AMUSEMENTS

Otago Daily Times, Issue 22374, 22 September 1934, Page 18

AMUSEMENTS

REGENT THEATRE i ________ “ Beloved,” the new attraction at tlie Regent Theatre, is very remarkable and very American. The genesis of its theme in the picturesque Vienna of 1838 is' drowned by everything American that makes up the'body and the substance ot the film. It is notable tor a loftiness of conception, a thoughtfulness of sentiment, and a depth of emotion which is, perhaps, its most American aspect of all. It is styled by its producers a musical romance, and its whole essence is romantic, Possibly it is not the Englishman’s reticent romance, but as trans-Atlantic romance goes it is intense, fervid, and, one might almost say, unbridled. In the, high American fashion one romantic seed flourishes and bears fruit in a variety of ways - through three generations. Through all the disenchantments of* adversity, despite all the contagious impurities of life, and in defiance of all the crimes of worldly indifference to the great passion, Carl Hausmann and his bride perpetuate the great love story that is theirs in the third generation, after the most heart-rending disappointments iff the second. Here really is the one curiously unusual, almost unreal, feature of “ Beloved” —a musical romance with a grimly pathetic undercurrent of woe, lacking brightness and gaiety, but at tjhe same time substantiating its claims to be regarded as both musical and romantic. But it is not the romance we all know, nor is it the usual American variety which is the ultimate vision of common sense. There is the constant warring of generations, with, incidentally, three ware to pass through, changing modes of music and art, with the old always at variance with the young, and the young intolerant of the old. " Beloved ” music begins early with a musicianly presentation of Beethoven’s Minuet iff G, and concludes vigorously with a spirited performance of the great American Symphony. In between . there. are love songs and incidentals of many kinds, with several small boys here and there endeavouring unsuccessfully to learn the difference between what they call " fiddling” and what John Boles : describes soulfully (and how he uses his soulful eyes!) as “playing the violin.” The young Carl Hausmann is lulled . to .sleep by . the, sweet cadences of " Minuet in G.” As a youth he conducts an orchestra through one of his own compositions. At 11 he sees his father shot by revolutionaries, and then -flees to America, with his mother. He teaches a beautiful girl music and falls in love with her, takes part in the Civil War, takes .New York by storm as "the fiddling baron,” nearby starves, makes bewhiskered topers cry into their beer in a Bowery'dive—-in fact, there is nothing he does not do except-win the success which is his. aim. And. all these things are done by John Doles as Carl Hausmann. John Boles is now the violinist instead of the singer, but be frequently bursts into song in the many emotional periods of the long life he presents. Playing opposite him is Gloria Stuart, who appears first as a young, fresh, vivacious girl in a high-minded Carolina -family. She marries for love and suffers for it, espouses her husbaud’s art when a heartlessly unimpressed world passed'hini by, and eventually died for it. It, is a heavy burden the producers have laid upon her, and if' neither she norJohn Boles sustain it, in the most successful fashion it is their fault . The American Civil-War breaks upon the peaceful life., of Hausmann and his mother, and when the' former returns from serving with the Confederacy his .mother is dead. But he finds a new partner in his beautiful wife. More tragedy is introduced when the son, in whom they •_have placet! so much, turns out a disappointment, but he leaves, a genius -in his sou, Eric, who captures 'the spirit of his grandfather, and eventually becomes a successful modern composer. The film is rich in dramatic interest, but its most - outstanding features are its music, the sweetness of the wife’s love for the man of her heart, and the pathos of the composer, who is unsuccessful iff' getting recognition of his genius, A genuinely outstanding supporting programme includes an excellent vaudeville series, a study in coral reefs, an Oswald the Rabbit cartoon!; a delightful “ Organlqgue,” and special musical entr’actes which include ,In the Gloaming ” by an unknown singer concealed behind the curtain, and a Wurlitzer. organ rendering of Beethoven’s “Minuet in G.” The bos plans for the season will be found at the theatre arid at the D.I.C. ■ EMPIRE THEATRE Intrigue and counter-intrigue, with a war between two great European nations as a background, form the basis of the sensational spy