AMUSEMENTS

Otago Daily Times, Issue 22368, 15 September 1934, Page 19

AMUSEMENTS

STATE THEATRE Nothing that the State Theatre has presented in new and attractive entertainment of the past few weeks can compare with “ Change of Heart,” which brings to ' the screen in a film which features among other personages Charles Farrell and Janet Gaynor. 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 .womanI hood 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, bates, jealousies, the economic handicaps, the chaos, and confusion which are the soul of the metropolis. Into the cross-cur-rents 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 local interest of the drama. The climax, when Farrell realises his love for Gaynor, 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. The whole film, however, has something, unusual and appealing to commend it. It is not the usual film scenario with the conventional ending. It traverses the whole of the gamut of human emotions, and in a few seconds presents happiness 1 and sorrowness, hope and sadness. It is this faculty of presenting emotions that makes half of Farrell’s appeal, and his habit of anticipating what will make for the future joyfulness of his principals. None of his characters ever appears in a role that is characteristically unsuited to it. Charles Farrell is too good a showman to miss the slightest opportunity such a part would afford. “ Change of Heart ” presents sugary sweetness of stars, romantic beauty, and varied incidence in such, quantity that it was difficult to know just where to begin. It was excellent entertainment, and during the coming week there will be many people who will be curious cohcerning the theatre at which it is to be screened. It is being screened at t a theatre which prides itself on programmes specially suited to general tastes audio wide popularity, and by screening such a film as “ Change of Heart ” it draws to itself that wide patronage which is deserved by a house so consistently to be found in pursuit of public taste. Both Farrell and Miss Gaynor are players.,of more than ordinary merit, and in “ Change of Heart ” they show they are entitled to be regarded as among the first box office successes of the present time. They suit each other so admirably that it is easy to overlook the fundamental dramatic and romantic dubieties which share the film. There is an excellent supporting programme of short subjects which covers a wide range of interesting subjects. It ranges from corsets to more important articles of underwear, and proceeds thence to a diverting study of a decidedly attractive selection of home interests. The box plans are at the theatre and at the D.I.C. '■» REGENT THEATRE The breezy type of comedy that has a universal appeal Is provided at the Regent Theatre, where Stanley Lupino. and a number of other popular British players present “Happy.” Lupino appears in this picture as a musician who has taken up quarters with a friend who is a skilled pianist, and the intention of the pair is to ■write and sell songs. Lupino, however, is of an inventive turn of mind. While his attempts to perfect a device for preventing the theft of motor cars at first reduce him to poverty they play an important part in,events that afterwards lead to wealth and happiness for a number of people. The story , which is told is clever and always interesting, but it is the incidental entertainment that is introduced combined with witty dialogue that makes the film specially attractive. As in his other pictures Lupino has not allowed a serious moment to be introduced, and the extremely amusing situations that arise through his squabbles with his roommate • or through his adoration of the daughter of a millionaire follow one another so quickly that the audience is laughing almost throughout the screening. There is an important musical side to the production, and the catchy song numbers that are heard at frequent intervals are one of the outstanding features of the film. While Lupino, with his perky ways, his acrobatic skill, and his clever repartee, occupies the centre of the stage during the greater part of the film, he has associated with him three other comedians, all of whom perform up to expectations. First there is Laddie Cliff, who ably fills the role of Lupine’s friend and partner in their rapid rise to popularity as the principals of a dance orchestra, but many will find even more amusing the attempts of Will Fyffe, the Scottish comedian, who, on the advice of Lupino, attempts to raise geese, but cannot persuade his two healthy birds to perform the necessary preliminary of laying an egg. Gus M’Naughton is as entertaining as ever in the role of Waller, the rich insurance man, and Jimmy Godden and Hal Gordon also have minor parts. A wealth of feminine beauty is seen in the many spectacular settings that provide a background for the fun, Renee Gadd and Dorothy H"son both filling their roles with great charm. The theme song “ Happy ” is one of the brightest numbers that the films have produced. It is through the composition of this song that Lupino secures the appointment as leader of the band in a Parisian cafe, where he meets Pauline, with whom he falls instantly in love. When he finds that she is the daughter of Waller he gives up hope, but after adventures amusing and exciting the time eventually comes when his invention works, and his successful sale of the device to Waller loads to a breezy conclusion. The picture as a whole is first-rate entertainment. The general production is excellent, and each member of the cast has entered upon his part with the greatest zest. Few comedies present such a variety of materia) while at the same time achieving such continuity. The supporting programme contains several interesting items, among which a Nature study film, “ Brock the Badger,” and a Pathetone revue are the most attractive. The box plans are at the theatre and the D.I.C. OCTAGON THEATRE Thrills and suspense with a judicious admixture of humour are the paramount, features of “The Four Masked Men,” a story of the activities of a daring gang of thieves, which commenced a season before large audiences at the Octagon Theatre yesterday. Opening in London, where four friendS are having a dinner on the eve of the departure of one of them for South America, the scene shifts to the camp where he is employed as an engineer, and then to a brilliant ball given by the president of the republic, at which the gang carries out a successful raid and escapes with the jewels of the ladies. In an attempt to prevent the escape of the leader, however, the young engineer catches a momentary glimpse of his face when his mask slips aside. Shortly after the engineer’s return to London he is present at a card party, when another raid is carried out by the thieves, who have transferred their activities to Eng--1 land. After they have made good their I escape with a large amount of money, the young engineer is found fatally injured, and he dies before ho can tel] the secret he has discovered. His brother, a rising barrister, swears to [ avenge bis death. In spite of himself he , is forced to suspect a beautiful girl, in ’ fact, his fiancee, since she was also I present on the occasion of the earlier ! raid in South America, and certain eir-

