AMUSEMENTS

Otago Daily Times, Issue 22716, 31 October 1935, Page 15

AMUSEMENTS

EMPIRE THEATRE "Oil for tho Lamps of China," which heads the current programme at the Empire Theatre, has a wide appeal not only because of the dramatic story of excitement and adventure which it presents, but also because of its graphic portrayal of the struggles of an agent of an American oil company in the vast, uncivilised areas of China which are gradually being penetrated by the white trader. .It is a strange and almost forbidding setting for a story, but it gives a fine opportunity to deal in vivid manner with the emotional strife in the triangle of a man, his wife, and his work by showing the problems against a new background. The idealism which the trader links with his business is one of the underlying motives of the story. A young man, played by Pat O'Brien, sent by his company to one of the most backward areas of China, is fired by enthusiasm to do his job thoroughly and courageously. tie sees in the selling of oil a means of bringin? civilisation to the country, and works with a determination fostered by this idealism and his persona! ambition. After three years he goes to Yokohama to meet his bride from America. She does not come, and by a strange chance he meets a young woman (Josephine Hutchinson), who, through the loss of her father, has lost hope as he has. They agree to marry, merely as partners in the adventure and opportunity which his work offers. It is only later that they fall in love. They have a baby, but it dies because its father was called away to stop an oil fire when his help was most needed by his wife. This incident is a key to the tone of the whole picture. The supporting programme is a diversified and interesting one. The box plans are at the theatre and the D.I.C. "WEREWOLF OF LONDON." More and more science tends to corroborate the old chimney-corner tales which until recent years were disbelieved by educated people. This was true of the vampire, long considered a mere folk-story invention of Central Europe, but now recognised as a definite case in psycho-path-ology. The same is true of the werewolf, the legendary monster which Henry Hull interprets in Universal's thrilling film, "Werewolf of London," which will open a season at the Empire Theatre to-morrow. What is a werewolf? Some of the greatest writers in history, including De Maupassant, have written stories about this creature. In the Middle Ages and in the still more distant past, people believed that the changing into a wolf was accomplished by. magic spells. Modern scientists hold that this change may be a very real and terrible psychopathic one called lycanthrophobia, acquired from the bite of a mad wolf which causes men to think they are wolves and act like wolves, preying murderously on mankind in their blood lust, when the periodic seizures occur. In some cases the change from man to wolf hag no outward manifestation. Sometimes it may be horrible, accompanied by the growth of long, coarse wolf hair on the face and hands. The hands stiffen into wolfish paws, the finger nails lengthen into claws. Long, sharp fangs jut from the jaws. This is the sort of change, celebrated in the ageless stories of all countries, that takes place in the character of Dr Glendon, played by Henry Hull. Dr Glendon has been in Tibet seeking a rare flower which blooms only once a year in the light of the full moon, and when he returns to London to his beautiful young wife it is to find that there is another were wolf at large and seeking to steal the moon-flower for himself. With the antidote to his affliction threatened, the doctor faces a grim struggle, and the film unveils tense drama. In support of Henry Hull is an all-British cast, including Warner Oland, Valerie Hobson, Lester Matthews, Spring Bynington, and Lawrence Grant. The box plans are now open at the D.I.C. and the theatre. ST. JAMES THEATRE One of. the most intriguing mystery stories shown on a Dunedin screen for some time, "The Casino Murder Case, will conclude to-day its season at the St. James Theatre. It combines all the elements of S. S. van Dine's well-read thriller mvstery. The producer has skilfully blended into the story a great deal of excellent humour, with the pleasing result that laughs follow thrills in quick succession, but in such a way as to accentuate the dramatic effect rather than to cause the slightest suspicion of an anticlimax. The mystery element should baffle the sharpest of audiences. The murder around which the story i» woven is committed and plotted with diabolical ingenuity, and it takes all the acumen of Philo Vance to solve the mystery. Naturally he succeeds in his usual forceful style. An atmosphere of suspense is kept up by the author, and altogether the film is very good entertainment. The role of Philo Vance, the celebrated detective, is taken by Paul Lukas with great effect. The supporting programme 13 one of exceptional merit. The box plans are at the theatre, the D.I.C, M'Cracken and Walls's, and Jacobs's. " TIMES SQUARE LADY." Powerful modern drama, spiced with two distinct love stories running at the same time, "Times Square Lady, ' Metro-Goldwyn-Mayer's fast-moving comedy drama, comes to the St. James Theatre on Friday. The cast includes a group of Hollywood's new stars—" discoveries who are expected to contribute much to making screen history. They include