AMUSEMENTS

Otago Daily Times, Issue 22713, 28 October 1935, Page 16

AMUSEMENTS

OCTAGON THEATRE The brilliance of George Arliss actor is amply demonstrated in “ The House of Rothschild,” which is .having a return season in Dunedin at the Octagon Theatre. The historical background of the eventful days of the Napoleonic Wars is very accurate and colourful. The story deals with the rise of the great Rothschild family to the position as the most powerful banking firm of Europe. It tells how the five brothers hold the destiny of European nations in their hands and how they strive ever in the interests of peace and to place the Jewish race on a better footing throughout the Continent. The last scenes of the picture show how Nathan (Arliss) forces the leaders of the nations to give his Jewish race freedom, and how he throws all his resources into the financial whirlpool to save the credit of England and make possible the defeat of Napoleon. A charming romance runs through the film, Loretta Young giving an attractive performance. Others in the large cast are Boris Karloff, Robert Young, C. Aubrey Smith, Alan Mowbray, George Renavent, Helen Westley, Gilbert Emery, Arthur Byron, Ivan Simpson, and Florence Arliss. There is a varied and interesting supporting programme. The box plans are at the theatre, Begg’s, and M'Crackeu and Walls’s. STRAND THEATRE An excellent double-feature programme is being shown this week at the Strand Theatre. The first picture is “ Front Rage Woman,” an exciting newspaper story featuring Bette Davis and George Brent. The major theme of the production is the intense professional rivalry between Ellen Garfield (Miss Davis) and Curt Devlin (Brent), who are reporters on rival newspapers. The two are in love, but the girl is determined that before she marries him she will show him that she is just as good a journalist as lie is. The dialogue is clever and amusing, and the action is fast and exciting, with enough success going to either side to maintain a keen struggle for professional supremacy. Added interest is given to the story by the introduction of a murder mystery, and it is the work of the two principals to discover the murderer that provides the climax._ The second picture is “ It Happened in New York,” a bright and breezy comedy in which a capable cast is headed by Gertrude Michael, Lyle Talbot, and Heather Angel. Miss Michael takes the part of an extremely temperamental film star whose caprices drive her manager to distraction. The plot provides plenty of complications and amusement when a handsome taxi driver (Talbot), his sweetheart (Miss Angel), and the manager are all involved in a series of extraordinary situations as the result of the vagaries of the pampered star. The dialogue is bright and witty, and the situations are very capably handled. The box plans arc at the theatre and the D.I.C. GRAND THEATRE “Under the Pampas Moon,” which heads the current programme at the Grand Theatre, provides entertainment of a diversified and colourful type. Warner Baxter has the leading role as a dashing gaucho of the pampas who later pays a visit to the city of Buenos Aires. The greater part of the action takes place in Buenos Aires, where Baxter and his mother, on their first visit to a city, cause much amusement in a fashionable hotel and cafe. Baxter’s presence in the city is due to his quest for hie stolen horse, and, incidentally, the presence of a French singer, Yvonne, in the capital is another explanation. He had met Yvonne on the rolling pampas when her aeroplane had been forced down miles from a town, and all the senoritas of the neighbourhood are forgotten by the dashing gaucho as he strives to win the heart of the French blonde. Despite hie ignorance of the city ways, his bizarre town dress, and the ridicule which his mother’s actions bring upon him, his selfassurance and determination carry him through. He regains his horse, wins the heart of the attractive Yvonne, and returns to the life of the estancia with a fortune. Entertaining numbers are introduced into the story, the outstanding one being the effective “ Cobra Tango,” danced by a famous team, Veloz and Yolanda. There is an excellent supporting programme. The box plans are at the theatre and Begg’s. EMPIRE THEATRE The theme of “ Oil for the Lamps _ of China,” which is the current attraction at the Empire Theatre, is the question, Should a man be prepared to sacrifice everything for his work and, if so, where does his wife enter into the scheme of things? The film is based on the novel of the same name by Alice Tisdale Hobart and is characterised by its fidelity to the spirit of the book. Briefly, it is the story of a young man who joins up with the Atlantis Oil Company in his youth and is sent to China, where his life’s ambition is to make good, not only for his own sake, or for the company’s sake, but for the sake