AMUSEMENTS

Otago Daily Times, Issue 22354, 30 August 1934, Page 15

AMUSEMENTS

__ I REGENT THEATRE - Action is the keynote of the film, Fugitive Lovers,” which has been show* i jug for the past week at the Regent ! Theatre and will be seen there for the last time to-day. Practically the whole of the story takes place while a large passenger bus is making its overland trip front New York to Los Angeles. Early in the journey the bus is joined by a young mao who has made a sensational “ break ” from gaol. lie almost immediately strikes an acquaintanceship with a girl who is being pestered by the attentions of a gangster bully. The budding romance. however, is rudely_ shattered by the hot pursuit of the police, who learn that their man has joined the bus. In aeroplane, by motor cycle and motor car, they pursue their quarry, who leaves the ! bus, springs aboard a freight train, and ' makes good his escape. Once again he i joins the girl, and in the final stages of | the story they sacrifice their one hope of escape by stopping in their flight to rescue a party of snowbound school children. The picture reaches a satisfactory conclusion with the pardon of the prisoner on the petition of the parents of the children whose lives he had saved. Robert Montgomery and Madge Evans have theloading roles,, and the subsidiary cast is also a capable one. There is an enter-' taining supporting programme. The box plans are at the theatre and the D.I.C. '■RED WAGON.” HONOURED BY” ROYALTY”. The film which everybody has been waiting for, " Red Wagon,” British International Pictures’ picturisation of Lady Eleanor Smith’s epic of the circus, will be shown at the Regent Theatre to-mor-row, and following the example of ILK.II. Prince of Wales everybody will want to see it. “ Red Wagon ” claims the great open spaces for its background, and the gay-hearted, hard-boned sous and daughters of the cirCus and gipsy encampment for its intimate revelations of half primitive passions. From this welter of interest there emerges the central story of Joe Prince, born of the circus and orphaned in hia infancy, who, by years of struggle and resolution, at last reached 'what he believed to be his life's ambition. He became the owner of the circus. But what life gave him with one hand, fate took away with the other. He broke the most rigid of circus conventions when he married the gipsy girl, Sheba. The 3'ears of hardship and selfdenial he had endured for the circus were nothing to the months of heartbreak which, marred his love and life with Sheba. ' When Sheba left him for her gipsy lover, he remembered his love for Zara, the woman who tamed tigers. His love for her had been greater even than his love for the sawdust ring, the liberty horses, the elephants, the clowns, and the fun of the “Big Top,” He had loved her once and they might have been happy. Perhaps he had been to blame. Perhaps he had cheated her and fate had cheated back. So new and tender hopes began to possess him. He must go back and take up the broken threads of less sober years. With Zara he did it; together they build again the circus— Prince’s Circus —and go back to the road again. It is an engrossing story flung against a mighty pageant of the circus. A large international east, headed by Charles Bickford, Greta Nissen, and Ilaquel Torres, interprets Britain's greatest picture. OCTAGON THEATRE Lewis Casson, who will be remembered by theatre-goers in Dunedin for his performances at His Majesty’s Theatre a year or two ago, has a prominent role in “ The Night Club Queen,” which will receive its final screening at the Octagon Theatre to-day. The i story is bnilt up round a crippled solicitor and his wife and their struggle to give their soil a chance in the profession which was denied to the father. In her efforts to provide the financial assistance necessary, the mother, played by Jane Carr, is lured into running a night club. Success, however, does not ultimately crown her efforts, for she eventually makes an appearance in court, where she is defended by her crippled husband, who had, been unaware, of the life which his wife was leading. The picture works up to a dramatic climax in which Casson and Miss Carr are responsible fdr some highly effective acting. The supporting roles are well handled, and additional interest is lent to the picture by the love story between the son and the girl whom.be meets at his mother’s night club. The programme of short subjects is a well-varied one. The box plans will be found at the theatre, M'Cracken and Walls's, Begg's,Valid the D.I.C. “ THAT'S A GOOD GIRL.” The management of the Octagon Theatre has selected one of the best comedy pictures yet issued from the British studios for the programme which will be presented to-morrow. It is “That’s a Good Girl,” with Jack Buchanan, Vera Pearce, and Elsie Randolph in the chief roles. Buchanan’s fame does not need to ,be extolled, for his ability as a comedian is, well known to Dunedin audiences. Many wjjl remember “Man of Mayfair,” which was his first picture to come to this country, and he has gone on to