AMUSEMENTS

Otago Daily Times, Issue 22628, 20 July 1935, Page 18

AMUSEMENTS

ST, JAMES THEATRE Seldom before has a Dunedin audience seen such a light-hearted and tuneful musical comedy on the screen as “ Naughty Marietta,” which commenced its season at the St. James Theatre yesterday. and never before has the vivacious and beautiful Jeanette MacDonald been seen in a role which so suits her vivid and charming personality, and in which she is given so many opportunities of displaying the perfection of her excellent soprano voice. “ Naughty Marietta ” is an essentially romantic operetta, with a colourful and exotic background that gives striking point to the story, while the delightful music composed by Victor Herbert lends it a savour that is particularly appealing. In all her moods, playful, coquettish, slightly-melodramatic, thoughtful, or passionate, Jeanette MacDonald maintains superb finesse m her character-drawing, and her Marietta will linger long in the memory. Second only to the principal character looms the figure of Nelson Eddy, a young man with a strength of character that is successfully transmitted to the screen, and the possessor of an excellent baritone voice which he is given generous opportunity to use. Eddy’s study of Captain Warrington, the leader of a troop of mercenaries in French Louisiana, who first rescues Marietta and a number of other girls after they had been captured by pirates, and then falls in love with her, unaware of her true identity, is a fine piece of work, and would indicate that this young actor has a considerable future in films of this type, if not in more sober productions. The whole story is definitely operetta. When the Princess Marie de la Bonfain, as a protest that she should marry Don Carlos de Braganza, an effete Snanish grandee, sweeps out of the royal drawing room, changes clothes with her maid, and ships herself to the colony of Louisiana on a brideship, her- tantrums are not to be taken seriously. The quickly changing scenes are excuses for presenting Jeanette MacDonald whirling gaily round the court and singing some capital songs. Her capture by a gang of unshaven pirates brings the debonair baritone into the picture. He is Captain Warrington, the leader of a company of irregular troops, who share wi.th the princess and their captain a passion for song. Warrington, believing Saucy Marietta, as she has now become, to be merely a hus-band-seeking immigrant girl, treats her with familiarity, but she only pretends to resent it. They sing , their way through an eventful courtship which culminates in a gallant rescue in the face of fearful odds. Excellent comic interludes are provided by Frank Morgan, as a vacillating colonial governor with a dis--tinctly keen eye for a pretty figure, but a wholesome fear of his wife’s tongue, and Elsa Lanchester, who will be remembered for her delightful portrayal of the part of Anne of Clevea in “ The Private Life of Henry VIII,” as his übiquitous wife. “ Naughty Marietta ” is definitely a film to be seen. The supporting programme is a varied and interesting one, and constitutes an entertainment in itself. The principal supports are an hilarious Laurel and Hardy comedy entitled “ Busybodies,” and an interesting travelogue, filmed in colour, under the title of “ Rainbow Canyon.” The box plans are at the theatre, Jacobs’s, M'Cracken and Walls’s and the D.I.C. REGENT THEATRE The attendance at the Regent Theatre last night was a tribute to the popularity of Eddie Cantor, whose latest film, “ Kid Millions,” opened its season there yesterday. And the reception which the picture received left no doubt as to the way in