of China herself. He aims to bring enlightenment and civilisation to the poverty-stricken, toiling millions there, to provide, both literally and metaphorically “oil for the lamps of China.” His fidelity to the company and his trust jn it is the keystone of his life; it stands by him through the various crises of h:s life —when his chief commits suicide, when fire breaks out in his tanks, when tragedy strikes at the heart of his home, when drought, famine and cholera are rampant among the Chinese, when he is compelled to dismiss his best friend from the service, when he nearly loses his life during the Communist riots, and finally when the company itself seems to have forgotten him. The rather unexpected ending rounds off this theme very neatly. Although there are no outstanding stars in this film the cast has been carefully and sympathetically chosen. Pat O’Brien as Stephen Chase shows a fiuc dramatic sense and carries through a varied and unusual role with great success, while Josephine Hutchinson as Hester, his wife, takes an extremely difficult part with simple dignity and restrained emotion. Other players in the cast include Jean Muir, John Eldredge, Lyle Talbot and Arthur Byron. Interest is added by the fact that the action takes place in various parts of China, from Manchuria to the very south, and the photography is excellent. The film is long and grips the attention of the audience throughout. The supporting programme includes several excellent short films. The box plans are at the theatre and the D.I.C. ST. JAMES THEATRE An entertainment of exceptional merit is offered this week at the St. James Theatre, where the chief picture is the mystery play, “The Casino Murder Case.” With Paul Lukas and Alison Skipworth heading a well-chosen cast, it is a picture packed with puzzles and thrills. It is a chapter from the life of the wellknown fictional detective Philo Vance, and tells how he out-wits a particularly clever murderer w-ho displays considerable ingenuity in his efforts to throw the investigators off the track. Alison Skipworth is seen as the head of an eccentric family who has a passion for antiques but not the ability to differentiate between the genuine and the fake. There is plenty of humour, and interest is constantly maintained until the final unexpected denouement. By a happy chance the St. James Theatre has secured at a time when the game is very much in the forefront a Pete Smith “oddity” on Rugby In Pete Smith's racy style the picture is exceedingly well done, the principal moves in. the game being clearly shown, in addition to an “historical” story of how the game was evolved. “And they are still tinkering with the rules,” concludes the commentator. Then there are Patsy Kelly and Thelma Todd in a comedy which must rank as their best yet. It is a veritable “scream” from start to finish. The main picture is one of outstanding worth, but even its popularity is rivalled by the excellence of the supports. The box plans are at the theatre, the D.1.C., M'Crackeu and Walls’s, and Jacobs’s. REGENT THEATRE Making his screen debut in “The Scoundrel,” Noel Coward, the most brilliant figure in the theatrical world to-day. gives a masterly portrayal in a highly unusual film, which is attracting much attention at the Regent Theatre. He is seen as Anthony Mollare, a successful publisher

§ who cares little for the important things of life, and whose chief interest apart from his work is in winning the heart of every charming woman he meets. He regards romantic conquests as a refreshing diversion from work. Eventually, however, he meets a young poetess, Cora Moore, to whom he is really attracted. She breaks away from her childhood sweetheart, Paul Decker, who denounces Mallare and disappears. Mallare, true to his reputation, becomes tired' of Cora and cooly breaks with her. He sets out by aeroplane for Bermuda on a typical romantic quest, followed by Cora’s denunciation and declaration that if he dies not one person in the world will weep his death. The aeroplane meets disaster, and the publisher drowns. It ie here that the story breaks away in a fashion that lifts the film into a sphere of its own. Perhaps the originality of the theme is a typical example of the modern trend of the theatre to seek something entirely new, but its originality is certainly attractive. Mallare’s acquaintances are almost beginning to tire of making jokes about hie death when suddenly he appears on the scene, a pathetic ghost of his former self. He has been given a month to discover if there is any person who will shed a tear for him to save him from the damnation of those who die unwept. The desperate search provides unusual material for drama, and Coward is truly brilliant in the characterisation. The climax is a veritable emotional whirlpool in which physical and metaphysical commingle. It depicts the scene where