AMUSEMENTS

Otago Daily Times, Issue 22831, 16 March 1936, Page 5

AMUSEMENTS

EMPIRE THEATRE •‘.Murder in the Fleet” is the principal attraction at the Empire Theatre ac present. The picture demonstrates that hi peace time as well ae in war the navy has to face dangers. In this particular case it wins out despite desperate at tempts to frustrate Hie installation ol electrical fire control apparatus which promises to revolutionise naval warfare. The Carolina, pride of the American .Navy, is selected for the experimentation, but, owing to the operations of certain agencies, the equipment is laic in arriving, and special endeavours have to be made to put the work through in scheduled lime. Even when the plant has been landed on board a chain of mishaps occurs and further to complicate matters- for the assembly crew two of the most valuable of them are murdered despite the strictest vigilance. All this results in the detention of many visitors to tho \ essol and international complications are threatened. Suspicion shifts from one person to another, and the audience ib completely baffled ns to'the identity of Ihe murderer. Finally the most absorbing mystery is unravelled, the climax being both dramatic and satisfying. “Murder in the Fleet” is a well-balanced entertainment, love interest and humour relieving the stark tragedy. Robert Taylor scores instant success ns the young lieutenant who is responsible for supervising the installation of the equipment under trying conditions, and it is he who finally captures the murderer after a desperate struggle in the powder magazine. He .s a dominating figure in a splendid cast. The principal feminine role is allotted to dean Parker, and she gets through a wealth of work with distinction and cliarm. Two particularly line characters are Nat Pendleton and Ted Hcaly, a pair of quarrelling friends, and their sparkling wit and lightning thrusts at each other keep the audience rocking with laughter whenever they are on the scene. There is an excellent supporting programme The box plans are at the theatre and the D.T.C. STRAND THEATRE There is abundant action in the two films which are at present being shown at tlie Strand Theatre and patrons should be amply satisfied with the entertainment provided. “I’ll Tell tho World” is a fast-moving newspaper story. Lee Tracy 'has the role of a special correspondent who, at a moment’s notice, is sent otf to the Arctic to track down a derelict dirigible and on the moment of his return is despatched to Europe. The first incident is merely the introduction to tho real story. On arrival in Europe, Tracy becomes interested in the activities of some exiled royalties and also in a young ladv with whom he falls in love before he is aware that she is the heiress to a throne. The excitement becomes tense when he discovers, almost at the last moment, that there is a plot on foot to assassinate the girl, and the conclusion is satisfactory to all concerned with the exception of the villain of the piece. Tim M‘Coy gives a virile performance in “ Law Beyond the Range,” the story of an exTcxag ranger who inherits a small town newspaper. On him devolves the task of carrying on a feud with the political “ boss ” of the town and also of clearing a friend's name from a charge of murder. Despite the unusual setting of this “Western ” film there is some satisfactorily hard riding and quick shooting before in the climax the feud is brought to a violent end. The box plans arc at the theatre and the D.I.C. STATE THEATRE The story of a struggle between forces for good and evil in a London boarding house is told in “The Passing of the Third Floor Back,” which is being screened at the State Theatre. In the leading role is Conrad Vcidt, and although the amazing German actor speaks fewer words than practically any other member of the cast, he dominates every scene in which he appears by the strength of his characterisation alone. Cast as the compassionate “ Stranger,” whose personality exercises an extraordinary influence upon the lives of a group of unhappy hoarding house dwellers, Conrad Veidt is given great scope to reveal his talents as a character actor. By gesture, and by the intense expressive power of his eyes alone, he conveys more iu a minute than could be conveyed in a quarter of an hour of dialogue. The story is concerned with the occupants of a cheap boarding house. All arc of the opinion that life is a fraud. The “Stranger” comes into their midst, and from the time he first enters the dining room the guests and staff alike are almost hypnotised by the strength of his personality. The first to realise the almost ethereal quality of the man is ‘Stasia, the maid, and how her life and the lives of the other characters are affected by this amazing man forms the basis of this strange story. Rene Ray, a young an 3 comparatively unknown player, scores a great success as ‘Stasia, the maid of all work, while other parts are capably portrayed by Beatrice Lehmann and Frank Collier. The supporting pictures include an excellent film showing the victory of Lovelock, the former Dunedin runner, in “the mile of the" century,” and another short subject gives views of a performance of the Folies Bergere. The box plans arc at the theatre and Begg’s. REGENT THEATRE “Red Salute,” the United Artists picture which heads the programme at the Rtgent Theatre this week, has no dull moments. It is a nice blend of comedy, drama, and romance, , well acted by a cast headed by Barbara Stanwyck and Robert Young. The action is swift throughout, the story telling of the adventures befalling the daughter of an American army officer who becomes infatuated with a Communist student agitator. The situations arc sometimes tense and often amusing, hut much of the humour of the picture comes from the dialogue. There is some very clever repartc. Colonel Van, Allen, having kidnapped his daughter and transported her to Mexico to remove her from her scandalous association with the young radical, Arner, should not have been sorely offended when she escaped ami made an unlawful crossing of the border with a roistering soldier. Perturbed, however, he was, and soon half the border police and a fair-sized detachment of United States troops were combing the countryside for the errant pair. The latter fall in with a delightful character. Rooney, who places his car and caravan at their disposal after they have smashed up the Government car in which they made their escape. Although Drue Van Allen and Jell, the young soldier, have been thrown together by force of circumstances. the early stages of their acquaintance make it appear that the prospects of the partnership will he blighted by a retain incompatibility of temperament. i lino has only one ambition —to reach Washington in time to hear Arner make his May Day speech to a gathering of students from all over the United States. They are caught after a good clpise through unfrequented roads and wastelands, and the soldier is arrested as a deserter. Drue, in spite of her father’s remonstrations, takes up the broken threads of her romance, to the intense in•terost of newspaper gossips. Colonel van Allen, however, shrewdly suspects that his daughter has more thar> a casual liking for the companion of her adventures, lias him released from prison, and sends him alopg to the May Day celebrations. There is a minor riot, which provides the necessary excuse for the deportation of the agitator, and Drue and Jeff make up their differences. The box plans arc at the theatre and at the D.I.C.