cumstances pointed to her being an associate of the gang. Nevertheless, while he cannot altogether disregard bis suspicions concerning her, be follows up another clue and receives information that reveals the headquarters of the gang. He determines to take a bold and dangerous step which, if successful, will lead to the conviction of his brother’s murderer and to the arrest of his associates, but, whether he carries it out or not it would be hardly fair to disclose. Suffice it to say that the climax is one that must compel the interest and attention oUany audience. Judy Kelly, the young Australian actress, makes a thorough success of the chief feminine role, while John Stuart, Athole Stewart, and Richard Cooper fill the principal male parts with every satisfaction. Miles -Marnier docs some fine acting in an unsympathetic role. The outstanding item of the supporting programme is a film depicting the highlights of Derby Day at Epsom. All the varied aspects of this great sporting event are interestingly shown, and the film provides an interesting insight into a festival such as only England can produce. Two newsreels arc also shown. The box plans are at the theatre, the D.T.C., M'Cracken and Walls’s, and Begg’s.

EMPIRE THEATRE “ Love, Life, and Laughter,” which is now being presented at the Empire Theatre, is a picture which lives up to its name, for it provides a continual round of merriment, with Graeie Fields, England’s queen of musical comedy, in what is her best role since she became a film star. It is a musical extravaganza with no pretensions to be anything but hilarious entertainment in which there is much singing and a boisterous romance between Graeie Fields and John Loder, a talented actor who has returned to England after achieving ■ a considerable amount of success in American films. Grade Fields, of, course, has most of the stijge, and her exuberant personality and her delightful singing voice keep the audience in a merry mood from beginning to end. There is mostly comedy in the film, but occasionally the audience finds itself suddenly brought face to face with pathos, only to .be back again in side-splitting laughter almost immediately afterwards. The popular Lancashire comedienne radiates happiness and she achieves great success with her new song hits, “Love, Life, and Laughter,” “Cherie,” “Out in the Cold, Cold Snow,” “I’m a Failure,” and “Riding in the Clouds.” As Nellie Gwynn, the daughter of a publican, Graeie Fields captures Hie heart of Prince Charles of Granau (John Loder) when she is taking part in a carnival in aid of charity and throws an orange which accidentally hits the King of Granau in the eye. By this f troduction to the Prince, who invites her to a great ball at the Legation. Here the lass from Lancashire breaks through all the conventions and nearly stages a riot when she bursts into exuberant song. The young Prince is supposed to become engaged to Princess Grapfel, and thus assist his country in negotiations for a loan, but be cannot go through with his part, and instead escapes with ■Nellie and becomes a film actor. The romance moves swiftly and boisterously until news comes to hand of the death of the King of Granau, and the young Prince is called upon' to leave for his own country and succeed to the throne. Nellie and Her father visit him at the time of the coronation and cause a merry mix-up, which, fortunately, is straightened out in time for everyone to live happily ever after. The supporting players are well chosen to represent a medley of interesting characters, each of whom contributes in some measure to the merriment which the film provides. As lively entertainment “Love, Life>and Laughter ” is the best of good fare. Throughout the laughable and serious incidents, crowded in so effectively, there appears as inevitable one of two conclusions, the happy and conventional, that never occurs in real life, or the tragic that wholly satisfies a section of the film community. "Love, Life, and Laughter” is the fourth vehicle made at Ealing, London, starring Lancashire’s famous musical comedy actress, Graeie Fields. Miss Fields was stated earlier this year to be receiving upwards of £150,000 a year for stage, screen, and radio work —undoubtedly a world’s record for entertainers. The main picture is supported by several short films of considerable merit. The box plans are at the theatre and the D.I.C. ,

