AMUSEMENTS

Otago Daily Times, Issue 22742, 30 November 1935, Page 24

AMUSEMENTS

STRAND THEATRE Capital fun is provided in generous measure in “ People Will Talk,” the latest comedy hit of Charles Buggies and Mary Boland, which heads the new doublefeature programme at the Strand Theatre this week. These popular stars of “Buggies of Bed-Gap” are cast in roles which fit their talents excejlently. Buggies as Henry Wilton is again the timorous husband and Mary Boland as Clarice Wilton is the domineering wife, but, if anything, they play their accustomed roles with even more distinction and conviction than in their previous successes, for the story provides situations made for the style of humour they exploit. They have attained their silver wedding anniversary in unusually congenial understanding, for them, but trouble develops because of a misunderstanding between, their daughter and her husband. Their remedy for this unfortunate turn of domestic events, having decided that, it is up to them to put the matter right, is to engage on a high pressure domestic war themselves to convince the younger couple how foolish household strife is. Wilton enters the game so thoroughly that he soon has his wife suspecting and all the neighbours discussing his friendship with another woman. The tangle is ultimately straightened, but not before it has. provided a great deal of amusement. Excellent work is done by Leila Hyams and Dean Jappers in the parts of the younger husband and wife. The second feature, "The,Glass Key,” 1s a film version of a story by Dashiell Hammett, author of “The Thin Man" and “Mr Dynamite,” and it offers thrilling mystery without that sordidness that has in the past sometimes marred the entertainment value of pictures of this type. Edward Arnold, political boss of a big city, is supporting Charles Bichman for an important, post when the latter’s son is killed. - ' Enemies try to blame Arnold for the murder, and George Raft, who has the starring role, determines to force the truth’from these men. But this is not to be easily achieved, and he has to go through some; very, trying situations in search of bis goal. The box plans are at the theatre and the D.I.C. GRAND THEATRE A double-feature programme of a varied nature is at present being screened at the Grand Theatre. The principal film, “Passport to Fame,” is an exciting production, starring Edward G. Robinson and Jean Arthur. The story, centres round a case of mistaken identity in which a somewhat meek, retiring office clerk is mistaken''for a gaiigster., When the criminal escapes from prison and his photograph is published in the newspapers, Jones is “recognised” as the gangster and his arrest is effected. While he is in gaol the gangster robs a bank, and the clerk is then released with a passport to establish his identity. The gangster seizes the passport and continues to carry out his criminal acts till an exciting series of events brings the film to a satisfactory climax. Gay comedy and bright music are the chief features of the supporting film, “Heat ( Wave," which deals with the hilarious adventures of a seeds salesman in South America. Cyril Maude, the popular star of "Grumpy,” has the leading role. . The box plans are at the theatre and Begg’s, EMPIRE THEATRE Brightness is the keynote of “Dance Band,” the British International Pictures film which commenced a season at the Empire Theatre yesterday, and it proves conclusively that Elstree is just as capable of producing a spectacular musical comedy as any of the American studios. It is a picture that glorifies the jazz hand, and the final sequence—a contest for such orchestras—is spectacular in the extreme. The various settings against lyhich the different bauds play are particularly brilliant, ttome of the more modern ones being magnificent. A dance duo by Jack Holland and June Hart is one -of the highlights of the production, and a humorous skit on a Continental goalkeeper by an unknown gentleman is Worthy of special mention. The story concerns the adventures of Buddy Morgan, a famous dance band conductor, who falls in love with a beautiful girl, Pat Shelley, herself the leader of a ladies’ band. At first the young man receives no encouragement, but undismayed he sets about pursuing her with a youthful determination that is not to be ignored, and is at tiraas too much for her eense of humour, although she resists him with a determination equal to his own. He is at last given a chance to further his claims for her affection when he takes the place of her pianist, who has met with an accident. He generously supplies her band with a number that he had intended to, utilise for his own orchestra, and the item is an immediate success. Up to this stage Pat has not been aware of Buddy s identity, and when she discovers that he is himself the famous dance leader she sees an ulterior motive behind his willingness to assist her, and her dawning love turns to mistrust. A dance band contest is arranged, and Pat’s agent determines to “kidnap” Buddy’s instruments iu order to keep him from winning the competition and to give Pat a chance herself. His plans, unfortunately, .are rained by .Pat in an ingenious episode that is full of humour, and the result is that Pat’s instruments and the costumes of the members of her band are stolen instead. This sequence brings the film to an excellent climax, the tangle being sorted out by Buddy, who comes to the rescue at the critical moment, and the denouement is a delightful one that should satisfy everyone. Buddy Rogers, in the leading role, makes his British debut in this picture, and he gives an outstanding performance. His pleasing personality and definite flair for comedy carry him through well, and he is perfectly at home in his part. The role of Pat is taken by June Clyde, a charming young actress, who has a freshness and appeal that are sometimes lacking in better known stars. She is also the possessor of a charming voice and sings a delightful duet with B,ogers. The supporting programme is headed by an unusual film entitled “ Young Things,” which gives some interesting views of young animals of , all kinds, from lambs and kittens to monkeys and owls. A Cinesound gazette and a Pathe newsreel complete a well-balanced programme. The box plans for the season will be found at the D.I.C. and the theatre.