“WHEN KNIGHTS WERE BOLD.” The first of Associated Distributors’ productions, “ When Knights Were Bold,” will have its New Zealand premiere at the Regent Theatre on Friday next. Starring the always-popnlar Jack Buchanan, “ When Knights Were Bold ” is an elaborate screen version of the classic stage farce, and a happy medium for the star’s well-known talents. As a very modern young man-about-town be spends bis time courting trouble and the lovely ladies of the “good old days,” and he interprets the role in the vein of polished high comedy which suits him so well. Directed by Jack Raymond, the film presents the star in a manner delightfully reminiscent of his performances in “ Monte Carlo” and “Good-night Vienna.” Opposite him, Fay Wray is charming ns the leading lady, and makes the most of one of the few comedy roles which have come her way. Garry Marsh, makes a welcome reappearance at the head of the supporting cast. No Buchanan film would seem

complete -without music, so special songs and dances have been arranged which the star pute over in his own inimitable manner. , ST. JAMES THEATRE There is an air about “The Bishop Misbehaves,” which is at present being screened at the St. James Theatre, which suggests that the general run of film humour in the past has been too easy. One detects in the smooth action of this a hard-won perfection. The materials are mostly familiar, but there is a warmth of feeling behind the intrigues, a mellowness of atmosphere throughout the run of events. And it has, as good comedy must, a balance between the persons and the events. The bishop is a character who has been made a credible figui'e by the acting of Edmund Gwenn. Generally he is only a bishop, a benevolent old fellow shaking like a jelly with ponderous good humour. But, when his hobby of criminology obtrudes upon his private life, he is inexorable, though his good humour never departs from him. From there the picture becomes an extraordinary mixture, and if. is meant to be an extraordinary mixture. The bishop handles the “case” with a guile which is explained by his tremendous library of detective stories. All the tricks which that literature has made familiar are used by him in his attempts to frustrate the doings of several fine Limehouse criminals. All through this tlie mood of the story is never lost. The bishop is seldom a hero, or if ever he is, then it is as a lucky hero that he appears. He is kept always an excited old man, with a suggestion that he is perhaps doing all this only to show off before his admiring sister. The determination he shows is cleverly shown to be that kind of resolve which is expected only of the detectives who are found between the covers of a book. Eventually the crime is discovered to have been arranged in. desperation by a law-abiding girl (Maureen O’Sullivan). There is a good supporting programme. The box plans are at the theatre, M'Cracken and Walls’s, the D.I.C. and Jacobs’s. “ THE AGE OF INDISCRETION.” Is jealousy between wives and secretaries a thing of the past? Will the former now insist on their husbands employing only good-looking girls? This theme is treated in “The Age of Indiscretion," which will head the new programme at the St. James Theatre on Friday Paul Lukas, Madge Evans, Helen Vinson, Ralph Forbes, Beryl Mercer and the popular veteran May Robson, arc the featured players, and they are said to give their best in a story that lends itself admirably to good acting. The story revolves about a publisher whose wife leaves him and remarries. Her new mother-in-law insists that she sue for the custody of the child of her first marriage. The action moves logically to its climax. The comedy side has not been neglected and “ Flush,” the spaniel of “ The Barretts of Wimpole Street ” fame, has his share of the film in this direction. OCTAGON THEATRE That Dunedin’s first serious venture in picture production has proved an undoubted success is amply demonstrated by the enthusiastic reception given “ Phar Lap’s Son?” at its initial screenings at the Octagon Theatre on Friday and again on Saturday. In fact, those who have already had the opportunity of seeing the film have been agreeably surprised at the excellence of the production, which leads one to think that if film-making were taken up