drama which commenced a, season at the Empire Theatre yesterday. Although the subject oftthe picture has been used by scenario writers, this British International film is treated from a new angle, which must appeal to all those who enjoy an exciting and superbly presented production; The story opens in Austria, where, on the eve of war, Captain von Hombergk falls in love with Marcella Galdi, who, unknown to von Hombergk, is a member of the Italian Diplomatic Corps. At the outbreak of hostilities Marcella is forced to return to her own country, leaving von Hombergk to be dismissed from the Austrian Secret Service under suspicion of being a traitor to his country. The action then shifts to Italy, to which country he goes, determined to clear his name by endeavouring to discover the identity of No. 77, the Italian spy who has been the cause of the capture and death , of four members of the Austrian service. He reaches the Italian frontier by aeroplane, but, is shot down, and he takes refuge in an Italian military hospital, masquerading '■ as. a sergeant in the enemy’s army. To the hospital comes Marcella, who discovers that her lover is engaged in the same work as herself, : but acting in the interests of Austria. Von Hombergk reaches Rome, and with a price of 5000 lira on Kis head sets to work to lay No. 77 by the heels. With the aid of a journalist who,, for a consideration, is willing to give information to Austria, he takes the place of an Italian pilot flying to meet the mysterious spy. The latter has valuable particulars concerning the Austrian attack the next day. At the aerodrome, when von Hombergk is about to leave for his destination, the skeins, of jove and duty are crossed for the last time. Marcella, who has learned of her lover’s plans, races to the aerodrome to prevent him from carrying out his intention, , which will mean the frustration of her country’s plans. In a climax which rises" to great dramatic heights, von Hombergk makes an instantaneous decision- —whether he will be true to his country or his lover. Carl Diehl as vou Hombergk acts with a natural restraint which is eminently suited to the part he has to play. Indeed, the whole cast shows that same restraint, and this, combined with many realistic scenes bf warfare on the Austro-Italian frontier, conveys admirably the tense atmosphere which surrounds the whole production. At ffo time does the acting, develop into the melodramatic, and the climax at the aerodrome when Marcella- pleads with her lover is well sustained, and effective. Greta Nissen, as Marcella, is responsible for a capable performance as the lovely spy, and though her part does not call for any emotional acting, except in the last Scene, she gives a convincing portrayal. Esme Percy, who takes the part of the mercenary reporter,. infuses into his role 'just the right spirit of suavity which, produces a wholesome loathing of the man. Wallace Geoffrey, Austin Trevor, and Lester Matthews live their parts as secret Service agents, while the clipped and precise speech of tlie Austrian officers helps tp convey the impression that the audience gathers of .foreign nations battling with each other in a stale of hate and fear. “On Secret Service.” must be classed as a masterpiece of spy dramas. Tlie supporting programme, which was-well above the average, : included a New Zealand Maori legend, entitled “ Amokura,” produced by Filmcraft at Rotorua, a Ginesound Gazette, Pntlietonc Weekly News, and am amusing coloured cartoon, “ Jack and the Beanstalk.” The box plans arc at the D.I.C. and the theatre. "BOWERY.” The period of the “ Gay Nineties ” is portrayed in “The Bowery,” which will come to the Empire Theatre, on Friday. Of all, the decades in American history, that from 1890 to 1900 seems to be the most popular in these times with photoplay audiences. So, ' in keeping with that expressed preference, “ The .Bowery ” brings back the music and dances of the nineties, buxom chorus girls, bustled young ladies with puffed sleeves, Bowery boys, prize fights, and-love’s-.young dream

