AMUSEMENTS

Otago Daily Times, Issue 23079, 4 January 1937, Page 16

AMUSEMENTS

GRAND THEATRE A Western film of an unusually entertaining character is “The Texas Rangers,” which is now being shown at the Grand Theatre. The principal roles are taken by Fred Mac Murray, Jack Oakie, and Jean Parker, who carry put their work in polished and convincing style. Early Texas history, recounting , the trials of a State where lawlessness 1 was rife and no man was properly | dressed without a firearm, has been | drawn upon to create the background i for the story of this picture, which is ! further enhanced by the inclusion of I authenticated incidents from the ex- ! ploits of one of the most romantic law- | enforcement organisations, the Texas | Rangers. The part of the daughter of a commander of a unit of Rangers is played with charm and appeal by Jean Parker, Mac Murray, and Oakie appearing as two newly-joined members of the same command. The part of a notorious gunman is played by Lloyd Nolan, whose Sam M’Gee is a convincing and sinister “ bad man." The battles between the Rangers and bands of marauding Indians, cattle thieves, stage robbers, and outlaws of all kinds, provide plenty of action of the most exciting type. The box plans are at the theatre and at Begg’s. “ THE BORDER PATROLMAN” A vanishing art, all but forgotten, was mastered by George O'Brien for sentiment’s sake when the opportunity presented itself during production of “ The Border Patrolman,” Fox release coming on Wednesday to the Grand Theatre. While on location at the Furnace Creek Inn, Death Valley, during the filming of the picture. O’Brien met Jack Miller, one of the few surviving drivers of the famous 20-mule teams which played so important a part in the history of the West. The 20mule teams are no more, though some of the wagons still stand at various parts of the valley to serve as reminders of its early commerce, and the technique of handling them now is well-nigh a forgotten art. George learned that the teams invariably consisted of 18 mules and two horses. Inas much as they stretched out ahead ?f the wagons a distance of some 120 ft, it was impossible for the driver to reach the lead animals with his 22ft lash, so each wagon had a box filled with pebbles alongside the driver's seat. The men would use them to pelt unruly mules and to keep them from lagging in their traces. As a result, the drivers became remarkable marksmen with the small stones. George spent many hours with Miller listening to the old-timer explain just how to handle the 20 mules. Polly Ann Young, Hoy Mason, Mary Doran, and Smiley Burnette are also featured in “ The Border Patrolman.” “ Sins of Man,” starring Jean Hersholt, Don Ameche. and Allen Jenkins, will be screened also. EMPIRE THEATRE “ Craig's Wife,’ 1 ’ the cuiTcnt attraction at the Empire Theatre, offers something more than usually good in entertainment. The subject of the plot, its handling, and the many instances of skilful direction and filmcraft which the picture contains may be regarded as a tribute to Miss Dorothy Arzner, Hollywood’s only woman producer, who was responsible for the film. There is a great deal of dialogue in the film, the adroit handling and presentation of which furnish one of the main reasons for the success of the production. The acting honours of the feature unreservedly go to Rosalind Russell, whose performances were notable also in “Rendezvous.” Associated with her in her portrayal are John Boles, who temporarily discards his singing roles and displays an unsuspected flair for character parts, and the evergreen Billie Burke, whose delightful acting has always an appeal. Rosalind Russell is presented as Mrs Walter Craig, the wife of handsome, well-to-do and popular John Boles. Harriet Craig marries her husband, Walter, two years before in a cold and calculating fashion. She wanted a home which to her represented the one definite aim :n life. She cut off all Walter’s friends through guarding the place very carefully, watching every lamp, every table, and every chair as an eagle watches its brood. Walter, deeply in love with her, and believing that she loves him in the same manner, is blind to all Harriet’s faults. Harriet is furious one day when, returning from the bedside of her desperately ill sister she finds that Walter’s middle-aged aunt, Miss Austen (Alma Kruger), who is living in the Craig home, has invited a next-door neighbour, Mrs Frazier (Billie Burke), into the house. In the argument that follows Miss Austen decides to leave. Before she does, however, she reveals to Walter his wife’s machinations. Walter’s visit to a friend (Thomas Mitchell) during