AMUSEMENTS

Otago Daily Times, Issue 22365, 12 September 1934, Page 4

AMUSEMENTS

GRAND THEATRE A double-feature programme will be presented at the Grand to-day, the attractions being "Wild Gold,” with John Boles and Claire Trevor, and "Handy Andy,” starring Will Rogers. There is a new' gold rush out West, and it is just as filled with adventure and romance as the roaring days of ’49. Since the virtual doubling of gold’s monetary value, there is a new boom in the old ghost towns, and this is the central theme that inspired the making of ‘‘Wild Gold.” The scenes were filmed in Ivernville, California, one of the pimsperous mining towns of ’49 that has gained a new lease on life. When the picture was being, filmed the whole town was engaged to play in it, so the backgrounds are authentic. John Boles, Claire Trevor, and Harry Green have the principal roles. Roger Imhof portrays an old prospector whose discovery of gold brings a rush of gold-seekers to Red Rock. Among the early arrivals are Harry Green and his show troupe, the Golden Girls, who come to supply entertainment and also to seek their share of gold. The romantic interest in the story is supplied by Boles, who portrays an engineer, and Miss Trevor. Monroe Owsley is the villain of the piece. Will Rogers is as funny as ever in “ Handy Andy.” In the picture his wife (Peggy Wood) w'ants him to play—and he does! Thereby hang most of the hilarious situations that go to make this picture. Things run smoothly as long as Rogers is in his drug store. But when he sells out and starts to play he finds life complicated. First he raises pigeons, until they escape into the house. Then he tries golf, with screamingly funny results. But the climax comes when he goes with his wife to New Orleans to attend, the Mardi Gras. He refuses to attend the ball with her. Later, however, wandering around alone, he encounters a fellow druggist and his lovely girl friend. Conchita Montenegro. Mellowed by a few cocktails, he decides to attend the ball after all, and he chooses a leopard skin as his costume. A few more cocktails lend him the courage to try an adagio dance with the lithe Conchita. Then the fun begins. His rough and tumble dance starts a fight that ends in a riot, David Butler directed the picture under the supervision of Sol_ M. Wurtzel. The screen play was written by William Conselman and Henry Johnson from the play “Merry Andrew,” by Lewis Beach. EMPIRE THEATRE An amusing story of life among the poorer artists in the Montmartre district of Paris is told in “ Girl Without a Room,” which is being screened at the Empire Theatre. The humour is mainly provided by Charlie Ruggles, cast as an artist who is a disciple of the futuristic school. When Charles Farrell arrives from Tennessee with, an art scholarship, all the broken-down inhabitants of the district come to welcome him at his expense, and Ruggles adopts the young American as a follower of essentially modern methods. Farrell achieves a picture of such startling appearance that when it is entered in an exhibition it is judged ■ upside down. Nevertheless, it takes the highest award. He sells it to a jig-saw puzzle corporation, and with the proceeds leaves on his return to America with _ Marguerite Churchill, whose presence in the east gives charm to the picture. The plot opens up great opportunities for comedy, and in every way the film is pleasing entertainment. Attractive supports are shown. The box plans are at the theatre and the D.I.C. “LOVE LIFE, AND LAUGHTER.” The < inimitable Grade Fields adds another triumph to her ever-growing list in ‘‘Love, Life, and Laughter,” a merry musical: comedy, which will commence at the Empire to-morrow, and in her latest effort it is not hard to imagine how this irrepressible lass from Lancashire won a place in the hearts of most theatre-goers the world oyer. It is an elaborately-produced and sparkling musical comedy into which has been. worked plenty of good humour, and some fine catchy song hits. The role played by Miss Fields is. not new, but nevertheless it is impossible, to tire, of it. Once again she is everybody’s favourite, but this time a new story has been woven around her, which, it is. claimed, gives even more scope for her delightful type of tainment. She is seen now as Neil Gwynn, and the fun really .starts-, when, selling oranges: in a street procession, she hurls one and accidentally hits a handsome young visiting prince in the eye. Nell is arrested and charged with committing, a breach , of the peace. The trial; of the popular Nell is an excellent burlesque, and gives Miss Fields a good opportunity of showing something of her talent. Robert Wilson, as the magistrate, also adds something to the amusement' created in this scene? . In addition to being a title which gives a good indication of the lines followed by the entertainment pi-ovided, “Love, Life, and Laughter is the name of the theme song of the picture, and when this merry has been sung a few times by .Grade Fields it inevitably springs to the lips of those who have heard it. Gracie Fields also sings “Out