along “the liveliest-mile on the face of the globe ’.-—New . York’s world-famous Bowery. “The Bowery," it is said, brings back to’life, re-created from faded tintypes and photographs yellowed with age, such famous characters as Chuck Connors, “ May dr of Chinatown,” Steve Brodie, who did the famous jump from Brooklyn Bridge and lived- to tell about it; John L. Sullivan boxing for a 25dollar purse; Carrie Nation with her hatchet conducting a temperance campaign; and many other celebrities of the time. “The Bowery” reunites the two stars of-“ The Champ ” —Wallace Beery and Jackie Cooper—who were loaned to 20th Century Pictures by AI.-G.-AI. George Raft was loaned by Paramount, while Fox- contributed its director, Raoul Walsh. Feminine interest should be stimulated in “ The' Bowery ” because of the emphasis placed on ■ the part the Bowery girls played in the life of the romantic old thoroughfare. Fay Wray and Pert Kolton head the larg'd feminine cast. The screen play of “ The Bowery,” a United Artists release, was prepared by, Howard Estabrook and James Gleason from the novel “ Chuck Connors,” by Michael Simmons and B. R. Solomon. Mr Horace Webber, an Australian organist, has been engaged for a short season, and will preside at the console for the first time on Friday night. OCTAGON THEATRE The producers of “Lily of Killarney,” which opened its Dunedin season at the Octagon Theatre yesterday, have taken the greatest pains to present a picture in .winch the real Irish atmosphere would be captured. That they have been successful in this audiences who will see the picture during the coming week will be able to judge for themselves. The type of player chosen, the dialogue, and the backgrounds are such that a view of the film must bring back to Irishmen memories of their home. From this point of view, the picture is an undoubted success, and it will have strong grounds upon which to appeal to all people of Irish descent in this city-. But the picture is not limited by such narrow bounds in the scope of its attraction. There is a charming story, there is much exquisite scenery, and, above all, there ■is some exceedingly fine music.' “Lily of Killarney ” breaks comparatively new ground in the way of screen entertainment, and for that reason the picture is doubly welcome. The picture is set in the country of the lakes of Southern Ireland, and more particularly amidst the wooded hills and along the winding shores of Killarney. Those people with an arrogant provincial belief in the superiority of New Zealand scenery compared with that of other countries will find cause to revise their opinions when they see this picture. For. there arc scores of views here of lake and island and woodland which would compare with anything of its kind that the Dominion has to‘ offer. The scenes on the lake at night arc wonderfully beautiful, and the prodifeers have not been sparing in the measure of this sort of thing which they have provided in the film, lii this Killarney country, amidst the simple Irish peasantry, a charming love story is enacted. It is a typical Irish story, too, for it docs not go direct to its happy conclusion, but wanders along with many, a twist, many a boisterous joke, and much veal Irish hard riding. I be principal characters arc Sir Patrick Creegan, a young landowner and sportsman, Eileen O’Connor, the girl of humble parents, with whom be has fallen in love, and Father O’Flynn, the man who is spiritual -and temporal adviser to all bis flock, and as keen a sportsman as any. The romance between the two young people is endangered by the fact that bir J atrick’s estate is so heavily encumbered that be is on the point of losing the castle of bis fathers and being compe led to set out into the world a. homeless wanderer. It is ; characteristic of two Irishmen that the penniless landlord and his creditor should, in the heat of argument regarding the merits of their respective horses, decide to settle the matter once, and for all by a race m which the stake is to be half the sum by which the estate is encumbered. .How at the last moment Sir Patrick almost loses the stake by being kept out of the race and how he turns up at the final moment to ride the race of • his life makes a thrilling conclusion to a pleasantly-told tale. The role of Sir Patrick Creegan has been entrusted to John Garrick, who, it will be recalled, was seen in Dunedin some years ago as a member of the “Rose Marie ” Company when it toured New Zealand. Garrick has a beautiful voice, and in “Lily of Killarney ” he is given ample opportunity to use it. Hie scenes when he sings to Eileen on the lake at nightmare particularly attractive, and the recording has been exceptionally well done. Garrick, in short, is an ideal Sir Patrick, and the same thing might be said of Gino Malo, who is seen as Eileen. Miss Malo makes a charming Irish colleen, vivacious, witty, and affectionate. The real hero of the picture, however, is. Father O’Flynn, a part which is played by Stanley Holloway. Holloway makes a wonderful job of- the part. Dunedin audiences who heard Horace Stevens sing “ Father O’Flynn ” a few weeks ago will have to admit that, coming after tliat; fine artist’s rendering of the song, Hoi-, loway’s singing of the number does not suffer greatly by comparison. He is the, lovable Irish priest brought to life on the screen, and his handling of the role goes a long way to make