further heights, culminating in this new picture, which may truly be described as the funniest yet. -The theme makes few pretentions to newness, but the clowning of Buchanan, assisted as he is by a cast of clever players, is thoroughly fresh and amusing. The story concerns an impecunious young man whose bank balance is in inverse ratio to his spending capacity. Bailiffs spend the days elbowing each other off his doorstep, and the interior of his letter-box is filled with bills from every variety of tradesman known to the West End of London. On bis door is a notice —“ Gone till 1936 ” —and he uses the entrance of a neighbour to get into his rooms, making a perilous journey fiom one balcony to the other. His cat vociferates its desire, for milk with monotonous regularity. In to this joyous realm comes a friend who brings with him a young and pretty girl, and they eventually secure admittance though the introduction of the girl, as a detective causes the young man, whose name is Jack Barrow, ip call in the assistance of the cat to hold the door shut against the visitors. The detective has news, however, which is reassuring. It is that an aunt of Jack’s has the sum of £500,000 in trust for him on certain conditions. Jack’s first thought is to get near the half-million. Among his friends is one Francis, who is enamoured of au opera singer, but for this couple the course of true love runs far from smoothly. Jack urges Berata, the singer, to let Francis come with him to the South of France (where the money is) 1 for a holiday, and Berata, after extracting a solemn oath that Francis will not be permitted so much as to look at another worn art, assents. Jack, then, together with Francis and another young man, sets out for the land where the sun shines, but Berata, not altogether trusting her lover, engages a detective agency to keep an eye on matters. It happens that the lovely detective, who has already made an impression on-Jack, gets the job. Even this does not entirely satisfy the artistic one, and she sets off herself, complete with her orchestra leader, to see fair play. The scene is thus set for some delightful fooling in which Buchanan excels. With the beautiful Mediterranean coast as a background, the picture develops into musical comedy in which the music is decidedly above the average. Buchanan is heard in several tuneful duets with Miss Pearce, and he also breaks into melody on his own account on several occasions. When lie joins a party of girls performing a graceful symbolic dance on a lawn the audience might be excused for thinking that the height of the fun has been reached, but that is not the case. The time comes when everyone's affairs have become so entangled that Jack is threatened with the loss of his fortune if he cannot straighten them out, and he goes to the Opera house where Berata is singing. At first he has difficulty in getting into the theatre, but, is eventually mistaken for one of the chorus and is bundled into the garb of a soldier of ancient times, provided with a spear-like weapon and harried on to the stage with about 40 others. Up to this point things are comparatively well, but trouble arises out of the fact that the other members of the chorus know all about the evolutions they are expected to perform, while Jack does. not. The result is one of the most laughable scenes ever put on the screen. While the famous singer renders dramatic music with effect that should reduce the audience to tears, Jack is causing the house to roar at his ridiculous antics. Ho loses his long boots, which remain to grace the centre of the stage while he capers in socks among the soldiers. His glove flies

off at a tangent in the course of some intricate work with fist and spear and causes trouble in the auditorium, and, to ctown all, when the curtain comCs down he is on the wrong side. Despite all these happenings, however, the story manages to reach a miraculously happy conclusion, with wedding bells for no fewer than three couples. The picture will be accompanied by a varied selection of short subjects. EMPIRE THEATRE The wonderful appeal of the work of Walt Disney could not be more strikingly exemplified than by the popularity of tl.c A lie key Mouse and Silly Symphony cartoons which are being shown at the Empire Theatre this week. Although some of these have been seen before, they are as charmingly entertaining as ever, and one can only hope that some of the others that have been shown in the past may bo resurrected in the same way. There are three of the coloured cartoons and two in black and white, and they provide a delightful first half of the programme. The feature picture is the uproarious comedy “ Palooka,” in which the leading roles are bandied by Jimmy Durante, Lupe Velez, and Stuart Erwin. The plot deals with the experiences of a y oil tig man who is brought to the front rank as a boxer in much the same way as that ascribed to a recent champion. In tact, all his fights are faked, and when he reaches the zenith of hi ft fame he forgets all his old friends until an unexpected defeat brings him down