ST. JAMES THEATRE It lias many times been said that the days of the pantomime and vaudeville show are numbered; but an excellent reason for doubting this oft-repeated prophecy is provided by the success of Joe E. Brown’s latest film, “ Bright Lights,” and the enthusiasm with which it was received when shown for the first time in Dunedin at the St. James Theatre yester-, day. In the film are many scenes which remind one of the “ live ” shows so popular in the earlier years of this century, and it would be no exaggeration to say that those who saw the picture yesterday enjoyed it thoroughly from start to finish. The very sight of Brawn’s face, with its long upper lip and cavernous mouth, is enough to send an audience into chuckles* as soon as he appears on the screen, but when be gets into full swing there is nothing else left to do but laugh and keep On laughing—it just cannot be helped. In “Bright Lights” Brown not only clowns in his usual priceless way, but he mixes his clowning with singing, acrobatics, and dancing in a manner which provides the audience with the utmost amount of amusement. His song, “She Was An Acrobat’s Daughter,” the words of which are far more clever than “The Man on the Flying Trapeze,” and which for melody as well is likely to prove a rival to that popular ballad, is a sheer delight. As for his dancing—it is enough to say that his limbs are like lengths of rubber, and he flings them about in an alarmingly amusing way. Perhaps even more hilarious are his acrobatics. In one memorable scene he falls into the hands of the Maxellos, a famous troupe of tumblers, and is tossed about all over the place. But his “straight” clowning must not be forgotten, and in this respect yesterday’s audiences could not eee enough of him. His burlesque of a drunken man who interrupts a musical show from one of the boxes of the theatre with uproarious wit is truly a masterpiece, and his imitation of a little girl telling the story of a mouse which falls into a barrel of whisky is priceless humour. But “ Bright Lights” is not “just another musical picture” by any means, although it contains some lavish theatrical scenes. Like Chaplin, Brown mixes pathos with his humour. The film is a genuine comedydrama. telling of a small-time vaudeville comedian who gets his chance on Broadway. Success goes to his head, and he

