AMUSEMENTS

Otago Daily Times, Issue 22718, 2 November 1935, Page 21

AMUSEMENTS

REGENT THEATRE Of recent years British film producers have come to the fore with a number of outstanding pictures that have rivalled the best productions from the older American studios, and in their search for new material they seem at last to be becoming conscious of the British Empire. " Sanders of the River." which received its initial screening at the Regent Theatre yesterday, is a brilliant demonstration of what can be done with British resources. It is something quite new and adds to the fascination of novelty, the self-sufficient attractiveness of vivid art. In the past adventurers have shown the animals and peoples which lurk in the jungles of the Dark Continent, and, in fact, film patrons have seen this style of thing so often that the prospect now ceases to have any thrills. The director of " Sanders of the River," Mr Zoltan Korda, has, however, used African sights and sounds only as the foundations of a dramatic monument. British sovereignty over the native races is the dominant idea, and everything else is subordinated to that. There is no flag waving or blowing of trumpets. The white administrators of Nigeria are much 100 busy for that, and the director has been particular to present them to the public as they really are. In order to gain authentic backgrounds for the story he led an expedition to West Africa and journeyed up the very river where the fictitious Sanders moves to and fro, returning with a wealth of material that must have been embarrassing to him. The temptation to use too much of the native scenes must have been very great, but there is no doubt whatever that the choice of material has been a discreet one and that the production has a commendable cohesion. In the form in which the film has reached the screen, the slender but lively plot seems to organise perfectly and link Up the raw material provided by Nature. By thus avoiding the stereotyped variety of African scenery, which can usuailv be detected a mile away, Mr Korda has given the film an initial reality, and vividness that makes the task of the cast an easier one from the outset. The individual actors who impose themselves on these scenes of shifting tropical luxuriance give as fine performances as one could wish to see. Only a man with rare strength of character could have presumed to step into the shoes of Sanders, for this British official, besides being an excellent administrator and psychologist, must at critical moments quell native uprisings through the sheer fact ol his presence. Leslie Banks in this exacting role not only makes Sanders credible, but he makes the man memorable as well. He typifies the spirit of the British overlord, ruling the primitive masses by sheer personality, determination, and courage. Having won renown as a concert singer and stage actor, Paul Kobeson, who plays the part of Bosambo, the native chief, turned to the screen in Jimperor Jones," in which he gave a fine character study, and in "Sanders of the River" he is outstanding. Aided by a magnificent physique, he creates an entirely new and admirable type of role. Vocally he is excellent, and his robust voice is heard to advantage in several pleasing numbers, although it is a little disconcerting at first to listen to him voicing a song like a negro spiritual, occasionally embellished by chords from a full orchestra, in the midst of a primitive African environment. Nina Mae Mackinney, who is better known on the legitimate stage than on the screen, has a small part as Bosambo's beautiful wife, and leaves one with the desire to see her in a bigger ,role and one that would allow of a better display of her undoubted talents. She is lovely to look at, and is an eloquent actress. Robert Cochrane, Martin Walker, and Richard Grey handle minor parts in a capable manner. The story of the book by the famous Edgar Wallace is well known to everyone, and tells of the chaos which follows when the beloved and feared Sanders departs on a year's leave; of the fierce fighting among the different tribes; of Sanders's return and his rescue of the courageous Bosambo, who goes alone into the " Old King's Country" to save his wife when she is captured by Mofolaba; and of the restoration of peace and law with Bosambo, once a convict, king of all the river tribes. The film is