction. 1 A lavish Indian train, the Imperial Indian Mail, is the scene of most of the. action. This is a 10-car train, with the white private car of the British Governor, who is murdered, the most interesting location. Two Indian railroad stations, one shown during the reception given by'one ,maharajah to another, and the other revealed ■ during the night, also form backgrounds ■ for crimes. From a standpoint ; of colour, the station at Calcutta,- where the - train starts, and. the docks- at Bombay are said to ; be ‘ outstanding.) Edmund Lowe ig starred in the production, ■ with - Shirley Grey, Onslow Stevens, John , Davidson, Brandon Hurfet, and Hedda Hooper in the supporting cast. Lowe is a British police inspector, who, upon finding the British Governor dead,' starts a 36-hour investigation The train makes a 1200-mile trip-through India, and is comparable,, from point of service, to the Royal Scot or the Paris-Rome ’express. ' Vv'KING EDWARD THEATRE Patrons of the King Edward' Theatre will have a final opportunity to-night of witnessing what is undoubtedly one of. the finest programmes presented in a long time; The first feature' is “ Love, Honour, and Oh, Baby.” in which those inimitable comedians, Slim Summerville and Zasu Pitts, are cast in the most important roles. It is an hilarious story of a breach of promise case, with Zasu as the aggrieved party and Slim as a rising young lawyer. The two get themselves into-a decidedly ‘dangerous and; Slim ‘ is in imminent danger of being indicted, but he leads his chief witness brillantly with the. result that his career at law is assured. The other picture, entitled “ S.O.S. Iceberg,” is a' gripping drama of polar adventure. The whole, entertainment is one which is well worth seeing. LAURIER THEATRE ~ ; A particularly strong cast headed by Joe B. Brown appears in “Son of -a Sailor” at the Laurier Theatre, Port Chalmers, to-night and to-morrow. This well-known comedian has given outstanding performances in many pictures. He has a., style of his own, and his peculiar swaggering bravado, together with his naturally amusing face, makes him a favourite .with audiences of all ages.