begins to neglect his charming wife, a part played by Ann Dvorak, and turns Ins attentions to a runaway heiress (Patricia Ellis), who i« in the ehow. Brown shows his versatility by mixing dramatic acting with his hilarious clowning. The supporting cast is made up of players ot merit, who contribute in no small measure to the success of the picture. In addition to the main film, there is a good programme of short features. The box plans are at the theatre, M'Cracken and Walls’s, Jacobs’s, and the D.I.C. REGENT THEATRE To witness “ Look Up and Laugh, ’ the delightfully breezy comedy which opened its Dunedin season yesterday at the Regent Theatre, is to realise why the inimitable Lancashire comedienne, Grade Fields, has achieved such immense popularity in the Old Country, and why audiences. wherever, she appears, acclaim her as a star of the very first magnitude. It is her extraordinary vitality and effervescent personality that carry the picture along with a merry swing, and the story, which was especially written for her by J. B. Priestley, gives her ample opportunity for exploiting to thp full her .astonishing genius for mimicry and burlesque. Some of the situations are frankly slapstick comedy, which, were they in the hands of anyone but an artist of more than ordinary skill, might become drab and commonplace; as presented by Miss Fields, however, they are uproanously funny, and so spontaneously are they introduced that one is compelled to josc sight of their more incongruous aspects, and enter whole-heartedly into the tun thev provide. The star first meets her aucfience, when, in the role of Grace Pearson, a musical comedy actress, she returns home to find her father, along with other stallholders in the local market, in the midst of a wild commercial war with a wealthy shopkeeper who is making every endeavour to have the market closed down. As a matter of fact, thdre appears to be trouble all round, as her brother, who is engaged to the daughter of the shopkeeper, is deeply in debt. Turning down a lucrative offer from a music hall, Grace blithely steps into the breach aqd, entering into the battle with all her characteristic good humour and determination, starts a train of events that are as highly amusing as their sequel is satisfactory. The shopkeeper, in the meantime, has not been idle, and as a further blow to the stall-holders, has added a new wing to his emporium, and this he proposes to open with a function that will set the whole town talking. Then occurs the outstanding comic scene in the film. Dressed in a Girl Guide’s uniform, and accompanied by three fellow-conspirators attired _ as Boy Scouts, Grace attends the opening, and the quartet, with the appearance of rushing round and being helpful, manage to upset all the arrangements and reduce the new wing and its contents to utter chaos. Everything is smashed and thrown about with the utmost abandon, but Grace and her helpers do everything with an air of methodical seriousness that is, perhaps, the funniest feature of the proceedings. Finally, the star impersonates the prima donna, who has been mysteriously spirited away, and creates riotous amusement among everyone—except the owner. To elaborate on the story would be fair neither to the producers nor to those who wish to witness the picture: suffice it to say that after a siege of the market by the town council, and a descent on a council meeting by the star, who makes her appearance in an autogyro, and successfully pleads the case of the stallholders, a happy ending is reached. The dialogue, as might be expected from Mr Priestley, is racy and at times clever, and the songs are numerous and tuneful, especially the one from which the film takes its name, which is sung as only Grade Fields can sing it. Miss Fields also gives a fine rendering of “ Love is Everywhere, which is a somewhat surprising departure from the usual run of songs in which her admirers are accustomed to hear her. Included in the supporting cast are such well-known players as Dougins Wakefield, Billy Nelson, Harry Tate, and Tommy Fields,-while an unusually entertaining programme of short subjects occupies the first half of the bill, STATE THEATRE An epic of courage is a fitting description of “Brown on Resolution," alternatively titled “ Sons' of the Sea,” which opened a season at the State Theatre yesterday. Neither title, unfortunately, conveys much, and gives no indication of the stirring tale which it tells. Brown is an able seaman serving on board H.M.S. Rutland, and it is on Resolution Island that he carries out a desperate enterprise which enables the British Navy to account for one more of the German raiders which harassed British shipping during the early days of the war. It must be said at the outset that the film is a magnificent example of British production, It is laid against a naval background throughout almost its entire length, and the fact that the co-operation of the Admiralty has been secured in these scenes is sufficient guarantee of their faithfulness. But “Brown on Resolution" is no dull depiction of life as