entertainment at its best. There is an excellent supporting' programme, which is headed by a wholly delightful Mickey Mouse cartoon entitled "Mickey's Service Station." The box plans are at the theatre and the D.I.C. STATE THEATRE Now in its third week at the State Theatre, "Roberta" is still attracting large and enthusiastic audiences, and numerous theatre-goers have already paid more than one visit to see this delightfully entertaining film. Perhaps the outstanding feature of " Roberta " is the undoubted genius of Fred Astaire as a dancer and general entertainer, but following close in order of merit are the charming performance of Irene Dunne, the vivacious and talented display of Ginger Rogers, and the brilliant production of the film. The dancing alone makes the picture worth seeing, and it is doubtful if anything better in this line has been seen >n Dunedin. Fred Astaire and Ginger Rogers, who gave such a brilliant performance in " The Gay Divorcee," present a wide variety of steps and show sensational rhythm and originality in the several numbers in which they appear. One of their numbers may be said to introduce a new language to the screen, as the pair " talk " with their feet, the audience being able to follow the " conversation " by the tapping of the dancers' feet. Tn this number the pair introduce a song hit, "I'll Be Hard to Handle." One of their most rhythmic numbers is danced to the haunting melody, " Smoke Gets in Your Eyes," and the team is seen in several other outstanding numbers throughout the film. Astaire. who earned for himself a brilliant reputation on the T.nndon stage, is a very versatile star. Apart from his brilliant dancing, he is a master of gay comedy, he sings pleasingly, conducts an efficient orchestra, and plays a number on the piano. Ginger Rogers., who poses at first as a countess, gives an excellent performance, and the amusing battle of wits between the two dancers that runs through the film ends in a happy if somewhat unusual romance. Irene Dunne, however, is entrusted with the principal feminine role, and she fills the nosition with all the charm and gracefulness she possesses. As Stephanie, a Russian princess employed in the fashionable gown shop, "Roberta," she gives a delightful portrayal. Her pleasing voice is heard in two very restful numbers and later in Jerome Kern's haunting lovewaltz, " Smoke Gets in Your Eyes," and the equally tuneful number, "Lovely to Look At." Randolph Scott, as a member of an American dance band who inherits the gown shop from his aunt, also gives a good performance. He falls in love with the charming Stephanie, and, despite several misunderstandings, the romance is brouaht to a happy conclusion. The story is bv no means a thin one, as is the case with so many musical comedies, but is told forcibly and realistically. An undoubted attraction of the film is the fashion parades, in which beautiful manikins display the very latest in evening gowns, day frocks, ensembles and sports wear. Altogether, " Roberta " provides outstanding entertainment to suit all tastes, and it should not be missed. The supporting programme is a varied and highly interesting one. The box plans are at the theatre and Begg's. OCTAGON THEATRE As a picture alone " The Count of Monte Cristo," the film version of Alexandre Dumas's famous novel, which is now beinn shown at the Octagon Theatre, has every right to be called a classic. It is a picture which faithfully presents the spirit of one of the greatest stories ever written, and one which will live vividly in the memory of everyone who sees it. "The Count of Monte Cristo" needs no introduction to Dunedin audiences, for it enjoyed a highly successful season in this city some months ago, and its return will be welcomed by many. Robert Donat, as the central figure, is outstanding and the Edmond Dantes he sreates, at first the simple sailor and then the cold, unemotional avenger, is a character study that vei'y few actors could create. Elissa Landi, as Mercedes, has another difficult part, but she plays it convincingly and with understanding. She liven her part, and the Mercedes of the first portion of the picture is a very different character from the Mercedes of later on, a disillusioned, but courageous woman who rouses one's pity and admiration. Then there is O. P. Heggie, a really great character actor, who makes

