AMUSEMENTS

Otago Daily Times, Issue 22498, 16 February 1935, Page 9

AMUSEMENTS

EMPIRE THEATRE Some pictures have attained fame as an achievement in photography, others by reason of the acting of the principals, and others again by virtue of the drama and romance they portray: but “The Circus Clown,” the current attraction at the Empire Theatre, is noteworthy’ in that the directors have preserved a judicious balance in these three respects. This film lacks the vulgarity to which enter- ' tainers of the type suggested by the title are frequently prone; and “Happy” Howard, round whom the story is written, is not a bemasked one of the loud-laughter and conversation-amusing type but an aspirant to acrobatic honours on the trapeze, though, admittedly, he is somewhat of a blown in his everyday life. There are apparent comedy, a tale of two generations, the adventures’of many lives, and good 1 animal .studies, in this composition, Which gives a striking impression of life, both in front of and behind the scenes of the circus. The advent of an escaped, ferocious lion to a tentful of blissfully sleeping employees is but one of the breath-taking incidents of the film. The plot follows the progress of Happy from inn assistant to lion attendant, to ele- : pliant scrubber, to kuife-tbrower’s partner, until finally he realises his ambition as a famous trapeze artist. His path, however, is not quite as easy as it may seem; and there are many tangled romances and curious situations requiring solution before he emerges triumphant. The work of the acrobats as they swing and somersault as mapy as two and ahalf times in the air cannot but command ; the admiration of the audience. ■The. leading role has been entrusted to ijofe E. Brown, who has lived the life he portrays and is thus able to avail himself to the full of all the opportunities which the production affords him. Patricia Ellis, also soaring to success on the swings of the circus, plays opposite him in a very understanding-role. Happy has, nevertheless,, to go through the humiliation of falling in love ."with a female impersonator before his'heart finds better expression. Donald Dilloway plays the impersonator, while a Hon tamer (Dorothy': Burgess) is also caught in the .net pf mixed affairs.' Harry Woods, as Ajax, "makes a typical Spanish-looking knife-thrower. The programme of supporting subjects is a pleasing one. The box plans are at the theatre and at the D.I.C. .;/■•./■/ ■■ ; 1 : REGENT THEATRE Although she is included in a cast which nuifiberg' two such well-known players as Gary Cooper and Carol Lombard, Shirley Temple is easily the star of “Now and Forever,” which opened its Dunedin season at the Regent Theatre yesterday. How a child of her age manages to bring to a part by no means simple such a, wealth of understanding is beyond comprehension. There has never been anything like her before, and she is almost certain to “ steal ” any picture from practically any actor. Her manner is perfectly delightful, devoid of the slightest! trace of .artificiality or of ;camera consciousness. Those who have 'never seen the child act can have no idea of the way in which she charms every audience—last night’s audience followed her every action with a delight that was, manifest. “Now and Forever” has been constructed to give her plenty of scope; but it is not too much to say that those: who saw the film yesterday would gladly have sacrificed a few minutes of the appearance of any other member of the cast to have enabled them to see more of Shirley Temple. It i a ' rather unfortunate that the producers had not chosep a theme for “Now and Forever” more in keeping with,the spirit of the child to whom they , have given so much of the script. The theme is the regeneration of a totally irresponsible father by his small daughter, but in the course of the action it has been found necessary to introduce a-background which is not the most satisfactory that one could imagine for so charming a little girl. Gary Cooper is seen as one of those characters who are determined that life shall yield them the maximum of pleasure with the minimum of ' responsibility. To him the best way to get through life is on somebody else’s money, and he is by no'means'fastidious as to the methods he .uses to obtain a share of other people’s possessions. His partner in adventure is a girl who follows him round the world, almost against her will, fascinated by his light-hearted personality. His carefree career is interrupted temporarily when he learns that His dead wife’s rela- < tives are: anxious to secure .the legal guardianship •of his small daughter, who has already been in their care since her birth. The adventurer returns to America with the intention of selling his,'- paternal rights, as dearly as possible, but he. falls victim to .the charnifl of his own daughter; In Paris, whither he arirves with the child, he takes up his old mode of existence, but eventually, the pleadings of his partner and the knowledge that his. mode-of life can only bring disaster to his child induces him'to attempt to turn to more conventional ways of; earning a livelihood. The remainder. of. the film .is devoted to the working out of the situation that arises, when the pull of former habits clashes with the man’s new-found sense of obligations. The situation is an interesting one, and the interest of the audience is held up till the final moment, when the adventurer makes: a decision worthy of the father of such a child. Gary Cooper gives a competent rendering of a not very attractive part, and .Carol Lombard is the woman who follows him round the, world, against-her better sense, but unable to shake off the fascination which he exerts over her. There are several other members of the cast who perform with distinction, but as. has been , said, Shirley Temple overshadows, them all, and the film’s claim to popular appeal rests with th,e performance of the tiny star. The supporting programme this week is an interesting one.' The box plans are at the theatre and at the D.I.C.

