AMUSEMENTS

Otago Daily Times, Issue 22325, 27 July 1934, Page 15

AMUSEMENTS

STATE THEATRE England’s leading director, Victor Seville, who made "The,Good Companions” and“l Was .a Spy,” has produced what is said to excellent picture in “ Friday, the 13th,” the Gainsborough film which will be screened today at the State Theatre. This is a very human and intensely interesting picture, marked by brilliant acting from some of England’s leading players. “Friday the 13th ” imitates the technique of that successful stage play, “Dinner at Eight,in that the audience follows a handful of widely differing characters through various episodes and adventures which finally bring them to a central meeting point. They all reach the climax of their byes in a bus just prior to a crash in which two of them are killed and most of the others injured. There are, in fact, six clever stories combined into one in this film, but unlike some episodic films of this type, “ Friday the 13th ” is given cohesion, right from the jump by the ingenuioua way in which the chief characters are introduced. We see them ill the bus, s minute or so before the accident, then comes the crash; and then the clock is -put back 24 hours to show the events which brought them all together at that fateful moment. There is rich humour, strong drama, and clever characterisation in each of the six separate facets of the film. The dialogue, the work of Emlyn Williams (who also gives one, of the finest performances in the production), is easy and natural arid helps, not a little in making the. film entirely convincing. Of the travellers! in 1 the bus there is Millie, the non-stop variety girl, whose romance with a schoolmaster is almost ruined by the attentions of an unpleasant theatrical agent; there is Joe, a-shady dealer in the Caledonian market, who is almost caught red-handed by a persistent detective; there is Jackson, the clerk, whose faith in his faithless wife provides the film with its touch of tragedy; there is Frank, a young man about to get married, whose life is nearly ruined by the attentions of a suave but loathsome blackmailer; there is the forgetful wife of Wakefield, a “big business man, whose forgetfulness for once proves a , blessing to her husband: and there is little Mr Lightfoot. a henpecked fellow who strikes up an acquaintance with a ‘ lady in the park and goes about with mixed feelings of elation and fear at his daring. None of these characters has any connection with the others until they meet in the bus; yet the accident provides the solution to all their troubles. The cast of « Friday the 13th ” is equal in strength to that in “The Good Companions. Indeed several of the players in the latter film are included in it, Jessie Mattne\ve is Millie, the chonis-drl. Edmund Gwenn is Wakefield, and Max Miller (who contributed a few unforgettable moments to “ The Good Companions ” with lus portrayal of the music agent"! gives a longer performance in a similar vein as Joe. Then there are Robertson Hare as Mr Lightfoot. Sonnic Hale as the bus conductor, Eliot, Makeham ns the tragic little clerk, arid Emlyn Williams as Blake, the blackmailer. Gordon Darker. Ursula .Jeans. Alfred Drayton. Belle Ghrystal, Frank Lawton, and Donald Calthrop are others of note in a cast that is truly brilliant: and each is so good in his or her individual wav that it is impolitic to discriminate between them. The box plans arc at the theatre and Charles Begg OCTAGON THEATRE The success of “ Sorrell and Son ” at the Octagon Theatre during the past week has been such that the management nns felt justified in extending the season in order to give patrons who have not already seen the picture a chance of doing so before the film definitely passes on to another centre. The picture wag almost assured of an enthusiastic reception by reason of the fact that the novel from which it was adapted was one of the most successful that has come from the, pen of Warwick Deeping. The theme itself is one of absorbing interest and, moreover, one that lends itself readily to translation to the talking screen. In addition to this the general atmosphere of the story makes its appeal to the average British audience in a way that stones with a different background can hardly hope to do. The cast that has been chosen to enact the various roles is a strong one, and careful selection in order to secure the best results with the human material available is evident in the allotting of the characters. IT. B. Warner, as "Captain Stephen Sorrell, the father, gives a wonderful performance, and, wins the genuine sympathy of the audience. When misfortune comes to Captain Sorrell, after the war. his wife Dora leaves him for another man. Their small child, Kit, played by young Peter Penrose, remains with Sorrell—and round this boy he sets out to rebuild hi s world. They go together to the village of Staunton, where Sorrell was to have had a job in an antique shop. But during their journey the proprietor dies—and Sorrell is left penniless. That night he throws over the pretences he has hitherto kept up tells his hoy frankly the situation, and next day, in an employment agency, becomes porter and boots at the Angel Hotel. His struggles in this new and difficult life will he remembered by all who read the book. He sticks to it for

