AMUSEMENTS

Otago Daily Times, Issue 22356, 1 September 1934, Page 21

AMUSEMENTS

REGENT THEATRE “ Red Wagon ” ia a compact, warmblooded romantic drama, simply and effectively told, and singularly free from artificial melodramatic claptrap. It reeks of the sawdust ring, and one can almost hear the flapping of the tent flies and the creak of the giant marquees in which the circus finds a home. There is a delightful variety of personalities and persona in the story,- which happens for once to be a genuine story, a tale of connected events and closely related happenings which moves steadily and without _ hesitation to its close. There are no disconcerting and meaningless digressions, contrived merely to make some hoary old joke or to create some picturesque scene. In fact, “ Red Wagon ” is a film that can be quietly enjoyed without either mental or emotional disturbance. There is one curious feature about the film, however, which serves to stress once again the strange unfathomable ways of the censor. Why he should have tagged it with an A certificate and branded it as " Recommended for Adult Audiences ” is. difficult to see. There is nothing meretricious in its content, nothing in the slightest degree objectionable about the unfolding of a rather tense romantic drama, while on the other hand there is one of the greatest attractions in the world for the juvenile mind—a circus. "Red Wagon” is the sort of film that small boys and small girls would revel in without even hearing the dialogue or caring what the emotional byways were down which the various characters travelled. There are vast possibilities for sob stuff in the story, but they are almost ignored, and everyone tackles the job in front . of him sanely and restrainedly. The direction of the film is in the hands of an artist who appreciates the value of the material at his disposal and who gets the very best out of it with many deft technical touches. The story opens very realistically with a waif of the circus, whose parents had been killed accidentally; suffering extreme ciuelty at the hands of foster-parents, who finally find themselves at variance with the law in the matter of their treatment of the boy. The child is committed to an orphanage, where a pompous director seta out to make a successful man of him, choosing for this son of the sawdust the career of a grocer. But the lure of the ring and the open road are too much, and before long the youth is seen on his way to fame as a bareback trick rider. Success follows success and he is finally discovered at the head of his own circus, carrying everything before him and bidding fair to achieve the romantic culmination of his efforts upon which his heart has long been set. A misunderstanding, deliberately engineered by a rival, sends him to the arms of a gipsy woman. Notwithstanding the fact that "circus people never have any truck with gipsies," he rushes headlong into a mesalliance, and the while his great combination slowly disintegrates and his rivals forge ahead of him, he doggedly persists in his loyalty to the gipsy woman. The star turn of his circus is a wild tiger taming act, executed by the girl who is the unwitting cause of his suicidal folly. Things go from bad to worse, and he loses his star attraction. Then come fights and competition, and finally the collapse of the circus. Matters come to a head very quickly, and, of course, after all sorts of scarcely unexpected happenings, the great circus is once more on the road under the joint management of the rider of horses and the tamer of wildcats. Such a story could not have finished up in any other way, but it has to be admitted that its climax of convenience is admirably handled. The cast ia an excellent one, with an unusual bevy of star performers. The principal role is in the exceedingly competent hands of Charles Bickford, as always the real he-man and a genuine delight to watch in a fight. He is the small boy of the opening scenes of the film who rides his way to fame in the circus ring and ultimately wins out. It is a vigorously life-like and attractive characterisation which he gives. He looks the part, and adds to his appearance a quiet competence which is very satisfying. The feminine honours go to Greta Nissen in the role of, the tamer of tigers. She uses her attractive personality to the very best advantage, and displays gifts of poise and presence which are as surprising as they are welcome. But she has a close rival in the fascinating dark-haired Raquel Torres, whose gipsy characterisations are splendidly done. Yivid and full of fire, her portraits first of the caravan girl Starline and then of the base and treacherous Sheba, ar e among