OCTAGON THEATRE An excellent admixture of drama and comedy is achieved in the double-feature programme which commenced its season at the. Octagon Theatre yesterday, each film presenting an unusually fine example of its particular type of entertainment. The principal picture is “ Whom the Gods Destroy,” a production notable for the strength; of its plot, and the competent performances of its principals. Although it depicts the progress of a man through a period of some 20 years, the theme never becomes tenuous or confused, but gives a clear-cut and arresting human portrayal of a man’s , fall into dishonour and his subsequent retirement from the world in which he had been formerly such a prominent figure. Walter Connolly gives a masterly portrayal of the part of John Forrester, a famous playwright, who first of all behaves with signal bravery during . a shipwreck, and then loses his courage, wraps himself in a woman’s cloak, and finds a place in a lifeboat. He is scorned by the fisherfolk: who rescue the survivors of the wreck* and then 1 finds that he is lauded a s a hero by all the newspapers in the land for his bravery during the disaster, which the world thinks has claimed him as a victim. Realising that it will be impossible, to return to his wife and eon, and cloaking his real identity under an assumed name and a heavy beard, he returns to New York, and fo- many years lives as a piece of human jetsam until his son puts on his first play, which is a failure. This brings about a crisis in Forrester’s life, and still biding his identity* from his son he succeeds in persuading the young man to persist in his endeavours to write a good play, his efforts eventually being so successful that he finds himself drawn into the old life' which he had for obvious reason shunned for so many years. The climax is as dramatic as it is logical, and the only conclusion in the circumstances is reached in a convincing manner. The second picture, “The Party’s Over,” is a film of an entirely different character, being lighthearted and thoroughly amusing from beginning to end. Stuart Erwin and the lovely Ann Sothern play prominent parts, while a strong cast of supporting artists contributes materially towards the success of the production. The story is woven round the plight of the one industrious member of a family who is required to support not only his father and mother, but also his brother and sister, and their respective wife and husband. Harassed at every turn by demands for money from the people he is keeping, the community bread-winner eventually rebels, and follows the advice of his secretary (Ann Sothern) leaving the human parasites to their own devices, after telling them that “the party is over.” The story is ‘ an extremely amusing one, and is particu-

