AMUSEMENTS

Otago Daily Times, Issue 23044, 21 November 1936, Page 19

AMUSEMENTS

STATE THEATRE No more appropriate role could have jeen devised for Victor M'Laglen than that allocated to him in “ Professional Soldier,” which is now being shown at the State Theatre. In parts in which he is required to exercise restraint to a greater or less degree and curb his apparently natural ebullience to a point where he begins obviously to act. much of the driving force which seasons his more robust roles is lost, but in the principal role of “ Professional Soldier” he is accorded a part after his own heart. He is the courageous, blustering Irish-American soldier of fortune to the life, loyal, good-hearted, and always spoiling for a fight. M'Laglen has been seen in many such roles in the past, but none has equalled his latest effort for sheer gusto and conviction. Freddie Bartholomew, the youngster who won himself an assured place in the ranks of the leading film players by his performance in “ Little Lord Fauntleroy,” adds fresh laurels to his crown in this production, acting as an excellent foil to the bluff heartiness of M'Laglen in a part which serves to bring out his boyish appeal very effectively. The story of “Professional Soldier,” which emanated from the pen of Damon Runyon, has its locale in one of those fascinating imaginary European States in which, apparently, anything unorthodox' or revolutionary can happen upon the slightest provocation. The first scenes are laid in Pans, where M'Laglen, as a riotous ana swashbuckling soldier of becomes embroiled in a series of incidents which might undoubtedly have had an unhappy sequel but for the intervention of emissaries from a central European State who, with tne desire of establishing a new regime in the kingdom, have in mind the kidnapping of the reigning monarch. The brawls and civil wars in Pans are becoming rather unhealthy for the loud-mouthed soldier, and when a suggestion that he might turn his hand profitably to a small job of kidnapping, with little or no risk attached thereto, is made to him, he is persuaded to leave his almost equally lawless friends and embark upon a mission which promises plenty of action and no little reward, He and an assistant, played by Michael Whalen, carry out their task of bringing about the forced abdication of the monarch whom the revolutionaries desire to depose, and discover to their astonishment that the said sovereign is nothing more than a mere lad. The adventurous taste of their act immediately begins to. fade, and further complications are created by the presence of a woman of the court, played by Gloria Stuart, who has broken in upon them while they were in the middle of the crime, and who has been carried away with the young king to the mountain fastness selected for their sanctuary. The old story of fresh youth influencing the hardened man of the world is reenacted, the oddly-assorted companionship of royalty and professional fighter bringing in its train a noticeable softening of the exterior of the latter, and also a growing enthusiasm for martial endeavours on the part of the young king. The soldier soon becomes intensely fond of the youngster, who is really seen at his best. Seldom has such amusing and wholesome entertainment been provided in one picture. Their happy existence is fated to reach a swift conclusion, however, when a royalist plot re-establishes the king on his throne and puts the kidnapper in a prison cell to await execution. A stirring climax comes when the royalists themselves plan to assassinate the young king, and M'Laglen, breaking his way out of prison, puts up a show of valour that completely eclipses any of his most bragging lies, and brings the story to a satisfactory conclusion. To those fond of action the sight of M'Laglen wielding a machine gun from the shoulder and forcing a garrison of 250 men into submission will prove only one of many delights. There is an entertaining supporting programme. The box plans are at the theatre and at Begg’s. REGENT THEATRE St. Petersburg in the days of Imperial Russia before the revolution of 1916 forms a vivid background for the powerful drama of love and intrigue told in “A Woman Alone,” which commenced a season at the Regent Theatre yesterday. The story of the film is not an unusual one. In fact, it has been the subject of many pictures before, but the method of its treatment, the brilliance of its settings and the superlative acting of the principals make it a production that stands out in a period when a film has to be good to be a success with any audience. An outstanding performance is given by Anna Sten in the leading role, Those Who remember her in “Nana” and “ The Wedding Night ” will have vivid and pleasant recollections of her dynamic personality, charming appearance and striking voice, and in “A Woman Alone” she will undoubtedly enhance her already enviable reputation as a dramatic actress. Miss Sten has a peculiar ability which enables her to gauge to a nicety the exact requirements of any particular scene, and the result is that she is never guilty of over-act-ing. Her performance in a singularly difficult role is one that is not able for its quiet restraint. Supporting her is Henry Wilcoxon, who has scored many successes in pictures since his initial appearance not so very long ago. His rugged appearance and vigorous type of acting were admirably suited to “ The Crusades,” in which he was last seen in Dunedin, but ir>, “A Woman Alone” he is required to show more, restraint, and ho does not fail. He makes a typical captain of a Russian regiment. Among the supporting players, Esme Percy stands out with a brilliant little cameo as a Russian general, while Jack Garrick is