Harriet’s absence agitates her. In trying to check up on this man Harriet becomes involved in a nasty murder case. When Harriet bluntly tells Walter that she does not care whether he is guilty or not, so long as no scandal becomes attached to the Craig home, he sees her in her true light for the first time. He rebels, and his subsequent actions are both tragic and humorous. He savagely breaks his wife’s favourite ornament, smokes countless cigarettes, and tells his wife next morning that he “was a real fellow last night.” Then brokenhearted Craig leaves her, the servants have all given notice, and the news of her sister's death Is Harriet’s last crushing blow. The box plans are at the theatre and at the D.I.C. STRAND THEATRE “ The Big Noise,” which is the main attraction at the Strand Theatre, abounds in hilarious laughter and smart dialogue. Nor are the emotions confined to laughter, for the picture carries many exciting situations which furnish thrills. Guy Kibbee carries the brunt of the comedy sequences as the big business man who is ousted by the financial backers of his own concern because he refuses to produce shoddy goods. He becomes a partner of a young chemist in a cleaning establishment. He finds plenty to do, for the business engages the attention of racketeers. Kibbee is a show in himself, but he is ably aided and abetted in his comedy work by Marie Wilson and a talkative parrot. There is also a glamorous romance as well as the thrill and romance of big business with its attendant rackets. Warren Hull and Alma Lloyd provide (he love interest. Miss Lloyd is a comparative newcomer to the screen, and shows marked ability in her new role in this picture, Dick Foran also does some excellent work. Others in the cast who deserve mention include Henry O'Neill, Virginia Brissac, Andre Beranger, and Robert Emmett Keane. The other picture is “And So They Were Married.” The box plans are at the theatre and the D.I.C. STATE THEATRE Myrna Loy and Warner Baxter have the leading roles in “To Mary—With Love.” the engrossing romantic drama which holds pride of place on this week’s programme at the State Theatre. The action commences in 1925. when (he Wall street crash brings the plot to one of its climaxes, for it ruins Jock Wallace (Warner Baxter) after he had worked himself into a position of what he thought was considerable financial security. He loafs about, living on borrowed money, and drinking, but his young wife (Myrna Loy) stays at his side, just as she had in other severe tests of their affection. because she felt she was needed. Always when she feels she is at the end of her tether his ardent love and bewilderment at the prospect of her loss keeps her with him. Hard times she thinks have cured him of his drinking and disregard for her while he grubs money, but with the turn of the tide she sees him travelling the same old road, and, afraid for their future, asks their mutual friend since before their wedding, a lawyer, to institute divorce proceedings. Even though he has protested his love for her a few months earlier, he repairs the broken tie. Excellent supports are shown. The box plans are at the theatre and Begg’s.

"SECRET AGENT” Madeleine Carroll Peter Lorre, and Robert Young are the leading players of “ Secret Agent,” which is to be shown at the State Theatre on Friday. The Daily Mail described this picture as “ The best British film of the year.” REGENT THEATRE “Anthony Adverse,” the film version of Hefvey Allen’s widely-read novel, continues to attract large audiences to the Regent Theatre, where it is now in its second week. This moving story of a boy who born in adversity, gradually wins to life’s fulfilment only after much tribulation, has been skilfully handled by Mervyn Le Roy, Warner Bros.’ director, whose deft touch has been responsible for the recapture of the essential atmosphere of the original theme. The principal part of Anthony Adverse is played with sensitive insight by Fredric March, who brings to the role a wealth of polished and effective acting, and succeeds in making the character an essentially living one. Olivia de Havilland, in the tragic part of Angela, is especially ccnvincing, and invests her characterisation with a notable degree of restrained yet effective pathos. One of the best studies of the production is that given by Edmund Gwenn as John Bonnyfeather, the old Scottish merchant who adopts the boy Anthony, unaware at the time that he is in reality his own daughter’s child. Gale Sondegaard is responsible for a brilliant characterisation as Faith, whom she makes a mocking yet elegantmannered adventuress, and Claude Rains uses detail