STRAND THEATRE ' Those seeking something a little different from the usual type of screen entertainment would be well advised to pay a visit to the Strand, Theatre this week. “ The Countess of Monte Cristo ” is a picture with an arresting title, and though, perhaps, the story can scarcely lay claim to the same eminence as that which suggested the name, it is, nevertheless, excellent entertainment, delightfully presented by a cast of clever and charming players. Fay Wray has the title role, and she makes of it what very few other screen actresses could have done. Opposite her is Paul Lukas, who has long since made a name for himself, and Patsy Kelly, lent to Universal for the occasion from the Hal Roach Studios, heads the list of supporting players. The story opens in Vienna, that home of romance, and a motion picture studio is the locale of the first few incidents. Janet and Mimi, two extras, are given work in a picture, portraying a lady of high rank, and her maid arriving at a palatial hotel in a motor car. Just before the scene is “shot,” Janet receives the news that Stefan, her lover, has lost his job, and she is so affected that she fails to please the director, Mimi has told her that with her looks she could get anything, and at length unable any longer to stand the abuse of the director, she drives the powerful sports chr straight out of the studio and away into the night. In the morning the two young women arrive at a huge hotel in the Austrian mountains, where the luggage is found to be labelled in the name of the Countess of Monte Cristo. Then commences a series of adventures that are exciting, dramatic and always amusing. At the hotel nothing is too good for. the “ Countess ” and, when it is found that an hotel thief has been in her room and the lack of real luggifge is discovered, the management insists on replacing her trousseau. A man falls in love with Janet, and'the two enjoy the winter sports together for some days, but eventually the police discover that the man is none other than a notorious criminal who has eluded them for 10 years. They set a trap for ; him, and it looks as though the girl will be involved. How she escapes and gives her Stefan, a newspaper reporter, the scoop of the year, makes the final stages of the story just as good as any audience, could wish. ' The chief item on the supporting programme is a long comedy entitled “Ceiling Whacks,” in which life in flats is satirised. The box plans are at the theatre and the D.I.C. GRAND THEATRE In “Handy Andy,” which is the principal picture on the double-feature programme at the Grand Theatre this week, the loading role is in the capable hands of Will Rogers, who must be regarded as one of the most successful and most likeable of American humorists. The character which Rogers is called upon to portray on this occasion does not differ markedly from those which lie has given to the screen on a number of occasions, and. it is a tribute to the skill of the star that his work does not bore _ an audience. For this perhaps the principal reason is that there is a trneness to life about' the characterisations which Rogers gives; there is a freedom from all straining after-effect, and a complete absence of exaggeration. The result is that the chemist whom he portrays on this occasion seems for the space of an hour really to live on the screen. There is nothing extraordinary about him. He is simply a man who lias been in love with work, has made a competency from it, and at length has yielded to the persuasions of his wife to retire and enjoy himself. The film is devoted to telling of the manner in which he does “ enjoy ” himself, and if there is a large element of comedy in the story there is also an underlying note of pathos. For this man who has worked so hard during his younger and middle life has lost both the desire and ability to play with real pleasure to himself. His best enjoyed moments are those when he can steal away to the basement, where he has fitted out a miniature druggist store, and there dabble to his heart’s content with prescriptions and chemicals. Constantly goaded by a wife who does not understand her husband’s tnite nature, lie tries in vain to accustom himself to the conventional ways of killing time, and it is only when at length