which the expectations which had been raised had been fulfilled. " Kid Millions ” follows the lines which have been laid down for other Cantor films within the last year or two.' There is plenty of variety and movement in tlie production, and the thread of the story is just sufficient to provide an excuse for hanging upon it a series of gorgeous scenes through which the comedian wanders about convulsing everyone with his own inimitable brand of humour. The story, in fact, is the least important part of the show. There are spectacular ballets in which the beauty of Hollywood seems to be concentrated, there are half a dozen new musical numbers, and there is firstclass comedy in plenty. Altogether it is a very generous measure of entertainment that is provided in this latest offering of Eddie Cantor. On this occasion the principal funmaker is not quite so dominating a figure as has been the case in other recent Cantor films. He has the assistance of a capable cast, among the members of which are Ann Sothern, George Murphy, Ethel Merman, and Eve Sully, and they give the film a certain variety which is pleasing. On this occasion Cantor goes to Egypt. He is the heir of Professor Wilson, who had discovered a huge treasure in an old tomb in the desert, and the young man is sent by his father’s trustees to claim the jewels. There are two other claimants for the prize, however, one being the representative of the society which had sponsored Professor Wilson’s expedition, and the other a girl whose pretentions are of the flimsiest, but who has the support of a genuine “ tough.” They all meet on board a liner bound for Egypt, and in the plotting and counter-plotting the hapless Eddie seems in danger of being robbed of his inheritance. Once they all reach Egypt, however, things go more in his favour, and after a series of hair-raising escapes, including one from a boiling cauldron in which an enraged sheik threatens to make him into camel soup, he succeeds in getting away with the treasure. A mere recital of Eddie’s adventures would give but a very poor idea of the entertainment which is provided in “ Kid Millions." There are some riotously funny scenes. One such is provided on 'an occasion when Eddie, securely encased in the outer shell of a mummy, assumes the role of the spirit of the sheik’s ancestors, and commands his own release. and that of his fellow conspirators. His threatened conversion into camel soup in the dungeons of the sheik’s palace is another splendid piece of fooling. Every now and again the action is interrupted by ballet scenes, which have been marvellously executed. The costuming, the perfection of the dancing and the elaborate backgrounds make these scenes alone. entertainment of considerable merit. The picture is brought to a conclusion by a gorgeous technieolour climax, when Eddie, having returned to America with his fortune, provides free ice-cream for all the children who had been his friends in the days before he discovered his relationship to Professor Wilson. This part of the picture has been done in the very best Hollywood tradition, and there' is little of the spectacular that could be imagined which has been omitted. “Kid Millions ” is certainly an entertaining picture. The programme of supporting subjects this week includes a particularly clever silly symphony cartoon in which the incident of the race between the hare and the tortoise is depicted with a wealth of detail that places, these Disney productions in a class of their own. There are in addition an orcanlogue. a comedy and several news gazettes. The box nlans for the season will be found at the theatre and at the DJ.C.