the highlights of the film. Anthony Bushell, Paul Graetz, Don Alvarado, Alexander Fields, Francis Sullivan, and a score of other artiste fill the more prominent parts m the extensive cast, and fill them exceptionally well. The supporting programme of short subject* is a good one, including a delightful coloured cartoon, Puss in Boots,” and an attractive scenic production entitled "’Neath Italian Skies, depicting the beautiful surroundings of Lake I laggiore. The box plans wfil be found at the theatre and at the D.l.u OCTAGON THEATRE "That’s a Good Girl,” the title of the main feature in the change of programme at the Octagon Theatre yesterday, is, indeed, a merry film—musical, magmficently staged, beautifully costumed, and splendidly acted. Jack Buchanan has the part of an impecunious irresponsible who always manages by hie own peculiar methods to extricate himself from the many pitfalls which beset him, and these methods evoke hearty laughter irom the spectators. Mr Buchanan handles ms part with such finish and polish, with such suage abandon as to make it stand out by its very naturalness —the hall mark of the true artist. Moreover, he adds further distinction to, his performance by hia fine singing and attractive dancing. The well-known ex-Australian comedy actress, Vera Pearce, has a very important part to play as a jealous prima donna, and she gives a convincing piece of acting, and Elsie Randolph (a detective), Garry Marsh, Dorothy Ayson, Kate Cutler, William Kendall, and Anthony Holies all present the parts allotted to them in excellent style. There is a sufficiently connected plot, and, while on Mr Buchanan (Jack Barrow) falls the major part of the work, the other characters also have important roles to fill. We are first introduced to the impecunious Barrow. who, in order to escape his many creditors, makes his entrance to his home through his neighbour’s premises, and then he is staggered to learn from Elsie Randolph that he has a wealthy aunt (a splendidly-acted part) residing at the Riviera, who wants to meet him. The detective informs Barrow that he has to journey to the Riviera to be the guest of his aunt, and that he is to bring two or three friends with him so that Ins aunt can form an idea of the company he keeps. Moreover, if all goes well, Barrow is to become heir to half a million pounds. Barrow has not much trouble in selecting a couple of companions. one of whom happens to be the henpecked fiancee of the temperamental prima donna. Then the fun waxes fast and furious. The trio of boon companions set off, and shortly after the prima donna and her conductor follow them. The girl detective also takes it into her head to start for the Riviera. The most ludicrous situations follow, and though Barrow receives many rebuffs he laughs his way through all his troubles. -To him is entrusted the difficult task of trying to persuade the prima donna to bestow her affections elsewhere, so that her former fiance (Garry Marsh) may be free to pay his attentions to Barrow’s wealthy cousin, who is staying at the Riviera with her mother. Barrow foolishly endeavours to, carry out his aunt’s wishes while the prima donna is appearing on the stage. He gets mixed up with th e chorus, and finally we see him on the stage, dressed up as a halberdier. He enrages everyone on the stage by his weird efforts, but the audience laugh hilariously at his performance, and the spectators laugh just as hilariously at both Barrow and the audience. Barrow at the close of the performance is literally thrown out on his head, but hia gay spirit is not subdued, and he manages to build up the courage of the conductor to tackle the prima donna and declare his love for her. In a wild scene, in which articles of vertu and furniture fly, the conductor tames the prima donna, and the way 5s made clear for these two lovers to marry. The way is also cleared for Jack’s friend and the daughter of the aunt to become married, and Jack’s own love affairs, in which the girl detective takes the leading role, comes to a happy ending. The girl detective has taken the disguise of a telegraph girl, and she has many dunning telegrams to deliver to Barrow. The pair are seen in some most amusing interludes before