the picture the success that it is. The members of the supporting cast have been chosen with considerable care, and there is not one badly, done character in the whole production. “ Lily of Killarney ” is one of the pictures that should be seen during the • coming week by those in search of enjoyable entertainment. The supporting programme contains scenes from the tour of the Australian cricket team in England, as-well as other items of topical interest, and a number of well-known Irish songs are also featured. The box plans for the season are at the theatre, M'Cracken and Walls’s, the D.1.C., and at Begg’s. ■ ' . ST. JAMES THEATRE If Greta Garbo has. not by this time won the admiration of all film patrons, her latest picture, ■•“ Queen Christina,’ the Dunedin season , of which was commenced at the StAJames Theatre yesterday, must convince those who have remained critical of -her greatness as : ,an actress. The opinion has- on all sides been expressed that in this film she has her finest role,, and that conviction, will most assuredly be shared by all who were sufficiently, fortunate.;,to ; witness the opening screenings yesterday. Whether the film is historically accurate is not likely to concern the audience, but its historical basis is one of the factors that makes it such an outstanding success. It ig the story of Christina, who, as a child, mounted the throne of Sweden upon the death on the field of battle of her father, the great Gustavus Adolphus. He had led the armies of his kingdom in the heroic part which it played in the Thirty Years’ War, which involved all Europe, and upon the child fell the responsibility of maintaining a great tradition and of providing, inspiration for a people bent upon maintaining the power of their country. The story hinges upon the fact that Christina lived always in the shadow of this great responsibility and also upon > the fact tliat her father had brought her up from earliest childhood to play a man’s part. She was, however, no more than human, and the time'came when she had to choose’ between duty and happiness. The story of how she made her -choice and of its consequences is one of the most appealing tliat the screen has yet presented. But while,the story counts for a great deal in the building up of the film, and while the general production is from a technical point of view well-nigh perfect, it is the superb performance of Miss Garbo that places “ Queen Christina ”, upon such an exceedingly high plane. The demands which it -makes upon her are such that only one of her exceptional capabilities could have done it justice. First she is seen as a young woman wearing the, garb of a man, indulging in strenuous feats on the hunting field, and then returning to her palace to care for affairs of State that rested the more heavily upon her shoulders because of the war that was draining the country of its manhood. In these things she displays a truly royal dignity, but that she also has courage is shown when, against the wishes of all her advisers, she decides to put an end to the turmoil in which’‘her , country is, involved and to enter into an honourable peace with the warring nations. Then she is .seen as the lover indulging in an adventure with Spain’s ambassador, and finally, •when she has placed happiness ahead of .duty, as the victim of tragic circumstances. In all the varying moods that she is called upon to display, she is the supreme artist, and whether she is indulging in one of her boyish pranks 'or whether she is, with regal dignity, coping with some difficulty of State, she compels

the admiration of the audience. John. Gilbert, who was chosen for the role of the Spanish ambassador, gives a most impressive performance, investing it with all the fire of the true Castilian lover, and Lewis Stone gives another of his fine character studies as the chancellor who, in accordance with his oath to the dead king, has shown unswerving devotion to the young queen. With almost equal success lan Keith portrays the jealous Count Magnus, who, having enjoyed for the briefest of terms the love of the queen, makes plans for her downfall when he finds that another commands her devotion. In every respect the film is admirably produced. There are many magnificent scenes, notable among which are those in which the pomp and glamour of the court are shown, but there are others, such as those which depict the events in the inn in which Christina and her Spanish lover are brought together, that will also make pleasant memories. “ Queen Christina ” is one of the greatest of all American films, and it may be expected to enjoy as successful a season as any picture that the management of the theatre has yet presented. A riot ot fun is presented