Mallare meets the girl Cora whom he had once loved and left to suffer. The man forgets his own plight, and sympathy and repentance come to him. He realises that he truly loves the girl, and it is from his change of feeling that the tears come which save him from his dire fate. Coward gives an excellent performance in an unlikeable role, and his dramatic acting in the final scenes reaches a veryhigh level, which again displays the brilliant versatility of the man. Apart from the splendour of his triumph, there is the excellent acting of Julie Ilaydon. Stanley Ridges. Ernest Cossart. Martha Sleeper, and Everly Greg". It is certfiinly an original theme for a pictureThe combination of the hard modern note and unashamed mysticism may come as a shock, but it bas been introduced as a means of driving home a moral, and _ as such is highly effective. _ The supporting programme is an attractive one, and the evening’s entertainment is one that should not be missed. Patrons will also be attracted by a fine display of tulips in the vestibule. The box plans are at the theatre and the D.I.C. STATE THEATRE There is enough light-heartediiess and cleverness in “Roberta,” which is now in its second week at the State Theatre, to please the most fastidious film fan. The is an entertaining one, it has bright music and brilliant dancing, and the plot is better than is usually found in musical comedies of this type. Irene Dunne, Fred Astaire, and Ginger Rogers have been given the principal roles. Ihe director could hardly have chosen better. His three stars make a splendid comedy team, Astaire as the dancing orchestra leader, Miss Rogers as the enterprising young American crooner, and Miss Dunne as an exiled Russian princess with a sweet voice and kindly nature. The setting ot the play ie in Paris, in the midst of a curiously assorted American colony, and the story concerns a pleasant double romance, cullminating in general bliss. Much of the success of the film is due to the excellent tap dancing of Fred Astaire, the most agile young gentleman imaginable. His dancing novelties, conceived by himself and executed with remarkable grace and rapidity, are probably the best that New Zealanders have been ab(e to see, and for them alone the film is worthwhile. But there are other features contributing to the general entertainment, particularly the singing of Miss Dunne and Miss Rogers’s spectacular dance routines. There is a very bright band, “recruited from headlines of screen, air, stage, and night club entertainers,” which performs happily under Astaire’s leadership. Tlue story, like most in musical comedy, is simple and productive of amusing situations rather than sustained brilliance. John Kent (Randolph Scott), an allAmerican football player, goes to Paris with his friend Hack (Astaire) and Huck’s dance band. They are thrown on to the labour market through a misunderstanding with a night-club proprietor, and John takes the band straightway to the house of his aunt, a dear old lady who parades under the name of “ Roberta,” a very successful and fashionable dress designer. Aunt Minnie (Helen Westley) proves a friend in need, but her death interrupts the development of her acquaintance with her visitors. John inherits the business and, persuades Stephanie (Irene Dunne), his aunt’s designer, to enter partnership. The play proceeds merrily, with the clearing of misunderstandings and with a suggested double wedding. In all, a very pleasing comedy, with plenty of song and laughter to help it along. There is a strong supporting programme and the box plans are at the theatre and Begg’s. MAYFAIR THEATRE The first feature of the current programme at the Mayfair Theatre is “Fashion Gaieties of 1934,” hailed as a highly-amusing comedy-drama in which William Powell, as a high-pressure promoter, corners the Paris and New York fashion marts. Such popular players as Frank M'Hugh, Verree Teasdale, Reginald Owen. Hugh Herbert, and Henry O’Neill are cast in the more important featured roles. Other character parts are enacted by Phillip Reed, recently recruited from the Broadway stage, Gordon Westcott, Etienne Girardot, William Burress, Dorothy Burgess, and Nella Walker. “ Murder in the Clouds ” is an unusual and baffling mystery drama, involving several strange murders in the air and the kidnapping of a beautiful girl by aeroplane. The blowing up of an aeroplane with its passengers and crew far up above the clouds, and the subsequent chases after the air robbers and murderers by armed planes, involving machine gun' battles, the shooting down of airships, thrilling parachute jumps from burning and falling ships, add to the intensity of the dramatic situations. Lyle Talbot, Miss Dvorak, and Gordon Westeott head the cast in a triangular romance, while others include Robert Light, George Cooper, Charles Wilson, Henry O’Neill, and Russell Hicks.