entirely adequate as the young private in love with the beautiful peasant girl. The story tells how Maria (Anna Sten) falls in love with Captain Ilinsky during a visit of the soldiery to a country village. She is, however, engaged to a poor private of the same regiment. Ilinsky soon after marries one Of his own station in life, and the peasant girl sees no more of him until her fiance secures her a position in Ilinsky’s household as nursemaid to his wife’s child. After avoiding her for some time, Ilinsky eventually professes his love for her, a servant overhears and tells the fiance, with the result that the latter makes an attack on his superior officer. On his arrest a revolutionary document is found in his pocket and he is brought before a military tribunal. Both Ilinsky and Maria know that the only way to save themselves from a scandal that will ruin both their careers is to keep silent regarding their relationship and refuse to support the prisoners plea that the attack was caused by Jealousy. Such a situation, which brings the film to its climax, is an excellent one for a display of the histrionic powers of Wilcoxon and Miss Sten. Included in the supporting programme is .another of “ The March of Time ” series, which brings to the screen many of the most notable events of the present age. It is truly pictorial journalism, and this number, which includes discussion of the Townsend Pension plan and the great fight between private and Government electrical supply concerns in America, is interestingly produced. The box plans are at the theatre and the D.I.C. ST. JAMES THEATRE While "Dracula’s Daughter,” which opened its Dunedin season yesterday at the St. James Theatre, may not be the type of film that appeals to the taste of the average picture-goer, there can be no gainsaying that it is a remarkable production. To those who enjoy an occasional excursion into the occult world it presents full measure and running over, and as an adaptation of Bram Stoker’s widely-read book “Dracula’s Guest” it is an achievement of which the directors may well be proud. For one thing, the staging is everything it should be, and the producers have left nothing undone to lend an air of realism to the presentation of what is a particularly difficult subject: added to this, an unusually capable cast has been chosen to interpret the somewhat gloomy but always engrossing story, with the result that the audience is compelled to lose sight of the unorthodox nature of the narrative, and become gripped

by what is, after all, first-class entertainment. A sequel to Stoker’s other dramatic novel, “ Dracula,’ which created such a sensation as a book, a play, and then as a film, the picture tells how Count Dracula’s daughter tainted with the hereditary curse of vampirism, pursues her victims ana holds them enthralled by her hypnotic power, the eerie drama coming to a startling climax when she falls m love. To escape from her appalling heritage, this weird woman seeks the aid of a noted psychiatrist, and this incites the jealousy of_ his sweetheart. He persists, however, in his efforts to solve the secret of the mysterious vampire, and then comes a remarkable battle of wills between a girl and a superwoman over the affection of a man. It is all intensely thrilling, and some of the scenes are so skilfully conceived as to give the impression that one has been rubbing shoulders with the black arts. Gloria Holden, a stage actress, draws a powerful portrait of the compellingly fascinating personality of the chief character, and although the role bristles with difficulties, she surmounts them all by sheer power of artistry and scores a distinct triumph. Otto Kruger’s rendering of the part of the scientist is unquestionably one of the best portrayals he has ever given. Others in the cast are Nan Gray and Hedda Hopper. An entertaining programme of snort subjects is shown in support of the main picture. The box plans are at the theatre, the D.I.C. and Jacobs’s. OCTAGON THEATRE Abounding in humorous interludes and spiced with witty dialogue, “Public Nuisance No. 1,” which commenced a season at the Octagon Theatre yesterday, is a picture which should meet with approval. The leading role is taken by Arthur Riscoe, and the story commences with a very inebriated gentleman being thrown out of a night club. This is Arthur, who starts well and goes on to be better and better. Disgusted with another of Arthur’s misfortunes, his uncle sends him to the south of France to be a waiter in an hotel. Having been used to living in a top hat and drinking champagne like water, Arthur is scarcely the sort of man to make a successful waiter. He gets the shoes mixed. He drops things. He goes into the wrong rooms at the wrong times. Then, again, there is Cupid. Frances Day is concerned in this aspect of Arthur’s life, and when she turns up at the hotel where he is doing everything a waiter should not do, every time he sees her, which is frequently, something ridiculously funny happens. As a result of a long series of misadventures, Arthur finds it expedient to empty the hotel of guests and fill a rival establishment. This is the culminating episode in his full career, and it brings with it laughs which make the earlier ones mere simpers by comparison. By way of contrast there is offered on the same programme a drama entitled “Honours Easy,” in which Greta Nissen, Patric Knowles, and other well-known players are featured. The box plans are at the theatre and Begg’s. GRAND THEATRE The crowded houses that have filled the Grand Theatre since the commencement of the season of the film “ King of the Damned ” testify to the popular character of the entertainment which comprises the current programme. Conrad