AMUSEMENTS

Otago Daily Times, Issue 22367, 14 September 1934, Page 16

AMUSEMENTS

STATE THEATRE For the first time in almost two years Janet Gaynor and Charles Farrell are reunited as screen lovers in “ Change of Heart.” That is good news to the thousands of “fans” all over the country who have been demanding the privilege of seeing America’s sweethearts together again. In yielding to the overwhelming demand for their reunion, Fox Film determined to produce a picture utterly different from any that this team had ever made. So “Change of Heart” brings a new Janet Gaynor. She is no longer the wistful, fanciful girl, but a vital, real life heroine, grown to womanhood and experiencing all the emotions of a woman. It is a romance that embodies the most poignant emotions of life and romance as really lived to-day, giving Gaynor and Farrell the greatest story of their career as a romantic team. Kathleen Norris wrote it, and it was published under the title “ Manhattan Love Song.” A drama of epic struggle and inspiring love in the greatest of cities, it breathes the turmoil, the tangled loves, hates, jealousies, the economic handicaps, the chaos, and confusion which are the soul of the metropolis. Into the cross-currents of the great city come four youngsters just out of college—two boys and two girls. Undaunted. they accept the grim challenge and begin their brave struggle to realise their dreams. - Through all their adventures runs a complex love situation, but it is the love of Janet Gaynor for Charles Farrell that becomes the focal interest of the drama. The climax, when Farrell realises his love for Gaypor, is said to be one of the greatest emotional scenes since their “wedding” in “Seventh Heaven.” James Dunn and Ginger Rogers head the, supporting cast, with Beryl Mercer, Gustav von Seyffertitz, Irene Franklin, Shirley Temple, Drue Leyton, Fiske O’Hara, and other wellknown actors in prominent roles. REGENT THEATRE . Unanimously acclaimed by the English press ns “ real entertainment,” “ Happy,” Stanley Lupino’s riotous musical comedy, is certain to be tremendously popular at the Regent, where it commences to-day. The story concerns a great invention of Lupino’s to check car thieving, but, unforunately for Stanley, it does not work, and he, naturally, has considerable difficulty in selling it. Meanwhile he and bis pals, George (Laddie Cliff) and Simmy (Will Fyffe), also rich in ideas and musical powers, in fact, everything but actual cash, manage to eke out, an existence by attracting people to a cafe with their orchestra, snappy singing, and clever dancing. It is here that Stanley meets “ the only girl in the world.” The course of true love, however, is beset with all sorts and conditions of difficulties, for, although the girl’s wealthy father, to whom Stanley is trying to sell his “Police, police, stolen car ” invention, thinks he is rich in worldly goods and of considerable social prominence, the humble inventor knows only too well that this is not the case, and that he may expect trouble when the truth is discovered- The inevitable happens., the love-troubled suitormusician hurls, away his invention in disgust, and, just to be different, it works. But there are still many troubles for Stanley, and many, many more laughs before the wedding bells ring out their “ Happy ” tune. Supporting Stanley Lupino is a really brilliant cast of comedians, including Will Fyffe, Laddie Cliff, Harry Tate, Jimmy Godden, and Gus M'Naughton. • EMPIRE THEATRE Grade Fields, the inimitable star of “Sally,” the darling of thousands of theatre-goers in the Old Country, a radio favourite in almost every English-speak-ing country, and latterly a proved success on the sound screen, presents something genuinely attractive and moving in the way of entertainment in her latest film, “Love, Life, and Laughter,” which had its first screenings at the Empire Theatre yesterday. One thing that cannot fail to impress itself upon audiences at the Empire Theatre during the coming week is that Gracie Fields is nothing if not versatile. The art of the “ Lancashire lass ” is cast in no conventional mould. She, is wedded to no stereotyped stock style, and in one comparatively short evening she can run the entire gamut of human emotions and moods. She can change the colour, the tone, and the appeal of her acting as a chameleon changes its skin, and in so doing she has won for herself a universal popularity which is the proud possession of few screen players. There may be actresses who can make a stronger appeal in their own particular type of audiences than Gracie Fields, but there are very few who are