the British sailor knows it. The picture has been conveived with a real touch of inspiration, and he will be a very dead soul indeed who does not thrill to its story. The theme of the picture does not call for character portrayals of the highest type. It depends for its appeal on its action, and even more on the perfect setting which has been conceived for this great story of a British sailors heroism. As a result, “ Brown on Resolution ” will be remembered—and it will be remembered —for its action and its tremendous battle scenes rather than for the acting of the principals. It is not to be inferred, however, that the picture lacks quality on that side. On the contrary, some very fine performances are n'iven, notably by Betty Balfour, John Mills (Able Seaman Brown), and Jimmy Hanley, while the heavy supporting cast has been admirably chosen. But Brown on Resolution ” is first and_ foremost a story of the courage which inspires the men of the British naval service. Briefly, the story concerns Able peaman Brown, the natural son of a British naval officer and a London girl whose imagination has been captured by the glamour of the navy. And so she brings un her eon to regard the navy as his only possible career, and he graduates to H.M.S. Rutland through the training schools. The real story commences with the outbreak of war, when the Kutiana is stationed off the South American coast. A German cruiser, the Zeither, is playing havoc with the merchant shipping, and the Rutland and the Leopard are despatched on her trail. While the Leopard is a first-class cruiser the Rutland is slow and of low gun-power, and it is an evil day for her that she first encounters the enemy vessel. There is a one-sided engagement, and the Rutland is sent to the bottom with but two survivors, ihe Zeither makes for Resolution Island to repair a hole in her hull, and it is then that young Brown, one of the two survivors from the Rutland, sees the opportunity of rendering his country a signal service. He escapes from captivity m the Zeither and, armed with a rifle, takes up a position ashore commanding the German cruiser. By his well-aimed sniping he greatly hinders the work ot refitting on the cruiser, and finally the Germans in desperation bombard the island. Brown is killed, but the noise of gunfire attracts the Leopard, and she arrives on the scene in time to catch the Zeithen and send her to join the Rutland. And then the captain of the Leopard learns that Brown, who really won the fight, is his own son. This bald outline of the story gives no indication of the thrilling tale which “Brown on ResolutionV tells. Ihe scenes showing the engagement between the Rutland and the Zeithen and that between the latter and the Leonard aie aa spectacular as could be imagined, ihe thunder of the salvoes seems to shake the theatre; the nimble of the great guns rolls along the deep; the flames leap from the decks of the doomed Rutland; torpedoes crash into her hull, and she goes down in fire and smoke. Hardly lese thrilling is the battle at night between the Leopard and the Zeithen, with the dark sea lit up by the belching flames of the Leopard's guns as she blows the Zeithen to atoms. The picture is definitely one worth seeing. There is an interesting supporting programme. The box plans are at the theatre and Begg s. OCTAGON THEATRE Though the theme which underlies the story told in “Air Hawks,” which commenced a season at the Octagon Theatre yesterday, is one which has been the subject of many novels, it is presented in a way which retains the interest at a high point from start to finish, and there is sufficient action and stirring plot and counter plot to satisfy the most avid ox sensation-seekers. Presenting a muchdiscussed method of aerial destruction likely to be used in substance in future international conflicts, the film revolves round an unscrupulous man’s machinations with a death-dealing electric ray that can set fire to aeroplanes in mid-air. Ralph Bellamy is cast as the owner of an aeroplane line which ia competing with another company for valuable mail contracts. The other line is desperate for the contracts, and it employs a mad scientist, who has invented the death-ray to bring down Bellamy’s planes with the object of causing the Government and the public to lose confidence in the service. Tala Birell is seen as the girl who finds her mate in Bellamy when he is fighting against the powers against him. The famous aviator, Wiley Post, appears in the film as pilot of one of Bellamys planes. The supporting roles are adequately filled, and the technical work is at all times excellent. Some remarkable aerial photography lends the picture an added interest. The supporting programme ia a lengthy one, and includes several pictures of considerable merit. There is a comedy_ in which Harry Langdon becomes a United States marine and incurs his superior officer’s displeasure, and besides two amusing cartoons, there is an intimate study of Hollywood which is seen from a new angle. The box plans are at the theatre, M'Cracken and Walls’s, and Begg’e.

MAYFAIR THEATRE W. C. Fields’s first starring film, « You’re Telling Me,” the Paramount picture in which he is appearing with Larry “ Buster ” Crabbe. Joan Marsh, and Adrienne Ames, will be shown to-day at the Mayfair Theatre.- It is a comedy from start to finish, and was directed by Erie Kenton. A e Samuel Bisbee, struggling inventor, all of whose contraptions are devices to get him away from work, Fields is not much of a provider for his family, except to provide a lot of worries. Fields, however, is forced to turn over a new leaf when his daughter’s happiness is at stake. And his antics in attempting to sell an invention, make a pile, and marry his daughter to the son of the town’s wealthiest family, give Fields opportunities for a score of uproarious comedy scenes. Sparkling dialogue, romance, and mystery are admirably combined in “After Office Hours,” which will be shown on the same programme. Clarke Gable and Constance Bennett are. the principals in this story, which is said to combine all that is best in motion picture entertainment'. Newspapers, a society ecandal. and a murder all figure prominently at one stage or another. The action alternates between Park avenue, Park row, and a boathouse on Long Island Sound. The final desperate plan which reveals the murderer caps a thrillin'* picture, which could onlv be made possible through the medium of Clark Gable and Constance Bennett. GREEN ISLAND KINEMA “ Twenty Million Sweethearts,” the First National romance of the radio, will be shown at the Green Island Kinema today. The production is said to be a distinct innovation in film entertainment, giving, as it does, the behind the scenes picture of radio entertainers and their task of pleasing the public. The story, by Paul Finder Moss and Jerry Wald, deals with the intimate romances of the radio folk, with their joys and tribulations, their struggles and successes. There is a strong cast of players of widely diversified talents, with Pat O’Brien in the leading role, a semi-comic part in which he plays n fast-talking though somewhat blundering talent scout for a radio company. who boosts others to fame while he himself is left out in the cold. The picture introduces a new romantic team in Dick Powell and Ginger Rogers, radio sweethearts, who sing for the public and make love privately. The Four Mills Brothers’ voices will be heard in catchy music, while Ted Fio Rito and his baud play the accompaniment to one of Powell’;, tuneful lays as well as individual'music.