the disguise is penetrated, and then dancing and singing are most artistically carried through. Included in the supports are "Highlight* of the Victorian-Mel-bourne Centenary,” a fine film depicting the progress of Melbourne from the year 1837, some stirring massed aeroplane flying stunts, views of Royal Ascot, etc. The plans are at Charles Begg’s, M'Cracken and Walls's, the D.1.C., and the theatre. EMPIRE THEATRE " Bolero,” the new attraction at the Empire Theatre, is a film that cannot fail to enjoy a good season. It has a great deal to commend it, and judged by the reaction to it of yesterday’s audiences it should be more than usually popular during the coming week. “ Bolero ”is another of the long biographical films that are in fashion nowadays. The title suggests Spain, guitars, and caressing dance rhythms. It has been borrowed from the ballet music composed by Maurice Ravel, which is used in the musical background of the picture. But the film concerns an American miner who becomes, by steps and stages, a successful cabaret dancer, and only once or twice does the film manage to attain the same level as its music. George Raft, who plays the part of the ambitious dancer, has already proved himself to be a most interesting interpreter of both gay and sombre “ gangster ” roles. In " Bolero ” he comes forward ns a skilful dancer, with a repertoire that ranges from the top-hatted strutting of 20 years ago to the more colourful music hall dancing of to-day. The dance that crowns his career is worthy of ihe important place it is given in the drama; and a fan dance by Sally Rand is pretty and brilliantly photographed'. But, despite its few' glowing moment*, the film treads heavily along, with much unexciting conversation between Mr Raft and the partners who accompany him part of the distance along hig road to fame. Sally Rand’s sensational Fan Dance received featured headlines in the Australian press for its notoriety; and Raft and Carole Lombard interpret the savage rhythms of Maurice Ravel’s climatic “Bolero.” The dance is so strenuous and took so long to film that each day the participants had what virtually amounted to eight hours of continuous exercise. The story depicts the wild romance of the world's most famous dancer and one of his beautiful partners. Five years before the Charleston found its way to the dance floors of New Zealand George Raft introduced it to American stage and cabaret audiences. Whilst Raft was on a vaudeville tour of America he saw the Charleston executed by a little negro lad in a Southern town. He was much impressed with the eccentric side-kicking routine, and later worked out & stage presentation for a New York night club, which stopped the show. Five years later it won its name, and became a world-wide sensation. When his screen career started he thought the gruelling routine of the diet table and the. exercise room, part and parcel of nis life since early youth, was all over. Early in life he was a prize fighter, and had to keep to Sst. Then came baseball, and the necessity of keeping within Sat 101 b. Then, on the stage and in European night clubs, as a dancer, he had to keep within a maximum limit of 9st 41b. ’ When he started his film career he heaved a sigh of relief at the thought of allowing himself to approach once more his natural weight of lOat. Sally Rand has rather a minor part in the film as Annette, one of the beautiful dancing partners of the ambitious young man, and in one scene she gives the fan dance which earned her such notoriety. George Raft gives an impressive performance. He demonstrates that he is qn extremely capable dancer as well as a successful actor. Raft plays the part of Raoul de Baere, who rises from obscurity to fame, but never rids himself of a tremendous self-conceit and overbearing manner. He is rather fortunate in his choice of dancing partners, hut as they serve his purpose and as he attains greater success he callously casts them aside for others. His most successful partner is Carole Lombard. Although he has made it a principle In life that he never allowed romantic notions to enter into his business affairs, he falls in love with her at the outbreak of theWar. He enlists with the Belgian army, and after the armistice, when he is handicapped by a war injury, he attempts to resume his dancing exhibitions, but fate intervenes at a critical moment. There is an attractive supporting programme of short subjects covering a wide assortment of interesting topics. The box plans for the season will he found at the theatre and at the D.I.C. ST. JAMES THEATRE Frocking that will delight every feminine heart is gorgeously displayed in " Fashion Gaieties of 1934,” the splendid comedy which commenced a season yesterday at the St. James Theatre. But the film is not for women only. With its absorbingly interesting plot, its rich vein of humour, and magnificent spectacles it provides entertainment that can be enjoyed by all. Having for its background such places as the Ritz, the Polies Bergeres, and the Eiffel Tower this story of modern Paris deals with the activities of drees designers, dress merchants, dress