a lovable and strangely compelling figure of the Abbe Faria, the student of six universities, and the possessor of a remarkable store of knowledge of man. "The Count of Monte Cri&to" is more than a mere picture. It is one of those rare masterpieces of the motion picture producer's art, backed by an immortal story and superb acting. There is an entertaining programme of short subjects. The box plans are at the theatre, M'Cracken and Walls's, and Begg's. STRAND THEATRE " M'Fadden's Flats," which is the principal feature on the new double-feature programme at the Strand Theatre, is first-rate comedy, and is notable for several excellent characterisations. The central figures in the story are Dan M'Fadden, an ambitious New York Irishman, who has risen from the ranks of the hod carriers, and who eventually undertakes the erection of a large tenement building, and Jock M'Tavish, a cannv barber, who is M'Fadden's closest friend. The parts are filled by Walter C. Kelly and Andy Clyde, both of whom reach great heights in roles which allow them the widest scope for the presentation of bright comedy. While the pair entertain a genuine affection for each other, they have a disagreement in very amusing circumstances, and from that stage M'Fadden's attitude is most antagonistic to his former friend. When M'Fadden encounters financial difficulty M'Tavish secretly goes to his assistance, and this action forms the central point of a highly-diverting story, which also has a more serious undercurrent that gives substance to the production as a whole. The film is excellently turned out in every way, and ability and sincerity are shown in every role. The romantic interest is provided by Richard Cromwell and Betty Furness. The second attraction is "Hell and High Water," an American waterfront story of a strikingly original type. The chief character is Captain Jericho, who is so earnest in his desire to " get ahead" that he has no time to enjoy life. Any interference with the carrying out of his contract for the removal of garbage he regards as an obstacle to his ultimate success in life. An interruption which amounts almost to an upheaval in the steady progress of his ambitions occurs when one day he finds a young woman struggling in a net beside his boat. An interesting story tells how he has to lose all of nis beloved dollars before he is brought to a realisation of the fact that happiness is not so far off as he believed. The principal roles are taken by Richard Arlen and Judith Kelly. The box plans are at the theatre and the D.I.C. GRAND THEATRE When Leslie Henson and Robertson Hare get together in, a film the result is usually something out of the ordinary, and it is due to these two almost entirely that "Oh! Daddy," the main attraction at the Grand Theatre, has been so well received wherever it has been shown in New Zealand. A riot of complicated amusement, "Oh! Daddy," is one of the most refreshing films that has been seen in Dunedin recently, and fully deserves the success it has achieved here. It is one of those pictures that never fails to draw good houses, "and for the main roles it would be very difficult to imagine a better combination than that provided by Henson and Hare. Long as it is since Henson made a talking film, it is easy to remember his drolleries in "A Warm Corner," "The Sport of Kings," and "It's a Boy," and it is not too much to say that 'Oh! Daddy," is quite up to the high standard of the previous productions. Hare, of course, nas earned distinction with Tom Walls'and RaiphLynn. and these incomparable two have every chance to give of their best. Frances Day contributes in no small measure to the success of the film, the dance scenes in which she is featured alone being well worth while seeing. There is plenty of action as well as humour in "The Dar ing Young Man," the supporting attraction at the Grand. The hero of this brightly-written comedy is James Dunn, in the character of a newspaper reporter who is determined not to prove himself a sap or a sucker, as he terms it, by getting married. Of course, he falls in love, but his adventures before he does succumb definitely put the picture in the must-be-seen class. The thrills are provided by some particularly " bad " gangsters, the portrayal of whom has been placed in the capable hands of Warren Hymer, Jack La Rue and others almost as good in the art of playing the badman. EMPIRE THEATRE Entertainment of an exciting and at times eerie character is to be found in " The Werewolf of London," which commenced a season yesterday, before large audiences, at the Empire Theatre. Based on the old superstition of the werewolf, the story deals with the transition undergone by an afflicted individual through the influence of the moon. At certain times the sufferer is transformed from an ordinary, decent-minded, rational man into a raging, inhuman monster, half man. half wolf, whose one purpose is to kill a human being. The theme is a most unusual one, and has been admirably handled, with the result that patrons can look forward to enjoying a film that holds the attention from start to finish. At the beginning of the picture Henry Hull is seen as Dr Glendon, a famous English botanist, whose whole interest in life lies in the collecting of rare flowers and plants, a hobby that takes him to the ends of the earth in his search for the unusual and bizarre in the world of botany. At the time the picture opens he is in Tibet in search of_ a werewolf flower, which depends for its existence on the light of the moon, and is reputed to have the power of acting as an antidote for a person who is afflicted with werewolf tendencies. He finds the flower in Tibet, but not without paying a heavy price, for he is bitten by a werewolf, and on his return to London discovers, to his horror, that he is afflicted with the curse. Desperately he strives to overcome the horrible malady, and has received some assistance from the flower when a thief enters his laboratory and steals it. The patient, lovable scientist becomes a howling wolf overnight. London is thrown into a turmoil by his involuntary activities, and the police are at a complete loss to account for the mysterious murders that take place. At last they suspect Dr Glendon, but, in spite of the certain evidence they receive, the hard-headed, matter-of-fact police officials cannot believe that a man can set out at night with all the instincts of a wolf and yet return to his normal state in the morning. So he continues to remain at large until his continued absence froni his home at night arouses the suspicions of detectives. One night, when the fit is on him, he comes in contact with his own wife, and so great is his affliction that he immediately sets about murdering her. The climax comes when he is discovered in the act by a friend of Mr s Glendon's and is shot.' The film is excellently played by a good cast. Acting honours go to Henry Hull, who was last seen as Magwitch in "Great Expectations." His make-up is perfect, and to him must go the greatest share of the credit for an outstanding production. As a sinister foreign doctor who steals the blooms of the moon plant from the botanist, Warner Oland gives a most capable performance. Indeed, many will assert that it is the best of his long and distinguished screen career. Valerie Hobson is quite at home in the role of Dr Glendon's wife, who at last finds out that she does not love her husband, but still cherishes memories of her early days in the company of Paul Ames, an accomplished aviator, who is in London on holiday. Altogether the picture is a production which will make a strong appeal to the theatre-going public, and should be assured of extensive patronage during its season. An excellent supporting - programme is shown with " The Werewolf of London." The box plans are at the theatre and the D.I.C.