to earth again. The picture offers plenty of humour of the most acceptable kind, and completes a bill of more than usually generous character. The box plans arc at the theatre and the D.I.C. “ BOLERO." “ Bolero,” which will be screened tomorrow at the Empire Theatre, with George Raft in the starring role, and featuring Carole Lombard,' Sally Rand, the fan dancer, Frances Drake, and Gertrude Michael, depicts the private and public life of the world’s greatest dancer. The picture presents George Raft in a role that fits him perfectly, that of a romantic and .adventurous fellow who climbs to success on a ladder of women’s hearts. _ The thrilling and entertaining climactic dance numbers are woven around Maurice Ravels iutornationally-famous musical composition, “ Bolero.” Another interesting feature of the picture is the first screen presentation of the sensational fan dance created by Sally Rand; the dance that brought her fame, fortune, and newspaper headlines. It brought her to Hollywood and a film contract. •William Frawley. a leading Broadway actor recently taken to Hollywood, is also featured. George Raft is one of the screen’s greatest dancers. That is the opinion of Le Roy Prinz. famous Hollywood dance director, who has been associated with the greatest theatres in Europe and America. Prinz bases his assertion on the remarkable espertness which Raft displays in “ Bolero.” In the picture Raft does a tango, the old and_ new style of Charleston, which he originally created, the strut, and the brand new dance called the “Bolero,” which, according to Prinz, contains many of the tango elements, quickened by the Raft easy manner and bis colourful personality. ST. JAMES THEATRE There is no doubting the popularity of those two buffoons, Laurel and Hardy, who head the cast of “ Sons of the Desert,” which is having a successful run at the St. James Theatre. This time they appear as members of one of those innumerable American secret societies, whose chief aim appears to be to hold conventions where as much merrymaking as ossible is indulged in. That is undoubtedly the principal object of the society, “ Bons of the Desert,” to which Laurel and Hardy belong, and although they encounter some opposition from their wives when making excuses to escape to one of those gatherings they manage to get off the chain for a sufficient time to enable them to have a really wild time. Everything has been going wonderfully, or so they imagine, but it is when they return home that they run into trouble; in fact, on their very doorsteps. Laurel and Hardy at their best are always a little better than anyone expects them to be. They always have some fresh variation of their familiar selves to present, some surprise to spring, even when the whole box of tricks seems to have been run through, and this is as true of “ Sons of the Desert ” as of any of their previous films. There is a good supporting programme. The box plans are at the theatre, the D.1.C., . M’Cracken and Walls’s, and Jacobs’s. “FASHIONS OF 1934.” “Fashions of 1934,” which will be shown at the St. James Theatre tomorrow, is an entertainment compounded of a series of novel situations played against a background in which women’s fashions are the main interest. William Powell is the star, debonair, and full of schemes for making money, most of which land him in awkward situations from which he escapes with amusing agility. One or two of the scenes are in the style of large-scale stage tableaux, especially the spectacular San dance, in which 20 beautiful girls arrange themselves and the large fans of ostrich feathers into flowing and unusual patterns. Of the same kind is the “Symphony of the Living Harps,” but though well done, these are incidentals added to a story which is in itself sufficiently interesting. Powell, opposite whom plays Bette Davis, appears as an adventurer who begins by stealing designs of the latest French fashions as soon as,they arrive in New York, and who _ ends by establishing his own “ Maison Elegance ” jn Paris. But it is by his light-hearted unscrupulousness—conveyed in feature as well as by the voice—that he carries the story along. His love story becomes tangled, just like his business affairs, but in it also he manages at the last moment to make' everything go right. The minor characters, especially a Californian ostrich-farmer, who is used by Powell in his moneymaking scheme, are among the many delights of the story. As far as its display of fashions goes the film is interesting, though their scope is by no means extensive. Particularly interesting is a series of costumes whose design is based on men’s fashions of the past. The transformation is remarkable, but as the design is seen developing from an old print or painting, 'the connection is kept clear. One or two of the results achieved are very pleasing. GRAND THEATRE The stori' of a dauntless couple who value their romance more than anything else that life may hold and who challenge society's criticism to retain their association with each other is well told in "If I Were Free,” the R.K.O. production