fakers and manikins. Sherwood Na,sh, a suave, high-pressure promoter, splendidly played by William Powell, has a strong liking for earning a great deal of money in p very short time, and he is not at all particular how he earns it. Seeing an opening in the dress designing business in New York, he “ borrows ” copies of tlig latest Paris fashions, and has them on the market even before the dealers to whom they legitimately belong. When his ways are discovered he makes a bargain with his victims whereby he shall represent them in Paris, so off he sails with plenty of money in his pocket and plenty of confidence to make a name for himself in the Gay City. Hia earlier plaua for defrauding the Parisian dress designers are a little crude, so he abandons them, and in order to popularise ostrich feathers, with which he hopes to do good business, he persuades a wealthy gentleman to produce a revue in which ostrich feathers are prominently displayed. So successful is the revue that he opens a fashion salon on the strength of it—on other people’s money it may. he said—and achieves tremendous business while all the legitimate dealers . can hardly find a customer. Certain little activities of his have been discovered in the meantime, however, and it looks for a time as though he is to take his place on the wrong side of the prison bars, but his native wit and a little good fortune help him out, and he falls firmly on his feet again, although at another man’s expense. Such is a mere sketch of a plot, that is rich in humour of the most nc- / ceptable kind, and in the incidentals many will find just as much entertainment as in the story itself. For instance the fashion parades are a source of unending interest to the women, and in the spectacular revue scene with its numberless fan dancers, and the human harps there will be found much to .delight both the eye and the ear. Although Powell, who gives a magnificent performance, is the dominating figure, he Is not the whole show, and in the characterisations of Bette Davis as Powell’s ill-used and underestimated secretary, Veree Teasdale, whose marriage to Adolphe Menjou was announced this week, Frank M'Hugh, and Hobart. Cavanagh there is a wealth of entertainment. The associate programme is of just as high a standard as the principal film. There is, first of all, a particularly interesting travelogue, entitled “ Cannibal Isles,” in which the natives of Papua are seen in their natural state, while their dances and other . customs are also portrayed.. Then there is an intensely amusing skit on the recent film, “ Dinner at Eight,” in which the resemblances to the actors in the latter production are almost uncanny. The box plans for the season are at the theatre, the D.1.C., M'Cracken and Walls’s, and Jacobs’s. STATE THEATRE

A delightful story of yesterday and today is told in "Evergreen.” which has proved so popular at the State Theatre during the past week that the management has decided to retain it for an extended season. In the days when the stage was the only medium for dramatic expression, and reputations were difficult to make, the story opens with a triumphant performance by Harriet Green, whose dancing and singing swayed the audiences of that time. She is shown in her final appearance, at the height of her powers; the applause echoes as her voice dies away; then the curtain is rung she disappears to South Africa. Years pass, and her daughter comes to London. In a short time her latent talents are discerned by the searching eye of the producer, and she ia given an opportunity to make good on the stage. Impersonat-

ing her mother, whose memory lingers " evergreen ” in the minds of those who witnessed her triu’mphs, she comes immediately to the front and duplicates the career of the Harriet Green of a generation before. It is a theme of infinite possibilities, and the producers have spared nothing to make the most of it. The rehearsals are on a big scale; the surroundings, where opportunity offers, are luxurious, and the climax, in which Jessie Matthews rises to her highest, is a remarkable scene. Among her best songs in the picture are “ When You’ve Got a Little Springtime in Your Heart,’ I Want a Bow Wow,” and "Over My Shoulder.” The performance of Sonme Hale, as stage manager, is good, and gives a better impression of his powers than his previous roles. In catchy songs, such as "Tinkle! Tinkle! -Tinkle! " he is at his best. Betty Balfour makes a longdeferred return to films in the part of Maudie, and Barry Mackay sings and acts with ability as a young publicity agent who shares with Miss Matthews toe achievements of many important scenes. The outstanding feature of the production