Virginia Bruce, the statuesque beauty who recently scored in ■" Society Doctor" and " Shadow of Doubt"; Robert Taylor, the young man who leaped to fame with his portrayal of the young interne in " Society Doctor"; Pinky Tomlin, Isabel Jewell, Nat Pendleton, and others. Also, there is Helen Twelvetrees, lovely star of many successful photoplays, and such other established favourites as Raymond Hattou, Henry Kolker, Jack La Rue, Robert Elliott, Russell Hopton, and Fred Kohler. " Times Square Lady " is a " different ' story of New York night life, telling ot the adventures of an lowa girl who outwits a group of high-powered characters of the 6 porting world. It was directed by George B. Seitz, who has been responsible for many of the screen's outstanding hits. The story moves with express train speed. It tells of the adventures of a girl who, upon the sudden death of her father, tries to take over his big-time sporting in the night life of New York. How she matches wits with her father's rebellious henchmen makes a fast and fascinating hour of entertainment. In the splendid supporting programme there is a beautiful coloured cartoon, "Calico Dragon," "Mama's Little Pirate," one of those delightful Our Gang comedies, "Madcap Movies," and two interesting Metrotone news reels. The box plans are at the D.I.C, M'Cracken and Walls's, and Jacobs's. REGENT THEATRE A remarkable story of a cynical philanderer, devoid of all human kindness, who throws aside a young girl's love but discovers after death that only her sympathy can bring him eternal rest, is told in " The Scoundrel," which is now being shown at the Regent Theatre. Noel Coward, the genius of the contemporary theatre, making his debut in this Paramount production, has fully mastered his new medium. Mr Coward appears as Anthony Mallare, a New York publisher, who charms women, though his outlook'is ultra-cynical. 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 coolly 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 iiis death. The aeroplane meets disaster and the publisher drowns; and the strength of the story i 9 intensified when he receives a dispensation to return to humanity for a month to find, if he can, the regret of a human being to secure his rest in death. There is no melodrama in the situation. Mr Coward grips his audience in his seemingly futile search for sympathy, his acting reaching the highest levels and conveying a profound sense of pathos. The climax, an emotional whirlpool in which physical and metaphysical commingle, is equally unconventional. Apart from the splendour of Mr Coward's triumph on the screen, there is the excellent aetinc of Julie Haydon, Stanley Ridges, Er>- st Cossart, Martha Sleeper and Evcrly The box plans are at the theatre and the D.I.C

"SANDERS OF THE RIVER." " Sanders of the River," the London Films picture, which will commence a season at the Regent Theatre to-morrow. is an unusual screen offering in several ways. First of all, there is not a white woman in the cast. Paul Robeson, the giant coloured actor and singer, as •' Bosambo," shares first honours with Leslie Banks, who plays " Sanders," and third place is given Nina Mae M'Kinney, as "Lilongo," Bosambo's wife. Nearly all the scenes were made in Africa, and thousands of natives were used. Included, also, are some excellent pictures of wild animal life in Africa. The story is based on one by Edgar Wallace. Sanders, British resident commissioner, rules the many natives along the river in Africa with an iron hand. His profound understanding of the native mind and his courage and fairness have established comparative peace in the country. A strange native from the interior arrives and insists on seeing Sanders. The latter recognises him as an escaped convict named Bosambo. The man brings Sanders a warning that trouble is brewing in the mountain country. Sanders makes Bosambo the chief of a tribe. Five years later, when peace rules the land, Sanders goes away on a year's vacation, leaving his work in charge of Ferguson, a deputy commissioner. Two white men whose slave trade has been ruined by Sanders conceive the idea of selling gin and firearms to the natives, using the old native king's country as their base. Ferguson loses hold on the natives and goes to see the old king. The latter murders him. Next he has the two white gin sellers killed, and then sends a man to seize Bosambo's beautiful wife. The old king has heard Sanders is dead, and he fears no other man. Lilongo is abducted, and Bosambo goes into the old king's country to rescue his wife. Both are about to be killed when Sanders and his men, with rifles and machine guns, arrive and save them. The old king is killed, and then Sanders makes Bosambo ruler of all the tribes. ' This is an unusual type of firm, which, by its ceaseless action and by the huge scale on which it is produced, will thrill any theare-goer. Paul Robeson, with his big voice and commanding appearance, makes Bosambo a great force, and Leslie Banks gives an impressive performance as Sanders. Nina Mae M'Kinney is very suited to play Lilongo. The box plans are now open at the D.I.C and the theatre. STATE THEATRE One of the most successful films of recent months, " Roberta," is now being shown at the State" Theatre. In it Fred Astaire, " Ginger" Rogers, and Irene Dunne are starred. With Miss Dunne singing, Astaire and Miss Rogers dancing, and a bevy