seriously in this country there should be a bright future for it. Considering the great handicaps with which the producers were faced in the making of the picture, when compared with picture production in such countries as England and America, it must be freely admitted that “Phar Lap’s Son?” is a splendid effort, and apart from the fact that it was made in Dunedin there are other reasons why it should not be missed - it is a cleverly-executed film, and is ■ packed with laugh-provoking and interestsustaining episodes, two essential features in a successful production to-day. The story round which the action is woven is slender, but no effort has been spared to provide plenty of action, with the result that there is not a dull moment. The cast has been well chosen, and some of the players show really exceptional talent. Mr H. V. Smith, whose name is well known in Dunedin, has been saddled with the principal role, that of Colonel Drinkwater. and he docs his work extremely well. He has assisting him some first-class comedians, all of whom contributed something toward the success of the picture, and some of the settings show rare artistry. The photography, too, is of a good standard. Supporting “ Phar Lap’s Son ? ” are several excellent short features, and the box plans are at the theatre, M'Cracken and Walls’s. • and Begg’s. GRAND THEATRE There is an unusual motif in “ Break of Hearts,” which is now being screened at the Grand Theatre. Roberti, (Charles Boyer) is a world-famous conductor with a world-famous orchestra which, he has built up by a tremendous effort of sarcasm, genius, and a supreme faculty for expressing composer’s ideals. Constance (Katharine Hepburn) is? a composer who, without opportunities, is struggling to make her own name famous. They meet in the lodgings of an old music teacher, whose love of music for itself has beggared him while teaching promising but impecunious pupils. Roberti, the spoiled darling of society, falls in love with the unsophisticated little composer, the strains of whoso music draw him to her door, and inside. It is a whirlwind courtship and marriage, and the honeymoon over half Europe is a dream of delight. It is when his genius is called back to New York, where the people are clamouring for his of Brahms, that the inevitable happens. Two of his old flames seize him in a weak moment, and the one codctail ends in a dinner at the restaurant where Johnny (John Beal) baa taken Constance. Roberti, caught in an unguarded moment, fearing that she will learn that he is dining with other yeomen, lies to her, and, of course, the women meet while he is still prevaricating. Constance leaves him, and he takes up the old life. But neither can forget, though both do their best. Many dramatic situations arose before the memorable climax. The film is a romantic comedy, entitled “ The Gay Deception.” The leading roles are taken by Francis Lederer and Frances Dee. The box plans arc at the theatre and Begg’s. MAYFAIR THEATRE “ Here is My Heart,” featuring Bing Crosby and Kitty Carlisle, is the first picture on the double-feature programme at present being shown at the Mayfair Theatre. The wooing of a haughty princess by a millionaire crooner, who is determined to win the lady by fair means or foul, gives Crosby a part in which he is able to produce some excellent comedy as well as providing him with opportunities for singing. The crooner buys the hotel at which the princess is staying and croons in her ear while he, in the role of a waiter, is serving the soup. The lady is adamant, however, and the crooner is inveigled into supporting the princess’s useless entourage of amusing but wasteful nobles before his plea is entertained. The second picture is “The Scoundrel,’ a witty and pungent satire on high society life. Noel Coward, Britain’s genius of the stage, has his first screen role in this production, and plays the part of a literary Casanova who plays at love until he is killed in an aeroplane accident. Then he finds that his soul cannot rest in peace and that he must return to earth to atone for the ill he has done to the one girl who really loved him. Subsidiary roles are played by Julio Haydon, Stanley Ridgers, Hope Williams and Rosita Moreno. The box plans are at the theatre and the D.I.C.