in the “Wataphony Newsreel,” which is one of the elnet supporting attractions, typically amusing comment being supplied by Pete ,Smith, hnd in a travel film some truly magnificent views of Venice are presented. I'm box plans are at the theatre, Jacobs s, McCracken and Walls’s, and the D.I.L. GRAND THEATRE ; Wheeler and Woolsey, those inimitable clowns who have made so many hilarious pictures in the past, are seen together again in another delightful melange of nonsense and romance in ‘ Cockeyed Cavaliers,” which is now being shown at the Grand Theatre. In this production they have set the clock back several hundred years as far as the settings of the story are concerned, but their wit is just as fresh as ever, and their quips and antics are quite as amusing as m the past. Woolsey without hornrimmed spectacles would be unthinkable, but be makes a concession to the. era portrayed by wearing extraordinary square-framed objects which make nun look even more comical than before, while the pair appear in knee-breeches and a envious conception of the style of wear favoured by gentlemen in those tar-olt times. The principals receive excellent support from 'Dorothy Lee and 1 hennaTodd, both of whom play their • parts m a highly satisfactory manner. I he comedians are first seen as a pair of vagabonds who are in constant danger of lirrest and summary execution on account Of the kleptomaniacal propensities of Wheeler, and when they interfere with the wedding of the Duke of Wester by removing first 'the duke's jewels and then his carriage and pair they are clapped into the stocks and receive harsh treatment from the villagers. The quondam bride, however, having no liking for the proposed match with the elderly and portly duke, escapes from the house in boy’s clothes arid rescues the two .unfortunates, and the trio ride away to take refuge in a wayside inn. Here they enjoy themselves at the expense of a party of boar hunters, Jed by a neigh-

bouring baron, who is married to the duke’s niece. All goes well until a gaoler arrives with the tidings that he is seeking for two vagabonds who have escaped from the stocks. Some .quick thinking and quicker acting save the beleaguered, pair, who swiftly possess themselves, of the clothes of. the king’s physician and his attendant, who are on their way to attend the duke. They enter the latter’s coach masquerading as medical men, and the fun waxes fast and furious, with the pair getting themselves into and out of innumerable situations of an excruciatingly funny, nature, until they win a reward offered by the duke for the slaying of a ferocious boar, and rescue the lair damosel from her unhappy fate. There are several attractive song numbers, the gem being “The Big Bad Wolf Is Dead.” by Wallace Beery and an excellent male chorus. There is an interesting supporting programme. The box plans are at the theatre’and Begg’s. - STATE THEATRE Few films which, have been,shown in Dunedin during the past few weeks can boast a cast which makes so strong an appeal to popular favour as “ Change of’ Heart,” which is now showing at the State Theatre, where, on account of the reception it has received, its local Season has been extended: It is some time, now since Janet Gaynor and Charles Farrell have been associated on the screen, and' the fact that they have the leading roles in “ Change of Heart ” would alone be sufficient to give the picture a very, strong claim to success.' »In addition to these two, however, two very well-known players in James Dunn and Ginger. Rogers are also promiriehtly cast. While the list of supporting players contains’a number of capable Hollywood performers. The pro-, ducers have been wisely guided iu their selection of a story. They have turned on this occasion to a novel from the pen ot Kathleen. Norris, who is well knownfor her ability to present a tale of everyday life, about everyday people. This is the sort of thing that Farrell. and Miss Gaynor can do best, and, incidentally it is the sort of story that has the widest and most lasting appeal. Four young people leave, behind-them the life of-.their '.college and go, out to- face-the very, different life of a bustling city, where the competition, is fierce and most- of the prizes for those “with stout hearts and sharp swords.” Undaunted, they begin their struggles to,realise their ideals, aud the picture is. concerned with their ex-, periences in'the course of ■ that struggle. With what success-they meet, with-what disappointment and happiness and sorrow," will be followed by the audience with the keenest interest, and for the space of an hour those who see the picture will have the feeling of looking at a slice of life itself. When the leading roles are in the hands of such players any comment on the standard of the acting would be superfluous. Charles Farrell is the Farrell who. almost half a dozen years 'ago, when the “talkies” were in their infancy, sprang into fame with Iris partnerships with Janet Gaynor in such pictures as “ Seventh Heaven ’• and “ Street Angel.” His acting is s.till of the Same order, and he makes the ideal hero for the Janet Gaynor heroine. Miss Gaynor