is undoubtedly the work of Jessie Matthews, who presents a difficult dual role with the ability that. has made her famous wherever British films ara screened. This charming player must now rank among the most popular of screen stars of all time. There 18 _? n adequate supporting programme. The box plans arc at the theatre and Beggs. GRAND THEATRE The final screening of " Wild Cargo," a film of wild animal hunting in the jungle, took place at the Grand Theatre last night. The other feature is “ If I Were Free,” with Clive Brook and Irene Dunne in the leading roles. The theme of unconventional love is far from new, and unless a film on this subject has some particular merit, it is liable to escape the notice of discriminating picture-goers. “If I Were Free" handles the age-old theme delicately, and without the drawnout tragedy of some of its predecessors. While this same lack of tragedy and the somewhat clumsily-contrived happy ending detracts slightly from the realism of the play, it makes it more palatable to the average theatre-goer. As a bored English lawyer who nas seen enough of life to wish he hadn’t seen any, Clive Brook surpasses his remarkable performance in " Cavalcade.” His lines are filled with subtle wit of a peculiarly English brand. Irene Dunne, a* the neglected wife contemplating suicide, gives an artistic representation of the disillusioned girl who finds a new hope in life when she meets the barrister. Their wonderful love, horn out of their mutual unhappiness, changes the lives of both of them, and when he discovers that his wife will not divorce him, they decide to ignore convention for the sake of happiness. For a while they are ideally happy, and it is not until she discovers that his relationship with her ia hindering his career at the Bar that a cloud crosses their horizon. It is not generally known that Irene Dunne sings, but in this film she is heard in a beautiful German lullaby, which she sings, first in a setting of quiet rural beauty, and later at her lover's bedside, where he lies between life and death, after undergoing a serious operation. There is an excellent supporting programme. The box plans are at the theatre and Begg’s. STRAND THEATRE A strangely-assorted pair, whoso partnership brings about the regeneration of one and the realisation of the others most cherished dreams, • pursue their varied and occasionally troubled course through the story of “ The Lone Cowboy, which is now being shown at the Strand Theatre. The principal figure in the production is Jackie Cooper, the clever boy actor, who has already firmly established himself in the forefront of the screen's stars, and hia admirers —whose name is legion—will find in his latest effort fresh indications of this young artist's mature stage qualifications. Whether it be pathos, grief, or sheer ebullience of spirit, Jackie Cooper can be relied upon to throw his whole heart and soul into his performance, and his portrayal of the young boy, reared in the atmosphere of the Chicago slums, who is sent into the Western States and links his destiny with a morose and embittered range rider, is one of the best of nis career. The American film producers penchant for laying on the sentimentality with a shovel is occasionaly apparent, but this is to a great extent compensated for by the acceptable leavening of humour and the convincing drama which are included in the make-up of the story. Ihe theme itself is a cohesive and attractive tale in which the principal players are not presented either as super-men or as sub-normals, but a* everyday individuals whose reactions to the varying tides ot their fortunes are perfectly natural, and in that lies one of the principal attractions of the production. The story itself is a perfectly simple one, befitting the nature of the role to which Jackie Cooper could be assigned, and its unfolding presents an absorbing study of childish re*, actions to unusual situations, m which tragedy stalks hand in hand with comedy and adventure. Supporting Jackie Cooper is Addison Richards, whose presentation of the part of Dobie' Jones, a grim and taciturn cowboy, is one of the 'prime features of the production. He is an engrossing character, and actually succeeds in attracting just as much attention when he is in the forefront of the picture as doe* the juvenile star. In his portrayal of the relentless pursuer ot his wife and the man with whom she ran away, shunning anything that smacks ot happiness or pleasure, and living only tor the moment when he can confront the guilty pair and deal out punishment which he considers they deserve, he achieves a characterisation that is remarkable tor its strength and conviction.. Even