in the Cold, Cold Snow,” a ditty which, with the circumstances in which it is commenced and finished is said to form one of the the show. The leading niale role, that of Prince Charles, is played by John Loder, a handsome young English actor of talent, who fits into the picture excellently. As Nell’s father. Horace Kennedy puts over one or two delightful gags, and others who add something to the fun are \ eromca Brady and Norah Howard. REGENT THEATRE «Nana,” the film version of Zola’s novel of the same name, is proving attractive entertainment at thm Regent Theatre this week. Anna Step, the Soviet actress, who has been seen in a number of Soviet and German productions, manes her English-speaking debut in “ Nana. Zola’s immortal heroine of the Second Empire has been suppressed and banned as a story many times in most of the countries of the world, and its authoi was persecuted during the years between the publication of “Nana” in 18/9 and his death in 1903, for his effort to present a picture of the famous courtesan stripped of her romantic glamour. Zola described the part in which Miss Sten is seen: “Does a woman need to know/ how to dance and sing? My boy, you’re stupid. ... Nana has something else, by heaven! And something that is better than all the rest. I have noticed'it in her; she has it strongly, I can tell you, or I’m an idiot. . • • Wait till you see. She has only to show herself and she’ll make their mouths water.” Two generations later, Elinor Glyn called it “It.” Miss Sten was in Hollywood for two years, working with English teachers and coaches in preparation for her.first Hollywood role. During that time her three most recent foreign-made pictures, “The Brothers Karamazoff,” "Tempest, and “Storm Over Asia,” were shown internationally. Her performance in all three won the blonde Russian actress high personal praise. Lionel Atwill, Phillips Holmes, and Richard Bennett are also featured in “ Nana.” There is. no dispute that the story of “Nana” is a long way from the original which Emile Zola wrote. Zola painted the character and career of his heroine in their true colours, very sombre and drab; but though the story of the film centres round a fundamentally immoral and unprincipled woman, this realisation does not come till afterward, so cleverly has Goldwyn substituted “glamour” for sordid realism. He has done his best to ennoble" his heroine, and though from au artistic point of view that may be a subiect for criticism, it is certainly excusable from the viewpoint of the masses who want popular entertainment. The Regent supports are of a high standard. The box plans are at the theatre and the D.I.C. “ HAPPY.” 8.1.P.’s new musical comedy, “Happy,” which will be presented on Friday at the Regent Theatre, is outstanding in that it can claim a cast, consisting almost entirely of famous comedians, which might easily grace a royal command performance, including ns it does such artists as Stanley Lupino, Jimmy Godden, Laddie Cliff, Will Fyffe, Gus M'Naughton, and Harry Tate. “ Happy ” is a merry musical melange, which it is said will set a new standard in musical pictures. It is a glittering production with songs to catch the ear, beautiful costuming to please the eye, and fast

and funny comedy to make it an entertainment to please the whole family. Dorothy Hyson, in the leading feminine role, is one of the most popular stars on the London stage, and it would seem that in this film the British producers had definitely set themselves out to eclipse any and every similar film which has come out of London studios. “Happy ” introduces four really brilliant new songs. “ Happy,” the theme song, is all that its title implies—a snappy tune with catchy words, and it is well put over by Stanley Lupino as the_ leader of a dance band, assisted by Laddie Gun : and Renee Gadd. “ There’s So Much I m Wanting to Tell You” and “Will \ou Dance Through Life With Me? ’ arc two tuneful numbers, which Lupino sings in true “ say-it-with-niusic ” fashion to ; Dorothy Hyson, the charming little lady 1 who plays opposite him, and she in turn : sings a most delightful number, “ There Was a Poor Musician.” These songs have all been cleverly introduced into the film to form a logical part of the story. The box plans are at the D.I.C. and theatre. STATE THEATRE “ Stingaree ” has proved a firm favourite at the State Theatre during the past few days, where it has been the featured item on a very attractive programme. It is a film with the flavour of outlawry and the excitement of gunmen and bandits to give it additional thrills. The featured player is Richard Dix, an old favourite who comes seldom to the screen now that the sound films have come to stay, but when he does apI pear it is generally in a film something out of the ordinary. In this film he has a picturesque role of a kind that suits his dashing style. He appears as a devil may care bandit intent on always getting his own way and more than willing to face the most hazardous risks to get it. Playing opposite him in a very attractive role is Irene Dunne, and her characterisation