larly well told, the various scenes and situations occurring in logical and wellordered sequence, and enriched by some delightful dialogue. The box plans are at the theatre, M'Oackcn and Walls’s, and Begg’s STATE THEATRE It is. not surprising that with so outstanding a film as “ One Night of Love,” the management of the State Theatre should wish to extend the season beyond the customary week. “One Night of Love" is without question one of those comparatively few films which can easily survive extended seasons. During the past week the picture has proved one of the most popular attractions of the week, appealing to a wide variety of audiences, and giving complete satisfaction to old and young alike. Many and interesting hqye been the remarks of overseas, critics regarding Grace Moore’s third film, “One Night of Love." Thus wrote the reviewer of the Sunday Times, London (Sydney Carroll): “There are some who like musicals, there are others of us who find them an insult to the intelligence, a thorn in the side, and a pain in the neck. But this week has brought a musical we can all enjoy. ‘ One Night of Love’ is the best singing film that ever came out of Hollywood or anywhere else. It brings before us . a new star and a new recording process. Grace Moore has made two other films, one a silent which 1 forget, and the other an early talkie which she would like to forget but cannot. Then somebody invented a process of recording which is none the easier to understand, when you know that its name is ‘ hill and dale. The main thing is that anybody can appreciate the results. The recording m this picture is a revelation. Gone are the brassy tone', the unevenness, and the other more unfortunate consequences of a duel between a strong-lunged woman and an orchestra of 50. With the use of wax discs an inch thick Miss Moore records perfectly, with a beautifully clear, ringing tone, and an accuracy ot pitch which will delight the trained ear. There is an excellent supporting programme of short subjects, and the box plans for the season will be found at the theatre and at Begg and Co. s. ST. JAMES THEATRE “ Stamboul Quest,” based upou an original story by Leo Berinski, is the main attraction in the new programme at St. James Theatre: The play, is full of action and colour, and as it is presented by a very fine cast of male and female artists it should prove a popular attraction during the staging. The story has to do with the forces of espionage and coim-ter-espionage at work in Constantinople when the Turks were maintaining a tenacious hold of the Dardanelles. The plot is well worked out, and there are plenty of stirring situations, and, moreover, the unexpected twists which are introduced serve to maintain the keenest interest throughout. There may appear to be an element of romance about the vocation of a spy. but it' is surrounded with danger, and discovery usually means death. “ Stamboul Quest ” tells the story of Germany’s famous Fraulein Doktor, a young lady who was entrusted with the task .of finding out whether Ali Bey, who commands the Dardanelles defences, i s a' traitor. In pursuing her task she becomes involved in a romance with a young American medical student*

but as he begins to make it difficult for her to follow her occupation she schemes /to get rid of him. Herr Von Sturn, the head of the German Intelligence Service, has become possessed of information relating to the love affair of the American, and the student conveniently disappears. Fraulein Doktor discovers ultimately that Ali Bev is a traitor, and she exposes him, but sue also discovers that her love for the American is greater than her love of country. The climax of the picture is u really unusual one, and patrons of St. James can be left to see it :for themselves. Myrna Loy as the fraulein has a character which suits her admirably, and she acts convincingly and with confidence throughout. George Brent gives an outstanding impersonation of the boyish American who is so persistent in his love for the beautiful spy. Lionel Atwill makes a suave and senister Herr Von Sturn, and C. Henry Gordon handles tfie role of Ali Bey in his usual artistic style. Stan Laurel and Oliver Hardy provide plenty of amusement in their latest comedy, “Towed in a Hole,” and W. Tilden, one of the world’s leading tennis play'ers, is the principal in an instructive short feature. Tne box plans are at the theatre, the D.1.C., M'Cracken and Walls's, and Begg’s. GRAND THEATRE Robert Flaherty has made the lives of the Aran islanders into a remarkable picture entitled “ Man of Aran.” The film, whicli is now showing to large audiences at the Grand Theatre, breaks new ground in that the members of the cast are all natives of the islands, no trained actors being included* “ Man of Aran ” tells how Colman (“Tiger”) King, his wife and young son win a livelihood from the unruly sea. The picture opens with one of the thrills with which it abounds. The little family, gathering seaweed on the shore, is caught and almost overwhelmed by the sudden rush of a tremendous wave. The sea, in many moods, plays a great part in the picture—and the North Atlantic is the wildest sea in the worjd. It is shown now almost glass-calm. ,now restless under a freshening bredze. and, again, furious under the shrieking lash of a south-west gale. And it is through the maelstrom of such a raging storm that the audience sees the islanders fighting their way home in a fragile eurragh, to land safely at last, in a c boiling swirl, among jagged rocks, but to witness the wreck of their little craft and the loss of precious gear. The sharkharpooning episodes are equally thrilling. The sunfish, or basking shark —the largest shark in the world,. averaging 30 feet in length, with occasional monsters measuring to 55 or 56 feet —is found in large numbers off the west coast of Ireland and is hunted for his yield of fine mi. In their light craft, with primitive handharpoons. the Aran islanders stalk them when they come to the surface to lie basking drowsily in the sun. Driven by a powerful arm, the harpoon sinks home and the struck shark instantly “sounds,” seeking the sea floor where he can roll and rub in an effort to free himself from the biting barb. Hundreds of fathoms of stout line flash after him, coil by coil. The men try to check his rush with a half-turn of the line round a bollard. The bollard smokes under the friction; but the rush ,is over: the'shark rises to the surface again. Rapidly tire men take up line-slack, the hnrpooner gets ready again; another strike, the swirl and a heavy slap of great tail, which nearly knocks the boat over, _ as the shark turns for another frantic dive.