Veidt, the.star of ‘ I Was a Spy” and other Gainsborough successes, has the leading role in “King of the Damned,” and gives a sterling performance in a part that suits his particular talents admirably. The story of (the revolt of the conyicts on the prison island of Santa Maria is graphically and convincingly told by the excellent cast which he heads. The chief feminine role, in fact the only one in the picture, is taken by Helen Vinson, and principal among the supporting male players is Noah Beery, who draws a picturesque portrait of one of the convict leaders. The mob scenes in “King of the Damned’’ are exceptionally well done, and the local colour that has been provided forms a perfect background for the thrilling story the players are asked to enact. The second feature on the programme is an exciting Western drama featuring Richard Dix in a story that mixes claim jumping, attempted lynching, and two-gun shooting in the most gloriously abandoned and unashamed fashion. The box plans will be found at the theatre and at Messrs Charles Begg and Co.’s. EMPIRE THEATRE That the public has an unerring flair for seeking out a really good film and rushing it irrespective of boost or advertising was strikingly illustrated at the Empire Theatre last evening when the house was literally mobbed by a dense crowd anxious to see “San Francisco,” the quality of which may be gauged from the fact that it possessed enough drawing power to bring about a record booking and a record house for a Friday night at this theatre. And if that evidence of its worth is not sufficient, one could quote the complete absence of anything like the customary last-minute grab for hats and coats which marks the close of the average film. The last trams could have gone in all directions for all the audience cared, and for once there was the unusual spectacle of a house rooted to its seats qntil the inevitable “The End” was actually flashed on the screen, “aan Francisco ” is a film of arresting quality and convincing intelligence. Rare indeed will be the person who fails to appreciate the fml measure which it provides, and the attractive array of talent it includes m its considerable cast. Jeanette Macdonald, with a voice in better trim than ever, makes the greatest appeal, but Clark Gable, in one of his strong bad man roles, toned dpwn to sweet reasonableness and doing no violence to either probability or possibility, carries a fair share of the burden of the film. Spencer Tracy, with his reversed collar, in the part of a priest, launches out into new territory for him in a singularly successful fashion, and Jack Holt is responsible for some deft character drawing also. Jeanette Macdonald acts beautifully, speaks beautifully, but most of all she sings beautifully, exhibiting an extraordinary range and versatility which find expression in musical numbers that cover the whole gamut of music from rag-time to sentimental ballads, through the realm to sacred music and grand opera. She makes the song number “ San Francisco ” an alluring melody which even the milkman’s boy will be whistling every morning for the next week, and whether she rags it or sentimentalises it she gives it a value far above its actual worth. Her voice records better in “ San Francisco ” than in any of her previous films, and her renderings of excerpts from “Faust” and “La Traviata,” longer, too, than the usual sketchy film extracts, are certainly among the highlights of the production. With a choir of bovs she sings “ The Holy City,” and makes another essay in sacred music in “Nearer My God to Thee.” The manner in which she acquits herself in all three types of number is a tribute to the excellence of the vocal equipment that has already made her both popular and famous. The grim realism of the earthquake scenes, in which the producer presents a vivid pictorial reconstruction of the catastrophe which razed a huge city to the ground in 1906, is probably one of the finest pieces of consummate fllmcraft the sound studios have yet achieved. Earthquake, followed by fire, provides a film with many opportunities for over-production and exaggeration, bul it is safe to say that seldom before have these errors been more cleverly sidestepped than they are in “ San Francisco.” The film is definitely one of the films of the year, reaching a standard which the average film enthusiast would be glad to be able to expect three or four limes a year. The difficulty about such quality is that it makes so terrible an exposure of the ordinary run of sound picture The supporting programme is a varied one with a particular feature in the form of a novelty entitled “audioscopiks.” the proper enjoyment of which is impossible without coloured snectacles. which the management sup plies free of charge. The extra dimension which is thus supplied is startling in its effect, and proved vociferously

popular last evening. The programme, is one that can be warmly recommended, and considering last night’s rush it should be of more than usual interest to the public to know that the box plans for the season are at tho theatre and at the D.I.C. STRAND THEATRE Many of America’s most famous period novels have been centred round those mad days of the 40's of last century when gold was found in California. “Sutter’s Gold,” the picture which opened at the Strand Theatre yesterday, has been built around such a story. There have been few pictures in Dunedin in recent years in which dramatic pitch has been more tense. Gold makes some men beasts—and some women, too. Thus it is in “ Sutter’s Gold ” that scenes of blood and gold madness are common. Edward Arnold, who will be remembered for his excellent performance in “Diamond Jim,” plays the part of General John