AMUSEMENTS

Otago Daily Times, Issue 22422, 17 November 1934, Page 9

AMUSEMENTS

STATE THEATRE A piece of delightful fooling is provided in “Jack Ahoy,” which opened its season at the State Theatre yesterday. Ifx'oui the start of the picture until the final fade-out the audience is kept in tits of laughter, and the fun is maintained at a fast ipxce throughout. The star is Jack Hulbert, who has a style all his own, aud who has become very popular with Dunedin audiences. In fact, it is not too much to say that it was his personar popularity that was responsible for the very iarge house that greeted the rise of the curtain last night, a tribute the more remarkable in that Dunedin theatre-goers are almost invarianly cautious about a first night. But those who saw the initial performance must have felt that it wag well worth while. The picture has been admirably produced, and, while the story is_ of rather a flimsy nature, it is Quite sufficient to provide a thread of continuity .for the antics of Hulbert. • On this occasion Hulbert takes to the sea. The picture is prefaced by the statement that “ certain facilities have been granted by the Admiralty, but the Admiralty is in no way responsible for the treatment of the situations. This was hardly necessary, for no one would be likely to suspect Britain's naval chiefs of providing anything so entirely inconsequential as “Jack Ahoy.’ Indeed, there is very little of the navy m the film, but a great .deal of Jack Hulbert. Admirers of the star will not feel inclined' to quarrel with the picture on that account. Hulbert appears as a naval rating on board H.M.S. Stupendous, which is seen as she is about to sail tor the China station. Before the ship finally sails, the admiral, whose flag is flown from the Stupendous, is accornccl a farewell by a party of female acquainttances, mostly, it appears, friends of nis daughter. This provides the first opportunity for the very unusual sailor to meet the girl, with whom, all unaware of her identity, he instantly falls in love. His manner of introducing himself is dwtinctly unusual and scarcely calculated to capture her regard, but he at least has the virtue of persistency, and he is not even daunted by the realisation that he has termed his admiral ‘Old fireworks ” in the presence of the latter s daughter. Some of the most amusing scenes in the picture follow the departure of the vessel. During the course or the voyage the admiral’s barber falls ill, and by some obscure means Hulbert has himself appointed to the position. The manner in which he flourishes an exceedingly large razor is quite . 6U *‘ l ' dent to justify the suspicion of tlie admiral that he has to deal with a madman of the most dangerous typa, ana the scene that follows is one of the best in the whole film. For the rest of the voyage Hulbert spends most of his time in involuntary detention, but hie spirits on arrival on the Chinese coast appear in no way to have been dampened by the experience. The remainder of the story is devoted to telling of the way in which Hulbert figures in the recapture of a submarine that has been stolen by a band of desperate Chinese bandits and pirates. In the course of the wayward sailor s escapades he by accident discovers the headquarters of the gang, by whom he i® drugged with opium. This part of the picture has been cleverly done. The W'ay in which the fantastic dreaming of the sailor is suggested is a remarkable piece of work, the figures dancing in the hazy, dreamy fashion that might well be the figment of some opium smoker’s delusion. From that stage the action commences to move at a faster pace. The admiral and his daughter, who has rejoined mm on the station, are kidnapped by the pirates. The irrepressible Hulbert, accompanied by his mournful companion in adventure, goes to their rescue, and after a stirring piece of bluff they outwit the pirates and make good their escape in the stolen submarine. But the knowledge of the very skeleton crew of the control ,of a submarine Ts decidedly sketchy. In order to avoid pursuit they submerge the submarine, with alarming results, the vessel careering in a manner calculated to upset the strongest nerves. At one stage Hulbert is left clinging frantically to the top of the wireless mast while the vessel submerges; at another all on board. are firmly convinced that. they have become stuck fast on the bottom of the sea, and Hulbert volunteers to don the emergency equipment and make an attempt to reach the surface and help. He emerges from the conning tower, and, with firmly-closed eyes, struggles desperately to gain the upper air-yonly to discover that all the while their vessel has been lying on the surface surrounded by ships of the navy. The story i fl brought to a conclusion with Hulbert receiving the thanks of the admiral for bis gallant conduct, and the kisses of the daughter for equally gallant, behaviour. . Nancy O’Neil has the leading role opposite Hulbert, and others prominent in the cast are Alfred Drayton as the admiral, Henry Peterson as the pirate leader, and / Sam Wilkinson as