of America's most beautiful girls displaying the latest in feminine style creations, the lavish production moves swiftly and tunefully through a most intriguing story. The plot centres about a double romance in Paris, city of colour and gaiety. The central situation sees an All-American football player as the owner of a feminine style salon, by accident of inheritance, and an American college band leader teamed with the favourite of the Paris music halls as the double attraction of a famous night club. Among the Jerome Kern-Otto Harbach numbers which Miss Dunne sings is the popular " Smoke Gets In Your Eyes." Astaire and Miss Rogers introduce several spectacular dance routines, which outshine even the " Continental," and the "Night and Day" of "The Gay Divorcee." Playing the romantic lead opposite Miss Dunne in the role of the football hero is Randolph Scott. Others in the brilliant cast include Helen Westley, Victor Varconi, Claire Dodd, Luis Alberni, and Ferdinand Munier. There are excellent supports. The box plans are at the theatre and Begg's. OCTAGON THEATRE Featuring George Arliss In one of those roles he knows so well how to play, "The House of Rothschild," which will have its final Dunedin screening to-day at the Octagon Theatre, tells in vivid and convincing manner the story of the rise to fame of the great Jewish financial house. In choosing Arliss to play the leading role, the directors made a particularly happy choice, for he gives to the character a human side which stamps it indelibly on the minds of his audience. His dynamic personality dominates the pioduction, and he gives a graphic portrayal of the poor Jewish boy who, with his brothers, rose from the Ghetto to control the destinies of nations, and free .his race from virtual servitude. A particularly capable supporting cast which includes Boris Karloff, Florence Arliss, and Loretta Young, handles the subsidiary roles. The box plans are at Begg's, M'Cracken and Walls's, and the theatre. STRAND THEATRE To-day will afford the final opportunity of witnessing "It Happened in New York " and " Front Page Woman," which, for the past week, have proved popular attractions at the Strand Theatre. Not only is there fast action and a pleasing vein of humour throughout, but the story is full of interest and has a strong romantic element. The old adage that clothes do not make the man is suggested by the part played by Lyle Talbot, who is seen as a taxi-driver in love with Heather Angel. But the course of true love is not a smooth one, and when a famous film star decides to steal the heart of the taxi-driver just to satisfy a whim and to show her independence of her manager, the result can well be imagined. Talbot, suddenly called upon to play the role of a wealthy and sophisticated man of the world, is faced with a variety of compromising situations, and before they are finally straightened out he has become involved in trouble of almost every kind. The second film on the programme is " Front Page Woman," a thrilling story of New York newspaper life, featuring George Brent and Bette Davis as rival reporters whose professional rivalry stands as an obstacle in their romance. The box plans are at the theatre and the D.I.C. DOUBLE-FEATURE PROGRAMME. Humour is the keynote of the film " MacFadden's Flats," which is to commence its season at the Strand with "Hell and High Water" to-morrow. The picture deals with the lifelong feud between Dan MacFadden, played by Walter C. Kelly, and Jock M'Tavish, played by Andy Clyde. While appearing to be most antagonistic to each other, the two characters have at heart a genuine mutual affection and are eventually brought together by the romance ot their two children. It is written and directed with insight into the lives of the people portrayed, and for this reason alone should attract attention. Irish and Scotch natures are set in opposition, and this popular theme never palls. Supplying the romantic side to the film are Richard Cromwell and Betty Furness, who act in a very skilful and pleasing manner. Richard Alien, one of the screen's favourite leading men, has topped the cast in almost 60 famous pictures from " Wmgs," his first big role, on to "Hell and High Water," his most recent Paramount picture, which will be the other feature. He is east with Judith Allen. The story is full of good family entertainment. It was written by Max Miller, the newspaper man who wrote " 1 Cover the Waterfront." Briefly, the story tells the romance between Captain Jericho (Richard Arlcn), the waterfront boatman, and Sally (Judith Allen), an orphan, the one a professional woman hater and the other a confirmed man hater. Their romance is as funny as it is poignant. GRAND THEATRE An American comedy-romance and an English farce comprise the programme which, opened yesterday at the Grand Theatre. While there is an underlying basis of broad humour in both, the two films have little else in common. One is a hustling American story, full of hustling Americans, from newspaper reporters to criminals. The other moves at a more leisurely pace, mostly in a fashionable West End hotel and a country seat, where live people who would only dimly comprehend much of the language spoken by the cast of the other picture. But each in its own way provides bright entertainment. Tn " The Daring Young Man," James Dunn appears as a New York newspaperman who is just full of ideas for news. On an opposition newspaper is a girl who is very nearly as well equipped in her scent for unusual happenings. The inevitable thing happens and they fall in love. They have fixed the day for the wedding and the expectant bride arrives at the church door—but not the bridegroom. His news-editor has conceived the bright idea that the best way to secure inside information about the conduct of a certain prison is to have one of his reporters sent there—as a prisoner—and, of course, it must be the