in his softer moments, when the influence of a child who idolises him cause* mm to shea the armour of his hatred of mankind, and to give way to sentimental stress, he retains a dignity and mascuhmtv that aro perfectly in keeping with the characterisation of his part, and although t e actual context of the story might be considered to be a trifle exaggerated, one cannot hut feel that his treatment of the material to his hand is the best that it deserves. At the commencement ot the story Jackie Cooper is seen as a youngster in the slums of Chicago. His great ambition is to he a cowboy, and to that end he is eternally evolving games in which he can throw hi* lariat and rope some victim. His father, an ex cowman, who is outofwork ia a city, decides to send him to the ranch of Dobie Jones, an. old comrade of h s, in order to get him away from the sinister influence of the metropolis. The lad, who idolises his father is extremely loath to go without him, hut the man, who is shortly to face a larceny charge, and who docs not wish his son to know of his crime, insists, and the hoy leaves on his voyage into the West. The plan ia not so simple as it seems, however, for the man promises to rejoin hm son on the latter’s birthday, and Dobie Jones has changed from the happy young married rancher of former days to a ielentless hunter of his runaway wife and her lover. When the hoy reaches the catt}e country and meet* Dobie the latter is about to send him straight back to Chi cago when he receives a message from the Chicago police telling him that tne hoy’s father has committed suicide and that the: lad, if sent back to the city, ■would be committed to an orphan asylum. Unwilling to wreck the lad'* life, Jones decides to let him stay, and then commences a curious partnership between a man who has sworn to slay his wife s lover and a hoy who lives only for the time when lie can become a bona fide cowbov. After a while the grim Jones begins to soften under the persuasive influence ot the boy’s happy personality, and the association of the pair is about to begin a now stage, one of happiness, when the wife and her lover are located. Then ensues a series, of the most dramatic occurrences, which change the outlook of the story completely until at the end a mail, cured of his consuming hatred, and a small hoy, pass on tocether in perfect amity and understandin- to work out their destinies together There is an excellent programme of supporting pictures, including news reels and a diverting comedy. The box plans are at the theatre and the D.X.U. KING EDWARD THEATRE "Night Flight,” the picture which will be shown at the King Edward Theatre today, is a picture about the air mail. It is fitting that in its making there should have been associated plenty of expert fliers. The author, Antonie de SaintExuperv, was an actual pilot on the very air line he writes about. The director. Clarence Brown, is the most experienced

flier in film ranks. He holds a transport pilot’s licence, and has thousands of hours to his credit. Clark Gable, who plays the vivid role of Fabian, a pilot lost in a fog, learned to fly in Dallas. Texas, Robert Montgomery, a pilot on the difficult transmountain route, is also a pilot. John Barrymore, stern manager of the air line, has been flying as a passenger regularly since 1912. Two electricians of the company are pilots. The head cameraman, Oliver Marsh, was a pilot-photographer during the war. Other players in this production include Helen Haves, Lionel Barrymore, Myrna Loy, William Gargen, C. Henry Gordon, and Leslie Fenton. Oliver H. B. Garrett adapted the book. There is a strong supporting programme. GREEN ISLAND PICTURES ' Janet Gaynor and Warner Baxter will be seen together again for the first 1 time since "Daddy Long Legs,” in their latest picture for Fox Film, "Paddy, the Nest Best Thing,” which will be shown to-day

at the Green Island Kinema. In this film Miss Gaynor and Baxter respond to the popular demand for more pictures in which they are both featured. And the roles they portray are the type which give each of them their greatest opportunities thus far. Walter Connolly, highly reputed player of the dramatic a featured role in support of Janet Gaynor and Warner Baxter - . Others in the cast include Harvey Stephens, Margaret Lindsay. Mary M'Cormic. Joseph M. Kerrigan, Fiske O’Hara. Claire M Dowell. Merle Tottenham, Roger Imholt, and Trevor Bland. "Paddy, the Next Best Thing ” was directed by Harry Lachman from the famous novel by Gertrude Page. Edwin Burke, who will be remembered for his screen authorship of Bad Girl and a number of other film suecesses, wrote the screen play and directed the dialogue.