is undoubtedly one of the most convincingly colourful that she ha s yet attempted. As Hilda Bouverie, a young woman who attracts the attention of the outlaw,’she fills her part to perfection, and Tier audience discovers in tier also a singer of no mean order. Other players in the film are Henry Stephenson, Una O’Connor, aftd Mary Boland. There is a good supporting programme of short subjects, and the box plans will be found at the theatre and at Messrs Charles Begg and Co.’e. “CHANGE OF HEART.” Even though she never had time to do any globe-trotting until two years ago, Janet Gaynor is a surprisingly good authority on foreign countries and foreign customs. The dainty Fox Film star has made 18 pictures since her immortal “7th Heaven,” and a good proportion of them have had foreign locales. “ 7th Heaven”, itself .had a Parisian background, and others were set in Naples, Berlin, Holland, Ireland, Austria, China, and Hawaii. Of her American-laid films the settings. have varied between , the Middle West and the Atlantic seaboard, and the New England coast and the lower Mississippi. In “Change of Heart, which will be screened at the State Theatre on Friday, the background shifts from California to New York City, with a transcontinental airplane journey as one of its colourful features. For the first time in 18 months, Charles r arrell appears again with Miss Gaynor in the new offering, based on Kathleen isorriss “Manhattan Love Song.” James Dunn, Ginger Rogers, Beryl Mercer, Gustav yon Seyffertitz, Irene Franklin, and other celebrities are in the cast. John G. Blystone is directing the picture under the personal supervision of Winfield Sheehan. < ' OCTAGON THEATRE Jack Buchanan gives one of his finest performances to date in “Thats a Good Girl,” which is now showing at the Octagon Theatre and will be seen there for the last time to-morrow. The story round which the picture has been built is of the type that is calculated to give Buchanan ample opportunity for the display of those special abilities of Ins for musical comedy. The star is cast as au impecunious young man who receives word that he is to become heir to a large fortune, on the condition that he satisfies his aunt, the benefactress, that Tie is a fit person .to have the control of so much wealth. As a test of this she requires that he should come and visit her, bringing with him two companions as a guide to the sort, of, people with whom he is in the habit of associating. The trouble begins when Buchanan takes with him a friend who is affianced to a jealous prima donna, for not long after the trio have left on the visit to , the aunt the jealous prima donna follows on then; heels. From this stage the fun begins in earnest, and the luckless Buchanan finds himself in some decidedly awkward predicaments, : but eventually everything straightens itself out satisfactorily. Buchanan has the support of two very capable lieutenants in the persons of v era 1 Pearce and Elsie Randolph, and he himself sings and dances as attractively as ever. “That’s a Good Girl” is the sort of picture that is bound to be enjoyea by those who like the lighter entertainment that comes from the. British studios. The supporting programme that accompanies the main picture is an interesting one. The box plans for the season will be found at the theatre, the D.T.G.. M'Cracken and Walls’s, and Begg’s. “ FOUR MASKED MEN.” One of the largest and most beautiful set fi seen in a British film was used for the final scenes in “ The Four Masked Men,” the Julius Hagen production, in which Judy Kelly, John Stuart, Miles Mander, Athole Stewart, and Sebastian Shaw appear, under the direction of. George Pearson. The picture will be shown at the Octagon Theatre on Friday. This set, which occupied two-thirds of the floor space available at Twickenham Studios, was constructed by James Carter, the art director, and represents the presidential palace in Peruvia on the occasion of a ball hd!d by the President. During the activities masked men invade the ballroom and hold the company up, while others rob them of their jewels. The scene is the key scene to the picture, because it is during this daring hold-up that Sebastian Shaw (as Arthur Phillips) recognises one of the bandits —a discovery which is later to cause big own death. A well-dressed crowd of nearly 200 extras throng the dance floor, and later a specially picked group of dancers perform a graceful tango in this brilliant scene, which promises. to be one of the most spectacular , ever seen in a British production. Twickenham are determined to " live up to, their announcement that no expense would be spared in the production of their . British pictures. Judy Kelly, who plays the leading feminine role, wag born in Australia in 1913. She was an usher in a large Sydney kinenia before she won a film contest, the prize for which was a free trip to England, three months’ training in a British studio, and the possibility of a contract if she were successful. How successful her quest for stardom has been ig seen in her performance in this picture. ST. JAMES