fortunate enough to win such general admiration as this irresistible little gamin. “ Love, Life, and Laughter ” is without doubt one of the best things she has yet attempted, and it forms the? featured item this week of one of the most attractive programmes the Empire Theatre has offered its patrons for some time. Musical comedy of the best type, reinforced with a cast that is exceptional even without the popular star, is always acceptable fare, and on this occasion it will be found to be doubly so. “ Love, Life and Laughter,” should prove one of the best attractions of the coming week’. In it there are considerable stretches when Gracie ceases to be audacious, impudent, mocking, ribald, irrepressibly light-hearted. The cause is in the story, which gives her the part of an innkeeper’s daughter, in love with the heir to the little Kingdom of Granau, and loved by him, but firm enough to send him away to his duty, when the king dies, and to keep him to it, when he is hesitating to make a necessary political marriage. During these parts of the film it is Grade's business to subdue her spirits and to leave the broadest comedy to’the soldiers and bandsmen and flunkeys of the Court of Granau —an accomplished trope of clowns. Their farcical performance at the railway station and the palace, where Gracie receives the musicaj and military honours intended for the young king’s future queen, could hardly be bettered. Gracie herself,* in these circumstances, can only introduce into the pathetic song, “ I’m a Failure.” When her heroic, selfsacrificing part is over, she swings into the exhilarating song, “ Love, Life, and Laughter,” and ends the picture happily among the orphanage children for whom she has brough back pockets full of money from Granau, and in whose cause she hit tlie old king’s chamberlain in the eye with an orange. That is how the film starts. Grade is playing the part of Nell Gwynn in a street pageant to aid the orphanage. Among the crowd she is entertaining with shrewd flings of speech and oranges is the Prince of Granau, and they exchange a few lively comments. When she unluckily hits the chamberlain with an explosive orange, she is arrested for creating a disturbance; and her appearance in court is a brilliant piece of comedy. But the prince, very well played by John Loder, intervenes to have the charge withdrawn, and he has Gracie invited to the ball at the Granau Legation in London. Here, by misadventure upon misadventure, Gracie is led to the moment when, after singing “Out In the Cold. Cold Snow,” with a delighted chorus of footmen, and throwing the whole grand occasion into disorder, she is desired to withdraw by the king himself. Fleeing by the nearest way. she cannons into cooks and waiters, brings kitchen gear and furniture crashing down, and. in the midst of a white shower of falling plaster, she can be seen, but no longer heard, mouthing the words, “Out Into the Cold, Cold Snow.” The singing of this song, inimitably and overwhelmingly funny, is Gratae's supreme achievement in a very amusing film. Among the supports first place belongs to a coloured cartoon, “The Little Red Hen,” which makes it appear that Walt Disney has at least one rival. An Australian newsreel, pictures of Venice taken by a rather too raeltifigly romantic cameraman, and a pleasantly various Pathc Pictorial complete the programme. ST. JAMES THEATRE 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-day. In its stage form, produced by Florenz Ziegfeld, and with Cantor playing tlie lead, it ran for two years. As a picture it established a number of records, aud 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 of the prettiest girls in Holywood and New York, and they' arc the last word in pulchritude. The finale, an Indian tableau, surpasses many of the more modern ballet presentations. OCTAGON THEATRE The story of a baffling murder always makes a film of gripping interest, and “ The Four Masked Men,” which will be presented at the Octagon Theatre today, is no exception to the rule. The plot is handled with subtle cleverness. Immediately following an intriguing murder several baffling clues are paraded, and suspicion is allowed to rest on numerous players. One by one they are eliminated, the story working up to a totally unexpected climax. “ The Four Masked Men ” is stated to. be one of the finest examples of a film depending for its interest on the principle of suspense. One of the largest and most beautiful sets seen iu a British film was used for the final scenes, and occupied two-thirds of the floor space available at Twickenham Studios. It was constructed by James