the sake of his eon, and finally manages to educate him and make him a great doctor. The older Kit Sorrell is played by Hugh Williams. The climax to this romance that has touched the hearts of thousands of English-speaking people is delicately and sympathetically done, and one leaves the theatre feeling that one has seen a picture about real people. This week’s supporting programme contains a well varied selection of short subjects which are treated in the interesting manner that characterises the average ‘‘ short.” GRAND THEATRE Featuring the brilliant young dramatic actress, Rosemary Ames, “ I Believe in You,” a Fox production, forms the leading attraction on this week’s programme at the Grand Theatre. Although a comparative newcomer to the screen, Miss Ames gives a performance that stamps her as one of the outstanding screen artists of the day, and as True Merrill, the girl' who has her ideals of sincerity and loyalty rudely shattered by her association with a band of pseudo-Bohemians, she handles a particularly difficult part with all the ease and artistry of a veteran player. The powerful story on which the picture is based has been skilfully treated by the producers, who have drawn a striking comparison between that section of the community whose sole stock in trade consists of lip service and those who have accomplished something. Thrown into the company of a labour agitator and his friends, the girl at first gives them all her loyalty and help, and eventually persuades a friend of berg to provide them with sufficient funds to keep them going for six months, and so give them an opportunity to achieve their respective ambitions. Her friend has already warned her of their true character, and when they, by their conduct, bear out all that he has told her she is bitterly disillusionised, and at first has an idea of doing away with herself. However, she remembers her friend’s first words —that it is not life that matters; it is the courage you bring to it, and she goes back to resume her own career, and her friend, instead of demanding his pound of flesh, teils her it was enough for him to have her thanks. While her Bohemian friends were dissipating their chances, the girl has been writing, and when her despair is greatest she receives word that a publisher is interested. He tells her the book will have a great sale, but that it is so fine he wishes to include it on his list. Small though her cheque is, she takes it to her friend as first repayment of her debt to him. He pleads with her to let him see her, but she insists on going on alone, though she permits him to feel that, perhaps, some day they may meet again. John Boles, as the girl’s friend, is cast in a part that suits him admirably, and the subsidiary parts are capably handled by Victor Jory, Gertrude Michael, George Meeker, Leslie Fenton, and Jed Prouty. The supporting feature, " Sleepers East,” is an engrossing story of a giri who unwittingly becomes mixed up in a murder mystery, and through being on probation for a crime of which she is innocent is afraid to conic forward with the-true story for fear of being sent back to prison. Wynne Gibson gives a superb performance as the girl who knows all, while Preston Foster’s performance opposite her is one of his best portrayals to date. The stellar east that docs so remarkably well in the minor roles includes Harvey Stephens, Mona Barrie, Roger Imhof, J. Carrol Naish, Howard Lally, and Suzanne Kaaren. The box plans are at the theatre and Messrs Chas. Bcgg and Co.’s. EMPIRE THEATRE There was a decidedly large attendance at the Empire Theatre last night when “ Footlight Parade ” was given its initial screening at a midnight matinee. The picture, despite the suggestion contained in its title, is not merely another of the many stereotyped beauty parades which have become so common as be little short of unattractive, but is a film which will be thoroughly enjoyed by all who see it. Some of the most elaborate sets ever seen in a picture are presented in this brilliantly conceived production. But the film is more than a mere revue, as it contains two appealing romances, and is brimful of delightful wit and comedy. Many gorgeous spectacles have been produced from time to time, but ‘‘Footlight Parade ” has the outstanding merit of being different, and the four great song hits which provide the astonishing climax are marvels of originality and pcr f ectiou. Each of these spectacles is based on a popular song hit, which is sung by those two charming romantic players, Ruby Keeler and Dick Powell. “Sitting on a Backyard Fence,” “ Honeymoon Hotel,” “ By a Waterfall,” and “ Shanghai Li!,’ are songs that linger in the memory after the show, and their presentation is a wonderful tribute to the advance that the .talking screen has made. “By a Waterfall ” is a spectacle of dazzling brilliance, with a large number of beautiful girls performing extraordinarily graceful evolutions under and above water in a large tank. The story is based to a large extent on back-stage life and the struggles of producers aud chorus girls to earu a living in the face of the terrific competition of the present age. James Cagney, as the theatrical producer who invents ideas for units to be used as musical prologues