which commenced a'season yesterday at the Grand Theatre. The central figures are Clive Brook and Irene Dunne, both of whom give finished performances. Variety is the essence of the entertainment, and supporting the two leading characters arc prominent players, such as Nils Asther, an elegant blackguard; Lorraine Mac Lean, the second woman of consequence in the plot; and Henry Stephenson, Vivian Tobin, and Laura Hope Crews. Seeking self-destruction because of a disappointment in marriage and impending death from a bullet wound, Clive Brook, ns Gordon Evers, leaves a growing practice as a barrister ip London to give himself up to heavy drinking bouts in Paris. It is during the progress of one of these that he meets an attractive young woman, Sarah Cazenouc, who also seeks freedom from matrimonial troubles. She is, in fact, on the point of committing suicide when Evers discovers her, but be persuades her that such an action would be not only foolish, but cowardly. The two become genuinely fond of each other, and when Sarah opens an antique shop in London Evers return* to the Bar, where be builds up an increasingly high reputation as a barrister. _ He has bad an arrangement with bis wife that should either of them at any time wish a divorce the other will not stand din the way, but now that his future as a judge /is practically assured his wife refuses to stand by the agreement. Another obstacle is encountered in a friend who bluntly informs Sarah that she ia hindering rather than helping her lover, and as a consequence she informs the latter that their romance is at an end. The matter would have finished there but for a return of Gordon’s old trouble caused by a war bullet lodged in his lung. He finds out that he naa a year to live, the only chance of recovery being an operation which js most unlikely to be successful. When he hears of what his friend has told Sarah he decides to take his chance with

an operation, and when she finds out tue true position she resolves to stay by him, and not, as she hud intended, to go out of his life for ever. Fortunately, the operation is successful, and this leads to a climax iu which the appeal of the picture as a whole is strengthened by the superb emotional acting of the two central figures. Brook has appeared in the I leading role of many a tine picture, and his admirers have certainly no reason I to be disappointed with his latest effort. | He is the very personification of dignity, land moves throughout the film with a I quiet restraint that is most effective. Miss Dunne also gives a remarkably fine performance, considering the difficulties that her role presents, and it is safe to assume that “If I Were Free,” which is an adaptation of John Van Drutcn’s play, could not have been entrusted to a niore capable cast. So great has _ been the popularity of Frank Buck’s jungle picture, “Wild Cargo,” that the management of the Grand Theatre has retained it as a supporting feature to “If I Were Free,” and there is no doubting the doni of this decision. “Wild Cargo” represents the pick of 100,900 feet of film secured by Buck 0,1 his latest expedition, and when it is realised that only 9000 feet is shown in this production it will be recognised that only the best has been retained for exhibition. The film covord every aspect of jungle life, embraces an amazing variety of animals, and. in addition. presents the denizens of the tropical forest in natural -surroundings and characteristic mood. The opening sequences show an elephant hunt in the interior of Ceylon. First of all a huge corral is built, all of the hard labour being performed by tamo elephants, whose sagacitj' is remarkable in the extreme, 1 and then by the use of decoy animals a I whole herd of the huge pachyderms is I driven into the enclosure where the work ;of taming them is begun. The scene then shifts to the Malayan jungles, where one I of the most thrillins incidents is a fight between a huge python and a black i leopard. Although the leopard resists i for a time, it has no chance with the python, which coils itself rOund its victim and crushes it to death in a matter of a few minutes. The film is replete with incidents of this kind, but, apart altogether from the sensational side, it ia an education in itself to see the variety of animals that is _ encountered. Those who saw and appreciated Buck’s previous film. “Bring ’Em Back Alive," should have no hesitation in seeing “Wild Cargo.” which is, if anything,.better than its predecessor. The box plans for the season are at the theatre and at Messrs phas. Begg and Co.’s. STATE THEATRE GaumOnt-British Pictures have achieved an outstanding success in their expejlcnt production of the musical romance “ Evergreen,” which heads the current programme at the State Theatre. Hie him was produced by Walter Saville, and was adapted for the scrceu by Benu Levy, from the play by C. B. Cochran. The | story is concerned with the impersonation of a dead music-hall artist by her daughter, and in the dual role of Harriet Green, the mother and the daughter. Mies Jessie Matthews is an