Carter, the art director, and represents the Presidential palace in Peruvia on the occasion of a ball heldby 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 j 3 during this daring hold-up that Sebastian Shaw (as Arthur Phillips) recognises one of the bandits—a discovery winch is later to cause his own death. Judy Kelly, who plays the leading feminine role, was born in Australia in 1913, and she is supported by players of the calibre of John Stuart and Athole Stewart, GRAND THEATRE In “ Handy Andy,” the principal feature on the excellent double bill at present being shown at the Grand Theatre. Will Rogers adds another portrait to his gallery of small-town philosophers. There is little to distinguish Andrew Yates, the drug store proprietor, of this picture, from the other characters Rogei’s has presented, yet it is proof of his inmitable talent that familiarity with the type he plays does not breed boredom. Those who enjoy his work will chuckle with, not at, Handy Andy as cheerfully as they chucked with his predecessors. The theme is the problem that confronts a man who has worked assiduously all his life, and when he retires and becomes.a gentleman of leisure, is unable to find satisfying ways; of filling his idle days. Andrew’s wife is a leader of-society in the small town. It is she who badgers Andrew into selling his drug store and retiring, and it is her boring musicales which arc invaded -by Andrew’s huge mastiff and his pet pigeons. Life with, a gentleman of leisure, despite the social cachet it confers, becomes less pleasant for Mrs Yates than life with a drug store proprietor, who is never at home. Experienced picturegoers will guess at this stage that Mrs Andrew Yates has to be taught that a kind heart is more to be desired than social graces. Will Rogers has been given a generous supply of droll epigrams to utter in his quiet, grumbling style, and succeeds in transforming his part from a mere comic role into a characterisation in which there is not a little of the pathos inseparable from the life of a retired man whose fanxily earnestly desire him to enter into activities for which he has not the slightest aptitude. Peggy W°°d is excellent as Yates’s socially ambitious wife, and Mary Carlisle gives a charming portrayal of the daughter. The second feature on the programme is of an entirely different type, and deals with the fever which attacks men when the news of a rich gold strike lias noised abroad. Claire Trevor appears as the wife of a shiftless, dishonest man, who she detests and' eventually leaves to find romance in a small mining town in tlie Western States of America. While she is fleeing from her husband her car breaks down near a small mining town, and she is befriended by an old miner. In the miners’ camp she meets a young engineer and, after a false start, a romance springs up between the two. The husband, however, arrives just at the wrong moment, but the tangle is eventually unravalled, and the story reaches a satisfactory conclusion. The box plans are at the theatre and Begg’s. STRAND THEATRE One of the most enjoyable pictures of the year, abounding with miscellaneous situations, ranging from gay comedy to hectic romance, is " The Countess of Monte Cristo,” Universal’s colourful Continental drama, which opens an engagement at the Strand Theatre to-dav. Adapted to the screen from a European play by Walter Fleisch, “ The Countess of Monte Cristo ” presents a little film extra girl, who, prompted by a temperamental whim, drives a car right out of the studio to* an exclusive winter resort, where she is mistaken for a real countess. An element of unusual suspense is maintained throughout the story when the “ countess ” is continually getting into hot water and at any moment stands in danger of being discovered. Further to complicate matters she becomes involved in the machinations of two crooks. Fay Wray gives an exceptionally fine performance in the title role, while Paul Lukas supplies the romantic male interest in his suave and debonair Continental style. Karl Freund, the director, has turned out a skilful piece of work. The supporting cast is jin unusually good one, including Patsy Kelly, a newcomer to the screen, who shows marked talent in this picture as a light comedienne. At a matinee on Saturday afternoon only “ Branded,” starring Buck Jones, will be shown. He is presented as a cowboy on a ranch west of the Rockies, and is involved in 'a series of escapades with a woman who runs the adjoining ranch and a band of unscrupulous cowboys. The supporting cast includes Ethel Kenyon, Wallace MacDonald, Philo M'Collough, and Bob Kortman. 1