EMPIRE THEATRE

“ Living; on Velvet,” tbo new attraction at the Empire Theatre, should set half the feminine population of the city into a state of palpitating envy. It is just one long succession of gorgeous frocks, cunningly cut gowns, and beauti-fully-designed creations that are models of the modiste’s art. The dream world in which the characters drift is reminiscent of nothing more than those curiously attractive if slightly exotic realms which one has learnt to expect in any Michael Arlen novel. Everybody is incredibly and agreeably sophisticated, and their general attractiveness as a spectacle is enhanced by the fact that they are also very wealthy, very flippant, immaculately tailored, and modern. The atmosphere in which these demi-gods play out their little play of love and misunderstanding and love and understanding in so rare, their emotions are so delightfully exotic, and their whole attitude to life and living is so cutely naive that it is not in mere ■ mortals not to like it. Even if at times it is difficult to know what it is all about, it is nevertheless very pleasant to allow one’s thoughts to drift in the direction of beautiful {rocking and eparklingly sophisticated speech, to dream for a moment or two of tons of money and the elan vital that is required to will every problem over the back fence, and lo and behold! suddenly they are over the back fence. Look-

ing up at “Living on Velvet” with one’s feet firmly planted on Mother Earth, one is baffled by everyone’s apparent inconsistency, and yet delighted by the romantic impossibility of everything. Here is one of those rare Hollywood patchworks which violates every natural and logical law, and yet pleases by its very daring, its sublime disregard for everything earthly, its careless, devil-may-care fidelity to the gods of improbability and obscurity. It is admirable entertainment. When madcap Terry Parker (George Brent) hurled himself into Amy’s (Kay Francis) life and snatched her from her tolerant, easygoing, and exceedingly wealthy suitor (Warren William), one could not help thinking that she was as irresponsible as he was, but suddenly Amy is discovered in the throes of long-suffering piety and introspection in superlative degrees, and she finally leaves her feckless Terry in the uncertain hope that he will learn the'stability that her love, affection, devotion, and what-you-would have ’ been powerless to teach him. In the end the question is, Who reformed Terry—the beautifully-gowned Amy or the motor smash from which he emerges a sadder, wiser, and better man? Actually it is a matter of opinion, and to carry tne thing still further it might'be said that it really does not matter. One has had one’s entertainment be’fore the problem obtrudes itself, and it has to be admitted that the entertainment is good. There is a very well-assorted programme of short subjects which should give general satisfaction. The box plans will be found at the theatre and at the D.I.C. GRAND THEATRE With its locale in British New Guinea, “ Red Morning," which is the first of the two feature films now being screened at the Grand Theatre, tells an exciting story qf tropical adventure. Steffi Duna, a newcomer to the Dunedin screen, has the role of Carrol, a very practical young woman who can command a ship or be romantic with equal facility. She is very courageous and daring for a small person, and is an impressive heroine. The other feature is “ Grand Old Girl,” in which May Robson has the title role. . It is that of “ Old Gunpowder,” principal of the high school in a small town, and as such she lives only for the welfare of her boys and girls educationally, physically and morally. There is in the town a man named Killaine who conducts a gambling and drinking place under cover of a milk bar. “Old Gunpowder” discovers that some of her pupils are being lured into this place and fehe sets herself out to defeat the ends of the obnoxious Killaine. The way in which she accomplishes her purposes forms the body of the story. The nicture is outstanding for the excellent character sketch by May Robson. Several well-known players appear in support of the principal. The box plans are at the theatre and Begg’s.

STATE THEATRE . Not since the successful presentation of “ That’s a Good Girl ” has Jack Buchanan, the popular English comedian, appeared in such an entertaining production as “ Brewster’s Millions,” which has now entered the second week of its season at the State Theatre, Adapted from the gopular novel of the same name by George ;arr M'Cutcheon, “Brewster’s Millions is ideal screen entertainment. From start to finish there is not a dull moment. Of course, Jack Buchanan always holds the stage. The actor has seldom been seen to better advantage than as the penniless young man, Brewster, who inherits a fortune, to find himself in the happy, though disconcerting, position of having to spend £500,000 in six months in order to inherit £6,000,000. This dilemma is forced upon him under the terms of a will of an eccentric uncle. How he reacts to this Gilbertian situation and just how difficult it is to distribute a fortune are depicted in the film against a musical-comedy background. There is an exciting climax. Jack Buchanan has lost none of his flair for comedy, and the way he romps through a series of hilarious scenes will please lus many admirers,. as will his singing and dancing. He gives an interesting burlesque of Bing Crosby; . the popular American “ crooner.” Lili Damita returns to the screen in “Brewster’s Millions” in the leading feminine role, while Nancy O’Neil, whose screen career seems assured, makes a delightful foil as the romantic young girl in love with Brewster. Another prominent member of the cast is Fred Emney, as an inconsequent idler. A new dance, the Caranga, is a notable feature of the film, which has been conceived and executed hi a spectacular manner. There is an entertaining supporting programme. The box plans are at the theatre and Begg’e. OCTAGON THEATRE