Hulbert’s lugubrious friend. The supporting programme this week_ is of unusual interest, the newsreels being of an interesting and instructive nature. The box plans for the season are at the theatre and at Begg’s./ REGENT THEATRE A delightfully light-hearted entertainment, agreeably spiced with genuine thrills, is the nature of “Freedom of the Seas,” the British production which received its initial local showing at the Regent Theatre yesterday. The picture is probablv one of the most refreshing sea films which have been seen in Dunedin since “ The Middle Watch.” There is a strong narrative through the production which has been capably directed, skilfully photographed and acted by a east which rapidly earned the approval of the audience. Clifford Mollison, a comedian of. the type which only England seems able to produce, is the principal figure but, thohgh his comedy may fall a little short of the heights—or depths—of inanity which are attained by some other actors of this type, he has the advantage that when the opportunity comes for quick, dramatic action of a serious nature, he can rise to the occasion with entire credibility. He is a comedian .and a hero as the story demands. Opposite him is the charming Wendy Barrie. She is suitably haughty when necessary, gay and laughing when the occasion calls tor lightness, and full of good sense and forgiveness as the film reaches its dramatic and romantic climax. She is an attractive actress and handles a part calling for a variety of emotions with excellent freedom. But although she has the enviable role the heroine. Zelma O’Neal, who is seen in a lesser role, that of an American chorus girl, who in the vagaries of war is thrown into the company of Miss Barry, gives a display full of vivacity and succeeds in winning a large share of the plaudits for herself. She is not very well known as yet but, to judge from her performance in this film, it will not be long before she attains genuine stardom. “Marine Ogg ” of “The Middle Watch” makes a welcome appearance. This time he has been elevated • to the rank of captain, and an amusing one he is. H. F. Maltby is appropriately pompous and ridiculous as the employer of Mollison and he is eventually compelled to eat humble pie. Cecil Ramage makes a convincing villain. The story is about a mild and bashful clerk in the city who is in love with his manager’s daughter. The lady is aloof while he remains in the office but when he leaves and becomes an officer in the Royal Navy in wartime her emotions begin to change. The transformation of the clerk into the officer is particularly well done. In the course of his duties Mollison is deputed to take over a cargo ship which is suspected of treachery, and then things begin to happen. The tension of the story increases as the hour of the cargo boat’s assignation with a U boat approaches, and the events which take place are by no means an anti-climax. The programme is thoroughly entertaining all round. Of local interest among the supporting films is “Around Port Nicholson, a New Zealand scenic film which contains some good photography in and around the Dominion’s capital city. Another particularly interesting film is the Canadian film, “ Saga of the Silver Horde,” which gives an insight into the methods employed in the salmon fishing on the coast of British Columbia. A gazette includes some remarkable juggling, and there is also shown a Regent Review of world events. Included in the programme of incidental music is a record made by the Woolstou Band during its recent visit to Melbourne. The box plans are at the theatre and the D.I.C. EMPIRE THEATRE Outstanding skill in acting, intensely dramatic situations, and an unusually good plot are features of “ Manhattan Melodrama,” which opened its season at

the Empire Theatre yesterday. William Powell, in the part of an ambitious district attorney, is seen as an idealist who considers his duty and loyalty to the State above his most personal feelings, and finally he condemns to death his best friend so that those ideals might be upheld. Clark Gable, as Blackie Gallagher, gangster and gambler, is a powerful character throughout. The destruction of the General Slocum in 1904, a disaster in which a crowded river steamer burst into flames during an excursion, forma the basis of a friendship between the two boys, Blackie Gallagher and Jim Wade. When they grow to manhood Wade takes a straight path and meets with success; his ambitions are realised, and his ideals maintained. Gallagher, on the other hand, develops into a criminal, concealing beneath a countenance of smiling unconcern and a callous exterior a firmly-rooted love for his friend. Myrna Loy appears first as the lover of Gallagher, but through him she meets Wade, and finally they are married, the girl, who has never been in sympathy with Gallagher’s mode of living, realising that with Wade she will be able to live as she had for so long desired. Her former lover determines to do all he can to make the pair happy. He learns that Wades chances of becoming Governor of the State are in jeopardy