Sutter, one of California’s historic figures. At all times Arnold is an impressive figure and even at the end, when a -beaten and broken man, he is still the dominating personality. He commences with nothing and after a series of adventures following his flight from his own country, Switzerland, he establishes a pioneer colony in California. He rises to a position of affluence, but when gold is discovered on his land near Sacramento he is deserted by all his followers and robbed of all he possesses, Katharine Alexander, wife of Sutter, does not appear often in the film, but the story unfolds the great love, under any circumstances, which the wife has for her husband. The most attractive role is that of the siren, Binnie Barnes, who is cast as Countess Elizabeth Bartoffski, .and who, for a time, casts a spell over Sutter. Apart from its high intrinsic merit, the picture recaptures to the full the most romantic page out of American history. The supporting picture. “Trapped by Television.” is a bright comedy-drama, in which' Mary Astor, Lyle Talbot, Nat Pendleton, and Joyce Compton are the leading players. Talbot is seen in the role of an electrical inventor who, with the assistance of Pendleton and Miss Astor, manages to perfect a television machine There are, of coure, rivals and people who endeavour to impede his progress, but in an exciting climax he shows the directors of an interested firm that he has the perfect machine. It is not a very serious story, and there are occasions when what is about to happen are very obvious to the audience. The picture, however, is an entertaining one, and includes some bright dialogue. The box plans are at the theatre and the D.I.C. HIS MAJESTY’S THEATRE

Featuring the talented Ramon Novarro and the golden-voiced Jeanette MacDonald, “The Cat and the Fiddle” opened for a return season in Dunedin at His Majesty’s Theatre last night. This picture provides a delightful love story which has been treated in an unusual fashion. The settings are both lavish and brilliant, and the romantic story is unfolded against a background of intoxicating music and outstanding beauty. Most of the action occurs in Paris and Brussels, and it is in a narrow street of the latter city that Novarro, as a student and composer, with an empty purse but an abundant fund of optimism, meets a charming girl, who, like himself, is studying music. For him, it is a case of love at first sight but the course of true Jove does not run smoothly and the romance follows a very tortuous course before the couple eventually find happiness. Following a serifs of ups and downs, Novarro creates an operetta entitled “ The Cat and the Fiddle,” which has all the elements of being a huge success. Just as he is about to tread the path of success, however, he is inveigled into a love interlude with his leading woman, who, it happens, is the wife of the man who is backing him. The man withdraws his support, the composer hazards everything on a great risk, and the remainder of the story is unfolded in his operetta, which reveals how Miss MacDonald comes to his aid, carries the production to a sweeping success, and clears all their troubles away. Jeanette MacDonald is no stranger to Dunedin audiences, and her glorious voice is heard in many delightful numbers. Her acting, moreover, is convincing and artistic, and she captivates the audience with her spontaneous gaiety. Handsome Ramon Novarro is well cast, and he interprets a difficult role with all the zest and dramatic ability that have won him such a host of admirers. Vivienne Segar has the part of the young operatic star who is responsible for much of the young composer’s misfortune, and Charles Butterworth is responsible for some clever comedy. Frank Morgan, who will be remembered for his performance in “ Naughty Marietta,” takes the part of a famous impresario, and he, too, falls a victim to the charms of Miss MacDonald. The final scene of the film, depicting the production of Novarro’s operetta, is a gorgeous spectacle. The supports include a Charlie Chase comedy, a Pete Smith oddity entitled “Fighting Fish,” and views of Hearst Metrotone News. The box plans are at the D.I.C. and the theatre. MAYFAIR THEATRE Sylvia Sidney has the title role of the dramatic film “Mary Burns, Fugitive,” which may be seen at the Mayfair Theatre to-day. In an emotional revelation of a girl’s tragic experiences Miss Sidney’s histrionic talents are given full rein. As the girl who is caught in a web of circumstantial evidence she is sympathetic, sincere and distinguished. “Mary Burns, Fugitive” serves also to introduce Alan Baxter, a newcomer to the screen. A recruit from the Broadway stage, he is said to bring a refreshingly new personality and an amazing understanding to a difficult role, revealing much potentiality for future stardom. Carrying his part with restraint and dignity, Melvyn Douglas as a wealthy, brilliant scientist, delivers a finely poised, sincerely-acted portrayal in the leading role opposite Miss Sidney. Richard Arlen heads the cast of “ Three Live Ghosts,” which is the supporting feature. In many respects this photoplay is guaranteed entertainment. Originally a best-selling novel and a successful play by Frederick S. Isham, it established new high records everywhere. Now it comes to the screen with a freshness and a sparkle that makes it good entertainment. The story concerns the adventures of three soldiers who escaped from a German prison camp and returned to London, to find themselves officially “ dead.” For varying reasons they decide to remain so, and their escapades provide moments of hilarious comedy, thrilling excitement and tender romance. The box plans are at the theatre sweet shon and the D.I.C.