Despite the fact that the fijm opens in an isolated shellhole in No Man’s Laud, “ Lest We Forget,” which commenced a season at the Octagon Theatre yesterday, is not a war picture in the accepted sense of the word. It is a simple and refreshing story of comradeship and self-efface-ment acted so superbly that its very simplicity adds to its appeal and makes of it a story that should prove very popular with any audience. There is hardly any plot, and the whole action of the production is laid in two scenes, one a shell-hole in Flanders in 1918, and the other a peaceful English country house in 1934. The story concerns four soldiers —one a British captain and the others respectively of Welsh, Scottish and Irish nationality. These four men, widely different in character and civil position, are forced to take refugei in a shell-hole. It is Empire Day, and before they decide to try to regain their lines they make a pact to gather at the house of the captain 16 years later. The scene shifts to 1934, where that pact is kept by three of them. The fourth, who has died, has ordered his son to take his place, and the young man is made ns welcome as his father would have been. The remainder of the film deals with the little dinner party of celebration which is held. As will be seen from this brief description, there is practically no action or story, but the picture owes much of its appeal to the excellent acting of the four chief characters. Stewart Rome, as the English captain, during and after the war, has a difficult part, but he acquits himself splendidly. To him is due much of the praise for the attractiveness of the whole film. George Carney, as the Scotsman, is also excellently suited to his part, and is responsible for a great deal of humour in a story that is brimful of laughter. A feature of “Lest We Forget” is the acting of the minor characters. The humour of the servants’ hall attached to the country house is wonderfully portrayed, and each of the characters adds his share to the general humour; The supporting programme is a particularly long one, and includes an interesting novelty entitled “This is Paris That Was," a musical, “Million Dollar Melody,” and a scenic short, “ Cornwall and the Scilly Isles.” The box plans are at the theatre, M'Cracken and Walls’s and Begg’s. .STRAND THEATRE Two really good comedies are offered for the entertainment of patrons of the Strand Theatre during the coming week, the principal feature being lou Said a Mouthful,” with Joe E. Brown at the head of the cast. This is a picture which should meet with uiversal approval, for it is really funny and at the same time tells a good story. Brown’s wide mouth assists considerably in the success of the production. He starts as a poor shipping clerk, the butt for all the jokes of the office. His aunt dies, and he goes to California to get his legacy, but finds himself entitled to some worthless shares, five dollars in money, and guardian of a small coloured boy. Going to Catalina in search of employment, he is mistaken by teh pretty daughter of a millionaire for Joe Holt, the Canadian champion swimmer, and finds himself committed to take part in a gruelling marathon race. All methods of avoiding the issue fail, and Joe has no option but to swim. This provides plenty of opportunities for the producer to present comedy scenes, and not one of the opportunities is lost. It is all good fun, and there is also a fair share of excitement. The other film is "A Night at the Rite,” with William Gargan and Patricia Ellis. Gargan has the role of a typical high-pressure, “gogetting ” salesman ready to turn his talents to any use. He meets a young man who fancies he can '.oak and makes a contract for the latter to become director of cuisine at the Rite Hotel. Unfortunately, the new director’s abilities do not extend to practicalities, and a very awkward situation is brought about. Gargan is ideally suited to his role, and Patrica Ellis does not appear to find tha

task of looking beautiful a very difficult one. The programme also ii eludes a newsreel. The box plans are at the theatre and the D.I.C. MAYFAIR THEATRE Commencing a short season at the May* fair Theatre to-day is an excellent doublefeature programme, which is headed by the comedy, “ A Cuckoo in the Nest.’ The supporting picture will be “ Belle of the Nineties,” starring Mae West. It ie said that “A Cuckoo in the Nest” is one of the funniest farces Tom Walls and Ralph Lynn have presented. It is a Ben Travers creation, with the author at the top of his form. Walls and Lynn play their original stage roles and so do other old favourites of the famous team—Yvonne Arnaud, Mary Brough and Robertson Hare. Coraedv abounds in this film, which has an excellent story. “ Belle of the Nineties,” the third of the Mae West starring pictures to come from Paramount, shows the blonde siren again in a setting of the gay nineties, which was the period of her first picture, She Done Him Wrong.” Surrounded by three screen sweethearts, Roger Pryor, John Mack Brown and John Miljan, together with Duke Ellington and his orchestra, Katherine De Mille, Warren Hymer and Stuart Holmes, Mae West essays the role of the countrvs most sensational burlesque queen of the period. The box plans arfe at the D.I.C. and the theatre. GREEN ISLAND KINEMA “The World Moves On,” which will come to the Green Island Kinema to-day, the largest cast of principals of any picture made in Hollywood in many months. Headed by the .glamorous Madeleine Carroll and Franchot Tone, the east includes Reginald Denny. Siegfried Ru* mann. Louise Dresser, Raul Roulien, Lumsden Hare, Halliwell Hobbes. Ivan Simpson, Frank Moran and Stepin Fetchit. “The World Moves On” is a Fox film by Reginald Berkeley, author of the screen adaptation of “ Cavalcade, and is described as “ the love story of a century,” One of the most elaborate scores since the incorporation of sound in pictures is'to be heard in “The World Moves On.” The score, written by Louis de Francesco, is entirely interpretative and on the same heroic proportions as the one he wrote for “Cavalcade,” a work that won universal acclaim . from music critics. A 50-piece symphonic orchestra did the recording.