through the agency of the latter’s old assistant, Snow, who is disappointed in his hopes that he would be nominated for the post of district .attorney in the event of Wade winning the election for Governor. Determined that nothing shall come between Wade and the fulfilment of his ambition, Gallagher kills Snow, and Wade is forced to prosecute his friend. There is a tense scene in the court when Wade addresses the jury, and here Powell excels himself. With careful diction and intense, emotion he demands Gallagher’s conviction. “In 1004, he says, “I tried to save Blackie Gallagher’s life. Now X have to demand lus death.” Gallagher, however, smilingly bids good-bye to hi 8 friend, and is taken to Sing Sing. In the meantime, while the hour of Gallagher’s execution draws steadily nearer, Wade’s wife demands that he make some effort to save their friend, but even a petition that the sentence of death be commuted to life imprisonment cannot be entertained by Wade, who unswervingly puts aside all sentiment, even when hie wife leaves him. ' At the last minute, however, he visits Gallagher in the condemned cell, and offers him a commutation of his sentence, but Gallagher scornfully refuses to allow himself to be a party to an act that would inevitably lead to Wade’s .removal from the governor’s chair, and unhesitatingly goes to his death. Wade, keeping true to his ideals, hands in his resignation to the State Legislature, declaring that he had betrayed public trust in that he would have pardoned Gallagher had the latter permitted it, and the closing scene brings a reunion between lyade and his wife, who has realised that his ideals are not merely those that can be set aside when ambition is attained. There is an excellent supporting programme, consisting of newsreels and a diverting Charlie Chase comedy. The box plans are at the theatre and the D.I.C. , “STRIKE ME LUCKY.” One of the highlights of “ Strike Me Lucky,” starring Australia’s favourite funster, “Mo” (Roy Rene), which will come to the Empire Theatre on Friday, is the laughter-laden and exciting chase that takes place qn the discovery of the existence of a rich gold mine. “ Mo ” and his pal Donald, the Scotsman, are the lucky iads—for a while. Good fortune puts them in possession of the map, indicating the position of the mine, and they make an early start to “ get rich quick,” Unfortunately, their only means of conveyance is a tandem bicycle, on which they are easily overtaken in an aeroplane by a gang of “ toughs, ’ who also have a knowledge of the hidden gold. Landing to catch the cyclers and get the precious map, the gangsters are outwitted, and the comedy couple make on in the “enemy’s” plane. “Mo’s” associates in “Strike Me Lucky” include Yvnonc Banvard, Lorraine Smith, Dan Agar, Eric Masters, John DArey, and little Pamela Sevan. GRAND THEATRE A double-feature programme of more than usual merit comprises the ment this week at the Grand Theatre and the two pictures offered are of a widely different type. “ Three on a Honeymoon ” is a delightfully bright comedy dealing chiefly with a romance between a ship's officer and a daring young ayiatrix who i» travelling on a ship belonging to the line of which her father is president. The officer is given the job of keeping the girl out of mischief, and is led a pretty dance by the young lady, who has no desire to be treated as a child. More trouble arises when a honeymoon bride on board the boat is blackmailed by a former admirer, but thanks to the aviatrix, who is a frieud of the other girl, the damaging evidence is destroyed and the blackmailer is himself blackmailed and eventually commits suicide. The offier in an endeavour to deal with his irresponsible charge, adopts a hostile attitude which only makes matters worse, and the climax is reached when the girl, becoming drunk during a ball on board, ends a game of follow-the-!eader by jumping into a swimming pool from the gallery. Unfortunately the water had previously been emptied from the bath and the girl is seriously injured. This brings her to her senses and the picture finishes on the necessary happy note. Sally Ellers, as the dare-devil flying girl, gives a strikings performance, while Charles Starrett does all that is required of him as the officer. \ Zasu Pitts, who can always be relied upon to keep any audience in a good humour, has a comedy role which suits her to perfection, and the subsidiary cast all handle , their parts successfully, ihe second film, “ The Red Ensign” has Leslie Banks in the leading role—that ot an ambitious shipbuilder,'who has evolved a design that will make ■ competition ■against foreign shipping possible. The picture is a patriotic drama that gives an insight into the problem that faces British shipowners to-day as the result of subsidised foreign shipping. Some ■foresting views in and around the Ulyae yards are shown, notably scenes showing the giant Cunarder, Queen Mary, in the course of construction. ■ An interesting supporting programme includes a film showing Peter Pan winning the 1934 Melbourne Cup. The box plans are at the