be takes the bit in his teeth and plays” with alarming results that his wife is brought to realise the mistake she has made, and Andy Yates goes b’ack to his old shop. The picture is one that will be enjoyed by those who appreciate a fine piece of characterisation done in the best Will Rogers style. In tlm principal feminine vole Peggy Woods is seen as the wife who fails so completely to understand her husband’s position, and Mary Carlisle is cast as the daughter, blessed with a keener perception and a happier sense of humour. The second picture on the programme. “Wild Gold,” deals with an entirely different phase of life. John Boles and Claire Trevor arc seen as engineer and disillusioned wife respectively. The one has lost his job and the other her husband, who lias left the city at the request _of the . police. Between these two casualties of life there springs up an affection which ripens amid the bustling life of an American town in the grip of a gold rush. Just when everything seems to be going satisfactorily for the pair the wastrel husband turns up at the wrong moment, but in the end everything straightens itself out, and the story ends on a happy note. The box plans for the season arc at the theatre and at Begg’s. ST. JAMES THEATRE When it was shown in Dunedin three, years ago “Whoopee” created something of a sensation in the way of entertainment. - In its musical numbers, its teebnicolour scenes and its dancing it reached a level rarely attained on the screen,.and in addition it had as its star that inimitable comedian, Eddie Cantor. This week the St. James Theatre has brought the picture back for a return season, and it may be said at once that, even judged by the more advanced technique of today, “ Whoopee ” is still a decidedly fine picture. For one thing, the fact that it has been made entirely ih colour is a decided attraction to audiences that have seen nothing but the conventional black and white for a year or two, and one can only wonder why the producers of Hollywood, having taken the art of colouring films so far, suddenly abandoned it. For the teehnicolour film has distinct advantages over the black and white; it is more natural and it is infinitely more beautiful. There are a number of scenes in “Whoopee” that have had no counterpart in productions of more recent years, and th6se who have forgotten just how beautiful they were would do well to pay the St. James Theatre a visit during the coming week. For the rest, the film is Eddie Cantor, plus a great deal of magnificent ballet work. The’story, of course, is slender enough. Cantor is a confirmed invalid, with an absolute _ craze for discussing his illnesses, who is trapped into eloping with the intended bride of the county sheriff. The rest of the picture is taken up with the tale of his experi-, ences during the somewhat hectic pursuit of the sheriff and his minions. But this is only the merest thread upon which is hung a'succession of spectacular shows. There must be more beautiful girls in this picture than have appeared in any Hollywood production 'for a very long time, and the ballet work is exceedingly attractive. In particular, towards the end, when an Indian sceua is presented, the dancing is marked by some amazing ensembles, in which the beauty of the feathered costumes against the _ background of sunlit rocks will remain in the memory for many a day. And through all the action there the fooling of Eddie Cantor. He has a regular field day of it, and from beginning to end he keeps the audience simmering with laughter. “Whoopee” is a picture that can hardly fail to be enjoyed by the average theatre audience. The supporting programme this week is a strong one. A Micky Mouse cartoon is done in the best style, and an outstanding short is _ a Ufa production dealing with bird life in the forests of South-western Europe, The box plans for the season, will be found at the theatre, the D.1.C., M'Cracken and Walls’s, and Jacobs's. GREEN ISLAND KINEMA ■ ■—— ■i A double feature programme will be screened at the Green Island Kinema tonight,. the films being “Smoky,” with Victor Jory, and “The Golden West,” with George O’Brien in the principal, role. .’ Victor Jory, who has the leading role in “ Smoky,” portrays the part of a cowhand, who tames and befriends Smoky, the wild horse, born and bred bn the plains of the West. The friendship of man and animal becomes so great - that when Smoky is stolen, _ his friend siyes up love and job to go in search of him. The life of Smoky, his rise and fall, forms the basis of the film. And the final reunion of man and,beast is said to bring the picture toa stirring climax. In. the second film, which, is an adaption of a Zane Grey novel, the, story of which pivots about a fend between two aristocratic southern families.