js, of course, one ,of the A most popular; actresses appearing on the films toMayj and her portrayal in “ Change 'of Heart ’ is in keeping with what may be expected from one with so great a reputation. James Dunn and, Ginger Rogers are fully adequate to the demands that are made upon them. “Change of Heart” is the .type of picture that is . bound to be enjoyed by the .average theatre audience. The programme of supporting subjects as a good one; These short 'films, are, . frequentlyl as enjoyable as tlfe majpu picture, and the . range of . topics which •they' cover is sufficiently wide to cater: ,for the ip- , terests of most people. The box plans for the season are at the theatre and ■ at Messrs Charles Begg and , Co.’s. ? STRAND THEATRE’ For those who enjoy a really good comedy, ideal fare is provided on the new programme at.. the Strand .Theatre,, the main item being the latest Slim' Siimmerville-Zasu Pitts ... film, “Love Birds.” In some of their earlier efforts .these comedians have relied almost entirely upon their .own'clowning, but this time they have been provided with a good story, and the result is one of . the most laughable pictures of the year. Zasu is a school- teacher and Slim is a produce market employee with ambitions to be-, come a chicken farmer. The two meet for the first, time when Slim almost drops a crate of fowls on Zasu as she is making her-way to school accompanied by her youthful nephew, who is probably the most Unattractive child ever seen in film or story—-his one thought is for hissoul, and he is as far removed from the character of the normal small boy as one could readily imagine. Once again Slim and Zasu meet-when some, fowls escape and;'find - their way into the- school,-■ followed by Slim 1 bent on their .capture;.; ; and the result of .this contretemps'is the: \ loss of Zasu’s job. The two have;; one ■ ; thing in common—a desire for peace and” quiet—and both, unknown-to each other, decide upon the purchase, of a property in ‘ the west. 1 ZaSu and lier nephew arrive first—-both : parties having , been swindled- by, ‘a city.’land .agent—and''Slim , arrives ill' a dccr6pit motor car ' later. •There is a legend that a Chinaman has beeu murdered at El Mirage ranch, and when Zasu, hears noises in the house during the night she fears'a visit from the ghost. The scenes which follow, in which the, two 'chase \6ach, other around the house, arc funny in the extreme, and , the culminating situation, with both of. them struggling with fear and each other in a bed beggars description. Daylight eventually comes and with it an argument as to who is the real owner of the property, and matters are made worse by the arrival of - I ,an-old; prospector who has a fight with' Slim' and knocks out . liisJ»; proudest possession—a gold inlay. Thq discovery of this piece of gold leads to a gold rush, and the. ranch quickly becomes a hive of activity, . as, miners ( from far and near race in to dig for : 'the precious metal. How the problem# 1- J of the “Love Birds” are eventually ■ settled makes the end of the; story'as ' amusing as the rest. There is au ex- 1 cellent supporting programme including 1 a riotous comedy and a “ Goofy tone, News- < reel.” The box plans are at the theatre 1 and the D.I.C. 1

GREEN ISLAND, KINEMA .;j Burlesque is the keynote of ,“Falling, for You.” the Gainsborough comedy re-V leased by 'Fox Films, which twill be screened at the Green Island Kinema to-' night; Jack Hulbert, one of the linest comedians on the English screen; share»n the -starring,,honours with ■ 'his equally famous wife, Cicely Courtneidge. ; r J?Ke > action of. the. story is centred' in' .the Swig ? Alps, where Jack and _CiceljV : -M)t -the 1 ' of'rival'reporters are holidaying, ,I holiday is combined with busihess. as they are but to. locate a missing heiress, and each is anxious ■ to' “ scoop ” thedther;. on the story. ' Scefaio' beauties of the ; ,Alp» > have not been overlooked by the. producers, and the- Natural settingsi&iyer the f story an unusual charm. Four excellent;;? songs- are: introduced by this picture, andj -j sung in the well-known Hulbert-Gdurt-;. neidgc manner, they achieve ..brilliancy.y JackHulbert 'as a sweep singing the song “Sweep,” aind Cicely Courtneidge •as a ; ” cook singing “ Mrs Bartholomew ” are delightful. ••