theatre and Begg’s. . SJ. JAMES THEATRE British moving picture producers Have achieved nothing more worthy of praise than “ Song of the Plough,” which had its first evening screening before a very large audience at the St. James Theatre yesterday. It presents the beauties of the English rural countryside as no other film has done, and, besides telling an absorbing story, it brings home with complete success the message that it seeks to convey—that British agriculture is worthy of a better fate than that to which it has been drifting. But while “ Song of the Plough ” is a film that has been made for a purpose it is, both as a spectacle and as an entertainment, a production of exceptional merit. The simplicity and charm of English country life as it is presented in this film constitute something which one feels should never i.e lost, and a feeling of sympathy with those who in such surroundings yet have difficulties that press heavily upon them is the natural outcome of the story that is related. The plot is more than adequate, and at times causes even excitement. Its conventional happy ending, resulting in Farmer Freeland’s release from financial worry, gives him the opportunity of remarking that it should not be by chance that the British farmer should succeefi. and that is the fact which the picture as a whole seeks to place beyond all question. But it is not by any clever twist in the plot or bv nnv appeal to the emotions that moving pictures commonly arouse that “Song of the Plough” is raised above the ordinary level of films. It is the presentation of the true England in all its beauty as n background that is more impressive than any relation of events could be. British photography has risen nobly to the claims that the film has made upon it. A clarity and a perception of detail that have never before been achieved in a British picture have been attained, and this development has enabled the producers to present in their full splendour the glorious vistas that spread before the eyes of the audience and to capture more effectively the charm of many simple scenes. If the film presents accurately the picture of English rural life as one ordinarily may see it. New Zealand farms, in beauty at least; if not also in the quality of their stock, suffer by comparison. Even in those scenes in which the picture is intended to entertain rather than to impress, it is stirring ns a spectacle, and the show which brings all the inhabitants together in their annual revels and which forma the setting

of the exciting events which lead up to a satisfying climax, is an occasion that provides a great deal that delights the eye. While one may expect polished and convincing acting from so accomplished a player as Stewart Rome, who fills the role of Farmer Freeland, a feature of the production which must strike members of the audience is the astonishing degree of realism that has been attained m every scene. Whether those who are beiore the eye of the camera are casual loiterers °r itinerant salesmen in the market place or the farm workers foregathering for nightly relaxation in the village inn, they fill their parts so naturally that the conviction is forced upon the spectator that these scenes are passages from real life. The role-of hero has been reserved for Glen, an English sheepdog which plays with almost human intelligence the part of the saviour of the Freeland fortunes, .winning after a series of exciting events a sheepdog trial that carries with it_ a prize sufficient to end Freeland s financial difficulties. “ Song of the Plough for many reasons is a film that_ will provide treasured memories. A special attraction in the supporting programme is the picture which presents many novel and some hairraising camera shots, and the other features are of the most entertaining type. The box plans are at the theatre, Jacobs’s, M'Cracken and Walls’s, and the D.I.C. if OCTAGON THEATRE An entertaining double-feature pr<> gramme, consisting of “After Toi-night.” with Constance Bennett in the leading role, and “Midshipman Jack,” which provides an authentic picture of the life of a young American naval officer in training, commenced its season at the Octagon Theatre yesterday. “After To-night is a highly exciting spy story) in which Constance Bennett enacts the role of a beautiful Russian spy working in Vienna during the war. She uses her to good effect in extracting information regarding the Austrian Army, which is transmitted by devious ways to the Russian Intelligence Corps. While working as a nurse in an Austrian army hospital, she meets a dashing young Austrian officer, who is the head of the counter-espionage service, and serious complications arise when they fall in love with each other. The voung officer at length finds himself torn between love and duty when it is revealed that the beautiful nurse is a Russian spy, but when plans are made for her arrest she succeeds in escaping; There is a happy sequel when the war is over when the two meet in a civilian capacity and the question of duty to each other’s country does not complicate