ST. JAMES THEATRE

There is something so refreshingly novel about the new film at the St. James Theatre that it is certain to attract general attention during the coming week. Rejoicing in the intriguing, if somewhat obscure, title of "Times Square Lady," it combines in the most arresting manner the heady glitter of musical comedy with the romantic appeal of adventurous drama The combination is unusual, and the manner of its treatment is even more so with the result that a film has been produced which nobody _ should miss. In every respect it is enjoyable and invigorating entertainment, excellently presented and well worth seeing. One of its greatest recommendations is the casting in the star role of that dignified and lovely performer Virginia Bruce, who, with Robert

Taylor in the principal male role, contrives to present a story which covers, in one magnificent sweep, the bright lights and never-ending gaiety of New York night life with the calm serenity of a farm-yard idyll. It is here that the unusual in the theme becomes most apparent. The story tells of a simple but divinely lovely Middle West lass who suddenly inherits wealth and draws on herself the unwelcome attention of a gang of Broadway fleecers. Steve Gordon, highlife night club king, decides' to abandon his current affair w r ith a stage beauty in order to play the confidence trick on the simple Toni. Unfortunately, that young lady knows rather more than is anticipated. Undeterred by carefullystaged frightfulness of the tricksters, she coolly tells her attorney she is quite capable of handling her own affairs. To make things worse for the gang, Steve falls in love with Toni. He weakens so far as to confess the plot that is afoot to cheat her of her heritage. Toni, sick of it all, offers Steve everything, but he falls foul of the lying attorney, who decides to "send him for a ride." But at the critical moment, when the thugs are about to " bump him off," who should appear but Toni, with her Steve's trusty henchmen, Mack and Pinky, the simple country " rube," whose eccentric " hog-call-in' croonin'" is one of the high spots of the film.' Pinky Tomlin earlier has endeared himself to the audience with renditions of his own songs, " The Object of My Affection " and " What's the Reason I'm Not Pleasin' You? " —the former much appreciated also in the cow yard! Lovely Helen Twelvetrees, Isabel Jewell, Nat Pendleton, and a Host of other favourites help the speedy action of the entertainment. The supporting programme of short subjects is an excellent one, including a fine Metrotone news film, an " Our Gang" comedy, and other very interesting features. The box plans will be found at the theatre, at Jacobs's, at the D.I.C, and at M'Cracken and Walk's. MAYFAIR THEATRE " Society Doctor" and " Broadway Bill" are the two films which comprise the new programme which will be presented at the Mayfair Theatre to-day. " Broadway Bill" is a racing story in which the stars are Warner Baxter and Myrna _ Loy. The story is a dramatic one, with a strong element of humour. The second picture, " Society Doctor," is ar.other strong attraction. A cast which includes Chester Morris, Virginia Bruce, and Robert Taylor has been chosen to interpret the story, which proceeds quietly at first. Both young men love Virginia. She likes both, but loves Chester, who avoids the subject, as he desires to win his spurs and earn a good living before he asks a girl to marry him. Chester is surgically talented, forging ahead of the old-fashioned Raymond Walburn and Henry Kolker, who are, in fact, merely " society doctors," relying on the favour of wealthy, fair clients for their prosperity. Towards the termination the picture suddenly brightens up into a bit of gangster warfare, one from the underworld pursuing another who is a patient in the hospital, and he shoots Chester. The older doctors give Chester up as beyond rescue, but, knowing more up-to-date methods in anatomical surgery, he directs the operation on himself for recovery of the bullets embedded in his body. He survives the operation, and his girl returns to him. The picture is beautifully reproduced and keenly acted, and should prove a great attraction for those who love chloroform, hospital purlieus, and the flippant, smart dialogue of " internes " and nurses.

GREEN ISLAND KINEMA

A Southern feud is the basis for the hilarious situations in "Kentucky Kernels," Bert Wheeler and Robert Woolsey's new hit, which will be shown at the Green Island Kinema to-day. The inimitable comedians portrya down-on-their-luck vaudeville magicians who pose as Southern gentlemen, when their infant ward falls heir to a vast estate in Kentucky. How the trio becomes involved in a family fued and their efforts to extricate themselves form a rollicking romance, with gay melody, modern dancing by a ballet chorus, and a friendly war between two clans with Colts and Remingtons. Mary Carlisle, beautiful blonde ingenue, plays tlie daughter of the hostile colonel, portrayed by .Noah Beery. " Spanky" M'Farland of " Our Gang Comedy" fame, is seen as the orphan. George Stevens directed " Kentucky Kernels," an R.K.0.-Radio picture, from a scenario by Harry Ruby and Bert Kalmar, who also composed " One Little Kiss," the theme melody of the picture.