reluctant James who is selected for the job. And so, while the girl paces anxiously up and down outside the church, her intended husband is being marched to a cell. It is a most unusual prison. If there are many like it in America it is no wonder that there is a perpetual crime wave in that country. The prisoners appear to be divided into the " right" and the "wrong" sort. What happens to the " wrongs" one is not shown, but the "righto" certainly have nothing to grumble over. They have their cardtables, their radios, and most of the other amenities of life, while an occasional night's leave is quite easily arranged by a suitable donation to a warder. It is such a desirable place, in fact, that one notorious criminal, after having robbed the United States Treasury of a couple of suitcases of thousand-dollar notes, comes knocking at the warden's door for admission, arguing that a prison is the last place in which the police will look for a burglar. However, it is too good to last, and everything is spoilt when a prison commission arrives on the scene. The reporter is ejected from his cell, to find that he has been beaten for his story but not for his girl, and everything ends happily. It is all very funny, and America is such a funny place that perhaps those things do happen there. At any rate, the audience is kept in good humour throughout, following the career of the newspaperman as he interviews duchesses, attends weddings and dashes madly for the telephone ever so often to be first in with the news. The role of the girl reporter is capably played by Mae Clarke, and Neil Hamilton is also prominently cast. "Oh! Daddy" is a film which boasts of sueh players as Leslie Henson, Robertson Hare and Frances Day. Henson and Hare are comrades in iniquity who appear in the early stages' of the story as the president and secretary respectively of a Purity League organised chiefly by the former's uncle. When Lord Pye (Leslie Henson) sets off for Birmingham with his secretary to represent the league at a purity conference the trouble begins. They miss their train for Birmingham, and find their way instead to London, and a very expensive West End hotel. At first there is some pretence that their investigation of the city's night life is in the interest of their league, but they have scarcely begun to taste before they are anxious for a feast. And so, -while Lord Pye spends a hectic evening with a cabaret dancer, his secretary pays a visit to a night club known by the inviting name of the " Devil's Kitchen " (formerly " Up in Mabel's Room "). Morning finds one in the bath in his evening suit, and both very much the worse for wear. Their troubles, however, have only begun, for Uncle Samson, on their return home, is very anxious to gain more information about the conference than their somewhat hazy references to agendas can disclose. Their confusion is completed when the cabaret singer also arrives at the house. Eventually everything is straightened up by the simple expedient of confessing that purity leagues are not half so interesting as that slice of Loudon lite. Uncle Samson is driven from the house, Lady Pye, who is in the swim with the cabaret dancer, her daughter by a former marriage, improves the shining hour by extracting a dress or two, and the Purity League comes to a hilarious if untimely end. Henson makes a very convincing Lord Pye, and Robertson Hare is as lugubrious as ever in the role of the secretary who strays so widely from the path of strict virtue; Frances Day gives a vigorous performance as the cabaret girl. After seeing her dance it is not much wonder if the president of the Purity did get a little excited about it. Others in the cast are Marie Lohr and Alfred Drayton. The box plans will be found at the theatre and at Begg's. MAYFAIR THEATRE "The Last Gentleman," which commenced a return season at the Mayfair Theatre yesterday, brings to tho screen George Arliss in a role that is different from any other he has handled before, and it is one that suits him like the proverbial ! glove. Cast as a wealthy, eccentric old ' American, who has little time for any of the members of his family because of their greed for the Cabot millions, he is superb, and the latter part of the film, when he gathers all his relations around him in the hope of finding a suitable heir, he rises to new heights in both comedy and drama. It is a clever study of a " grand old gentleman " whose queer but subtle behaviour makes him a tyrant in the eyes of his family. The cast chosen to support Arliss is a particularly strong one, and is headed by Edna May Oliver in a typical role, Charlotte Henry, as Cabot's granddaughter, who is the only one who appeals to the old man, Janet Beecher, and Donald Meek. The climax to the picture is as novel as it is unex- i pected. There is a strong supporting programme, and the box plans are at the I D.I.C I