And so the fight goes one, hour after hour, in a rocking sea, trying the skill of every man in the crew. Sceiiicaily, the film is a marvellous achievement. The supporting picture is “ Princess Charming,” ■ featuring Evelyn Laye and George Grossmith. The box plans are at the theatre and at Begg’s.

STRAND THEATRE An excellent double feature programme, comprising “A Passport to Paris” and “Upper World,” forms entertainment ot an exciting kind at the Strand Theatre this week.' The former picture is a breezy adventurous story of an irresponsible young man, who, after a hecticnight at the dub,, finds himself at the wrong fiat next morning. Donning one of the missing, owner’s costs, he fihdfi himself mistaken for an international spy, and receives instructions from the head to go to Paris and make love to a beautiful countess. He decides to carry on his deception and as a result tumbles into a series of startling adventures. He meets the countess; who incidentally is not a countess, but an American actress hired to impersonate the lady of title, and carries out his instructions to such goon effect that he really falls in love with her. Unfortunately his deception is discovered and he and the supposed countess are arrested and sentenced to be shot. How they manage to escape their fate brings the story to an interesting and sensational climax. Ben Lyon as Wally, the happy-go-lucky young man, gives a bright portrayal. He infuses _ just the right amount of comedy into his part ,and helps the film to move along at a fast and breezy pace. Sally Filers as the pseudocountess is also excellent, her imitation of a French woman being particularly good. William Warren heads a large and well-balanced cast in “ Upper World.” As a millionaire railway magnate he shares honours with Mary Astor as his wife, for whom he has a deep-rooted affection, and Ginger Rogers as a chorus girl with whom he has a passing love afiair. His flirtations result in a double murder and it is only after an admirably presented court trial that he is acquitted. The film, is perhaps an unpleasantly true reflection of phases of life in Americas ‘‘upper world,” but its vivid portrayal makes it well worth seeing. The box plans are at the theatre and the D.I.C. MAYFAIR THEATRE Ancient Rome in all its gaiety, colour, and glory is the setting for “ Roman Scandals,” Eddie Cantor’s fourth screen musical comedy for Samuel Goldwyn, which will begin a season at the Mayfair Theatre to-day. Ruth Etting, Gloria Stuart, and David Manners, are featured.with Cantor. The pageantry and the spectacle of that distant day, with its marching legions in burnished armour, the 'arenas and the games, the beautiful slave girls in chains, and the Emperor’s gorgeous favourites in garlands of flowers, the glitter and pomp of a stately court and thundering steeds tearin" their chariots through clouds of dust-all helped to give Goldwyn a generous opportunity for another lavish production. Before Eddie gets to the chariot chase that winds up the hilarious yarn he meets other equally fantastic adventures. In the great slave market scene ho is placed on the auction block, and while Ruth Etting sings her haunting lament “ No More Love,” the dancing girls in their glittering skirts of silver

mesh, dance a wild bacchanal and the senators contemplate the charms of yellow- 1 haired captives from far-off Britain. Gloria Stuart and David Manners are concerned in the romance that is guided along its rocky path,by. Eddie, and Ruth Bttiug lias the role of Elga, the discarded mistress of the emperor, GREEN ISLAND PICTURES: ’ -_i „■ A dramatic story is told in '■ I Was a Spy,” which will be screened to-day at Green Island. It recapitulates the daring deeds of Marthe M'Kenna, who w,as.;a Belgian nurse in a German hospital during the war. Gaiiinont-BritiSh adapted the film from the, woman’s spy’s own-- leraini-. sconces, and Victor Saville directed the picture. It a war-time story; a'nd one of its chief features is the reconstructed market place ofßoulers on a ehtly large to'accommodate almost a battalion of infantry, together with the units which go to form a fighting regiment,-and the usual stalls, etc., which are part of the everyday busy life in the centre of a little country town. The cast is led by Madeleine Carroll, Herbert Marshall, Conrad Veldt, Sir Gerald du Manner, and Edmund Qwerih. t