the romance. Constance Bennett’s performance _ throughout the production is characterised by outstanding charm and poise, and she plays her part with a conviction that lifts, it far above the usual run of characterisations in pictures of this kind. Gilbert Roland is equally successful as the young Austrian officer, giving a dashing and wholly engaging performance. “Midshipman Jack,” which features Bruce Cabot, is an entertaining and true-to-life story of the progress of a young man through the United States Naval Academy. .All of a boy’s hopes and ambitions, hig disappointments and triumphs, his youthful prankishnese and. light-heartedness all receive their special attention in the unfolding of the story, which is of the type commonly associated with tales for tne young, and which embodies many clean and manly attributes that make it an admirable entertainment for both young and old. Bruce Cabot is excellently cast in the leading role, his characterisation of the young man who in his mind’s eye sees himself admiral of the fleet, pacing the quarterdeck of his own 1 flagship, but who is nevertheless compelled to nass through all the vicissitudes of training in the academy before, he can even hope to qualify as a very minor unit of a ship’s personnel, being as convincing as it is attractive. The box plana are at the theatre, M'Cracken and Walls's, Begg’s, and the D.I.C. STRAND THEATRE Films in which the action takes place on a cross-continental train have been fairly numerous of recent years. “Rome Express” and the “Orient 1 Express” are two which proved very popular, and it tan safely be said that “ The. Silk Express,” which received its initial screening at the Strand Theatre yesterday, compares very favourably with its predecessors. The story deals with the endeavours of a firm of silk exporters to bring a cargo of the material, worth 3,000,000 dollars, from Seattle, on the west coast of America, to New York. A rival group has bought all the silk it possibly could, creating a “ corner ” in the market, and the ,huge shipment would mean ruin. The result is that strenuous and murderous means are taken to prevent its safe arrival. The audience follows the train as it speeds across the continent, and during the journey numerous “ accidents ” occur which retard its progress. A man is murdered; the train is stopped and a detective edmes on board; a fire breaks out in one of the silk, cars; the guard of the express is found dead, and everything which happens is calculated, to stop the journey. On the train are the .officials, the man in charge of the freight, an attorney, a tramp who has been hiding in one of the carriages, a -paralysed professor who is being rushed to New York for a treatment which will save his life, and his daughter and doctor. Suspicion falls on each one in turn, but the crimes axe solved just as the express reaches its destination. The suspense is admirably sustained throughout the picture, and the final denouement must come as a complete surprise. The acting.-of the whole cast is excellent. Neil Hamilton, as ■ the representative of. the -firm owning the silk, Guy Kibbee as the detective, Sheila Terry, Dudley Digges, and Allen Jenkins all give convincing portrayals and keep up the necessary tense atmosphere. There is an • entertaining supporting programme, which includes an hilarious comedy entitled “A Letter of Warning. The box plans are at the theatre and the D.I.C. MAYFAIR THEATRE Jack Buchanan’s legion of admirers will undoubtedly enjoy his latest film musical comedy, “Yes, Mr Brown,” sho\ying at the Mayfair Theatre. Adapted from the play “ Business with America, the story is a brightly-written affair, giving Jack plenty of opportunities to entertain with his charming personality; It concerns the visit of the American, Mr Brown, owner of numerous toy shops in various parts of the world, to his Vienna branch, and as the very alert manager Jack Buchanan, with a partnership in view, intends that his visit shall be a successful one, his efforts at amusing Sir Brown give considerable enjoyment to the onlooker. “Yes, Sir Brown” is laughable entertainment. GREEN ISLAND PICTURES A veritable “ Who’s Who ” of the stage and screen appears in “ Broadway to Hollywood,” a pageant of half a century in the theatre in which the great names of Hollywood and Broadway unite. “Broadway to Hollywood” will be screened at Green Island to-night. Its stars includes Alice Brady, Jackie Cooper, Jimmv Durante, Frank Slorgaii, Madge Evans, Eddie Quillan, Fay Templeton, Slay Robson, and Russell Hardie. The story starts in the first dawn of vaudeville. It then goes down time to the reign of Lillian Russel! and shows three generations of “troupers” marching proudly down the years. Fay Templeton sings the old-time song hit, “ Rosie Rosie.” There arc dazzling Albertina Rasch ballets. In the finale on a Hollywood sound , stage, the huge ‘ March of Time ” ballet with 500 dancers brings the plot to its climax. These arc* nil part of stage sequences and form an integral part of the story of three generations of a vaudeville family.