very effectively to build up a precise, delicately-outlined figure of evil as Don Louis. The part of Father Francis Xavier is a finely mellow character-study on the part of Henry O'Neill, other notable performances being given by Donald Woods, Billy Mauch, Anita Louise, and Louis Hayward. The box plans are at the theatre and the D.I.C. ST. JAMES THEATRE First-class light entertainment is provided in * The Beloved Vagabond ” a screen version of W. J. Locke’s famous novel, which is now being shown at the St. James Theatre. Apart from the fact that plot and staging are of a high standard, the film is notable for the fact that the principal part is taken by the everpopular Maurice Chevalier, who makes a welcome re-appearance on the screen after a prolonged absence. Locke’s hero is a violinst who derives a quiet pleasure from the simpler things in life. Naturally he has his ups and downs, but passes over the gloomy days as not worth worrying about, and welcomes those when the sun shines. He is the complete philosopher, and as such is something new for the screen. The role of the vagabond is admirably suited to Maurice Chevalier. His lackadaisical manner and good humour fit the part to perfection. Of the supporting artists Margaret Lockwood and Betty Stockfeld are specially deserving of credit. The background is the French countryside, and if this sphere has not been explored greatly in films to date, there is every reason to think it will in the future. Second only to the performance of Chevalier is that of Desmond Tester, who plays the part of Asticot, the artistic London boy. In his boyish charm there is appealing humour, and he makes an ideal partner for the roaming vagabond. Equally good is Margaret Lockwood as Blanquette, the demure, happy-go-lucky gipsy girl, with her simple country ways. A particularly' fine supporting programme is screened. The box plans are at the theatre, the D.I.C. and Jacobs’s. “ WHITE DEATH ” “White Death,” which was made by Zane Grey, and in which the famous author takes a leading role, is said to provide something brand new in screen entertainment, being presented with a background in the tropical splendour of the Great Barrier Reef. The film will come to the St. James Theatre on Friday. The film is enriched by the humorous adventures of Alfred Frith as the representative of the Fish Protection Society. OCTAGON THEATRE Clark Gable, Loretta Young, and Jack Oakie are featured in “The Call of the Wild,” the current attraction at the Octagon Theatre. Gable is ideally cast as Jack Thornton, a swash-buck-ling prospector, who sets out with his friend, Shortly Hoolihan (Jack Oakie), to find a “lost claim.” On the trail they rescue the beautiful Claire Blake (Loretta Young) from wolves and learn that her husband has been lost searching for the same claim, which had been discovered by his now dead father. The code of the north-west by which Thornton lives is foreign to this overcivilised, sheltered woman, and the pair are in constant conflict. However, their mutual contempt gradually turns to a deep and genuine love. The trio locates the rich claim, but Smith, a villainous prospector who has found the lost Blake and forced him to lead him to the claim, surprises them and takes their gold and their canoe, but drowns in the- rapids, Weighted down with his stolen bounty. The unexpected return of Claire’s husband offers a challenge to Thornton’s code, but he finally, agrees to let her go. The box plans are at the theatre and Begg’s. MAYFAIR THEATRE The principal item on the current double-feature programme at the Mayfair Theatre is “The Ex-Mrs Bradford.” The story, which abounds in thrilling situations, is logical and well connected, and the climax is one that should satisfy even the most blase picturegoers. Yet the pleasing aspect of the story is in its excellent setting, the leavening of humour and the warm humanity of the lighter interest. The casting is particularly good. William Powell, a well-liked and versatile actor, plays Dr Bradford, who joins I*.is ex-wife (Jean Arthur) in an effort to disentangle a baffling series of murders. As Bradford finds clue after clue, the enthusiastic work of his wife destroys in exasperating fashion the ingenious logic which he is building up around them. At last, however. Mrs Bradford stumbles upon an idea. The idea works, and the mystery is solved. The “ helpfulness ” of the wife is the greatest source of merriment, and the action throughout is swift and exciting. “The Music Goes ’Round and Around ” is being shown in conjunction with “ The Ex-Mrs Bradford.” The box plans are at the sweet shop next to the theatre and the D.I.C.