in talking picture theatres, gives a sterling performance. Joau Blonde!! is excellent as the young woman who steers him through his troubles, and Ruth Donnelly, formerly a noted stage actress, also provides a good deal of the fun. The principal romantic interest is provided by Ruby Keeler and Dick Powell, who are now well established favourites. Busby Berkeley, who staged the spectacular dance ensembles for “ Footlight Parade,” had his hands full with 250 girls on the stage. There were many new and intricate steps for the girls to learn. Not all of the girls were experienced in stage dancing, for Berkeley had picked them for their beauty and personality from all walks of life. Some needed private coaching before they could master the steps. Ruby Keeler, famous for her tap dancing on the Broadway stage, was assigned the task of putting the girls through their steps. So she actually performed during reheax-sals the work which she is shown doing in the finished production. Prior to the commencement of the screen programme, Miss Iris Mason made her final appearance at the Empire organ, presenting a medley comprising excerpts from the musical score of “ Footlight Parade.” There is also an attractive supporting programme. The box plans arc at the theatre and the D.I.C. ST. JAMES THEATRE An international cast was gathered for “ Madame Spy,” the powerful and intriguing drama which will be screened today at the St. James Theatre. Fay Wray and Nils Aether, Edward Arnold, John Miljan, Noah Beery, Vince Barnett, David Torrance, Douglas Walton, Oscar Apfel, Robert Ellis, Mabel Marden, Alden Chase, and Rollo Lloyd playing the leading roles. The action takes place in Vienna, Berlin, Leningrad, and other Continental capitals, and the result is said to be one of the most interesting .background displays of Continental life ever placed on the screen. Karl Freund, director, with his familiarity with European customs and manners, was invaluable in staging the production. “ Madame Spy” also dips back into the World War for a number of' its scenes. Speciallybuilt sets were made, capturing the gay thoroughfares of Vienna, the grand ball room lanfarcs of Russian court life, and the World War.setting of Unter den Linden. One of the outstanding highlights in the picture is the Cafe Marabu. Another touch of real life is the hospital train, with its drab and sordid inmates, personifying the cruel and devastating results of battle. The story deals with the military operations on the Russo-German frontier in 1915. A German aeroplane is brought down in flames while investigating a Russian ammunition dump, and from the wreckage steps Captain Franck (Nils Asther). After recovering from his wounds he marries Maria, his nurse, thereby uniting in matrimony representatives of the German and Russian secret intelligence departments. The arrival of Captain _ Weber (John Miljan) to work in conjunction with Herr Schultz (Edward Arnold), a great spy-catcher, signalises the commencement of a campaign against the Russian agents in . the town. Eventually Maria is unmasked, but how that is brought about and also how she escapes across no-man’s-land and later has her husband in her power is said to constitute a chain of events spectacular and absorbing in the extreme. A strong supporting programme includes a humorous sketch and a “ Strange as it Seems ” series. The box plans are at the D.1.C., M'Cracken and Walls’s, and Jacobs’s. REGENT THEATRE Thirty-six costumes form the wardrobe required by Kay Francis in tin stellar role in “ The House on 56th Street,” which will be opened at the Regent Theatre to-day. This is said to be a record for any film artist. Opening in the first years of the present century, the drama comes to a climax in 1933. Thus Miss Francis’s wardrobe constitutes a panoramic review of what the American women have worn for three decades. In fact, a complete cycle is established, since the gowns the star wears in the final sequences bear a striking resemblance to those worn 30 years before. The story is that of a beautiful girl who weds a millionaire New York clubman and is idealistically happy until she innocently becomes involved in the death of her former lover. Released from prison, she becomes hostess in a night club in the very house she had occupied as a bride. The climax comes when she saves her daughter, who does not know her. from a scandal similar to her own. Ricardo Cortez. Gene Raymond, Margaret Lindsay, and John Halliday are important members of a strong cast. STRAND THEATRE The screen version of Zane Grey’s world-famous novel, “ 'The Border Legion,” entitled “The Last Round-up,” will be commenced at the Strand Theatre to day, and theatre-goers will see again an old favourite of the “silent” days, Monte Blue, heading the imposin'; cast. Supporting the star are Randolph Scott and Barbara Adams as the romantic leads, Fred Kohler as the villain, aud Fuzzy Knight, who supplies the comedy element. The ballad, one of the most popular of the present time, from which “ The Last

Round-up" takes its title, is interwoven into its 60 minutes of fast-moving adventure of the love and thrills of the dangerous seventies. It is a colourful exposition of gangdom on horseback preying on the gold-rush adventures of California and Arizona. With the injection of this tune into the production, none of the thrills of banditry aud battle were overlooked by the studios. Randolph Scott as the hero, Jim Cleve, is said to give the best performance of bis career. Barbara Adams, making her debut as Joan Randall, is revealed as a striking new type of leading woman, while Monte Blue gives an excellent performance in the role of Kells, the hard-riding legion leader. The story is a vivid account of the raiding border legionnaires, with whom Scott is forced to share his lot. Miss Adams becomes a captive of the legion, and it is around the attempts of Scott to rescue her from Blue and Kohler that the action revolves. KING EDWARD THEATRE There are no fewer than 10 well-known screen personalities in the cast of “ The Secret of the Blue Room,” a thrilling and gruesome drama of murder in an old castle, at present being screened at the King Edward Theatre. The story opens with the cheerful scone of lovely Gloria Stuart’s twenty-fifth birthday parly. Round her are her three admirers—Paul Lukas, Edward Arnold, aud Oswald Stevens. The role of her father is taken by Leonard Atwill. Over this happy gathering is cast the dreadful shadow of mysterious happenings and murder in the room known as the “ Blue Room.” There are several people who might easily lie responsible for the crime, hut the task of discovering the real criminal proves to ho no easy one, and the interest is held in an absorbing manner until the startling and unexpected climax is reached. There is also an entertaining programme of supports.