THEATRE “You Can’t Buy Everything” is the current attraction at the St. James Theatre and is well worth seeing if only for the outstandingly good characterisation for which that popular veteran, May Robson, is responsible. “ You Can’t Buy Everything” is an excellent film in many ways, however, and those who miss it will miss some unusually good entertainment. It has all the elements necessary to a good film, mixing’ comedy, romance and pathos in well balanced quantities and providing a series of exceptionally interesting and convincing character studies. May Robson, however, is without doubt the star of the production. She imparts genuine sincerity and sympathy to her role and is at all times convincingly natural and restrained even in a number of circumstances which represent a severe temptation to be exactly the opposite. The supporting players are all well chosen also, the chief of them perhaps being another Hollywood veteran, Lewis Stone, whose rugged aud downright delineations are always attractive. Tad Alexander, a young New Zealander, also has an interesting role, and William Bakewell does himself every credit in a part that suits his special talents. There is a good supporting programme, and the box plans will be found at the theatre, at Messrs M'Cracken and Walls’s, at Jacobs’s, and at the D.I.C. | “WHOOPEE.” Eddie Cantor is returning. But why so soon? some may ask. Well, it is not in a new picture, and it is not in his last two efforts—" Roman Scandals ” or “ The Kid from Spain.” He is coming back in his first talkie extravaganza,

"Whoopee;” new copies of which have been released by the producers, and one of which will reach the St, James Theatre to be shown after, the current season of “ You Can’t Buy Everything. In its stage form, produced by Florenz Ziegfeld, and with Cantor playing the lead, it. ran for two years. As a picture it established a number of records, and it was widely appreciated. Locally it has already been shown at three theatres, but its return is bound to be welcomed by hundreds. The picture is presented entirely in technicolour. The story is essentially comedy, the laughs toppling over each other continually with brief effective songs and dance ensembles introduced for respite. The extravaganza is based upon the stage play by Owen Davis, entitled “ The Nervous Wreck. The dance ensembles are brilliant. . Instead of using large numbers to make these effective a group of only 24 girls was used, and the various dances were kept to. minimum footage. The 24 girls were selected from thousands of the prettiest girls in Hollywood and New- York,and they are the'last word in pulchritude. The finale, an Indian tableau, surpasses many of the more modern ballet presentations. STRAND THEATRE "Picture Snatcher,” the featured film on the present programme at the Strand Theatre, tells the story of a reformed gangster who endeavours to find a place in society by getting a job as photographer on a newspaper which produces news to suit the lowest tastes of . the public. James Cagney, as the photographer who does not fail to use dishonest means to get pictures when other sources arc fruitless, gives a sterling performance in a. role which is aptly suited to his energetic type of acting, and his virile personality is the pivot of the story which is excellent entertainment. Picture Snatcher,” in addition, throws a light on a certain section of journalism which is evidently present in America. Alice White and Ralph Bellamy, who have the main supporting roles, assist in no small measure towards the success of the film. There is a strong supporting programme. The box plans are at the theatre and the D.I.C. “THE COUNTESS OF MONTE CRISTO .” One of the most glamorous stars whom Carl Laemmle brought to screen fame in the silent screen days was Carmel Myers, who will be seen on Friday at the Strand Theatre in “The Countess of Monte Cristo,” Universal’s gay - continental comedy, featuring Fay Wray and Paul Lukus. Motherhood a couple of years ago caused Miss Myers to retire from the screen. It was a strange coincidence which brought about her return to Universal. Listening to the Rudy Vallee radio programme in Hollywood one night, a motion picture producer heard a girl singing. “Who’s that girl? ”he inquired. “ I must have' her in ray picture—the dramatic quality in her voice just fits the part in my story. Find out who the girl is,” he commanded his assistant, “ and got her down to the studio tomorrow morning.” Wh"ii “ the girl ” appeared at the studio the next morning, the producer was astonished to see before him Carmel Myers, who had been a Universal star in 1920 and for many subsequent years. And that’s how Miss Myers came to be “ re-discovered ” by Universal for the part of “ the star ” in “ The Countess of Monte Cristo.” Born in San Francisco, California, on April 4, 1901, Miss Myers cam" to live in Lo.s Angeles when a child and there attended public and high schools. Her first appearance before the camera was with Douglas Fairbanks in “Tho Matri-maniac.” which was produced by 1) W. Orffitlis in 1917.