unqualified success. Her delightful singing in the songs “ When You’ve Got a Little Springtime in Your Heart” and “Over My Shoulder” is an exceptional treat, while her dancing is at once a revelation and a pleasure. Sonnie Hale, as Leslie Benn, the stage manager, has ample scope for his humorous talents, and gives ( a parUcularlv good rendering of the catchy song. “Tinkle! Tinkle! Tinkle!” As the lovable Maudie, Betty Balfour acts charmingly, while Barry Mackay as a publicity agent plays opposite Miss Matthews with a style that is appropriately light, and with a technique equal to her own. The film is remarkably well produced, and the photography leaves little to be desired. With Mias Matthews's clever acting. her delightful singing, and hep wonderful dancing, with the bright humour of Sonnie Hale, the romantic appeal Of the story and the lavish presentation, the film is one of the most outstanding releases from British studios. The supporting film is an excellent one, including a delightful variety of well-selected short subjects, with the addition of something genuinely noved in the form of a manikin parade of bathing beauties. The box plans are at tbe theatre and Begg s. STRAND THEATRE Victor M'Lagleu and Edmund Lowe are associated in another of their boisterous comedy dramas, in which they are again the hated rivals, in “No More Women, which is the current attraction at_ the Strand Theatre. They are seen as divers on two rival salvage ships, each endeavouring to discount the other’s skill and ability by practical jokes of a disconcerting character while they are engaged on salvage work. The under-water photography of the production is one of its most interesting features, the _ clumsy efforts and movements of the divers as they malte their way over the sea floor, surrounded by seaweed, and stumbling over obstacles, and tbe climax of the story, when a fight to the death takesplace inside a sunken ship, maintaining the interest of the production at a high pitch. M'Laglen’e ship is sold to a new owner, and he and the remainder of tbe crew are disconcerted to discover that the new possessor of the craft is a woman, who insists on accompanying the vessel on its operations. M'Laglen's annoyance is increased when he finds that Lowe, his rival in all things, has signed on with the ship as chief diver, and from then on the story gathers momentum until the gripping climax. There is a good supporting programme. The box plans are at the theatre and the D.I.C. “LONE COWBOY.” “ Lone Cowboy,” a new type of outdoor romance with tow-headed Jackie Cooper in the starring role, will receive its initial screening at the Strand Theatre to-morrow. Directed by Paul Sloane for Paramount,, tbe picture has a wellrounded cast which includes Lila Lee, Addison Richards. John Wray, and Gavin Gorfiop. Young Cooper’s work stands out as the best performance, although each member of the cast has plenty to do. As far as Cooper is concerned, certain portions of his role stand out as his best, screen work to date. He is cast as Scooter O’Neal, Chicago tenement boy. sent west by Ilia father, who commits suicide rather than face a larceny charge and bring disgrace to his son. ’Dobe Jones, the pal to whom the boy is sent, haa soured on the world because his wife has run away with another man. Naturally, his grouchy disposition and his intense hatred of anything connected with happiness brings a rather unwelcome reception to Jackie, He wants “no kid holding him down.” Scooter is shot during a shooting duel between 'Dobe and the man who stole hia wife. It is only when the child is near death that ’Dobe finds the meaning of true happiness. KING EDWARD THEATRE In “Paddy, the Nest Best Thing,” which is now showing at the King Edward Theatre, Janet Gaynor lias a role distinctly different from that in which she has hitherto been seen on the screen. Iu that cycle which started with “ Seventh Heaven,” partnered by Charles Farrell, she was the demure and lovable heroine who captured the of theatregoers the world over. In this latest picture of hers to be shown at the King Edward Theatre, however, Miss Gaynor is seen in a part which calls for acting of a different type. That she succeeds in this is a tribute to her skill as an actress, and lends support to her own claim that she was capable of somctlnng more than romantic roles opposite Farrell. Those who are familiar with Gertrude Page’s novel will not need to be told that the stopy has about it a most refreshing atmosphere. Miss Gaynor is assisted iu her interpretation of the story by Warner Baxter, who must have strong claims to being one of the most steadily popular and experienced actors in Hollywood. With these two players in the leading roles any comment as to the standard ot acting is superfluous. The minor parts have also been capably filled, the supporting players including Walter Connolly, star of the Broadway stage; Harvey Stephens, Margaret Lindsay, Mary M'Cormic, Joseph M. Kerrigan, Fiske O’Hara, Claire M'Dowell, Merle Tottenham, Roger Imhof, and Trevor Bland. There is a good supporting programme.