AMUSEMENTS

Otago Daily Times, Issue 23108, 6 February 1937, Page 19

AMUSEMENTS

STATE THEATRE A bright and entertaining film which may confidently be recommended to any type of audience is " Poor Little Rich Girl," starring Shirley Temple, which commenced a season before appreciative audiences at the State Theatre yesterday. It is the first Shirley Temple film that has been seen here for some time, and it proves that without a doubt the popular little star has lost none of that winning charm that made her so captivating when she originally took her place in the front rank .of screen stars. In each successive film she seems to develop a new factor in her many and varied capabilities, and her latest effort, as displayed in " Poor Little Rich Girl," is the imitating of the characteristics of other screen stars, notably the crooning of Bing Crosby. The elements of comedy and drama are appropriately intermingled in this film, and the musical side of the production has also been well looked after, for the opportunity has been taken to introduce a good many songs, giving the little actress ample opportunity to entertain in her cleverest style. At the outset of the film she is seen as the pampered child of a wealthy father, surrounded by every luxury and with the most elaborate and costly playthings that any child could desire. Yet, she is not happy, for she is denied the company of playmates, and in order to make up for the deficiency she conjures up adventures of the imagination. Fairy stories hold a particular interest for her, and one fanciful adventure leads her to see the world for herself when an accident to her nurse suddenly frees her from the ties that have always been flung about her. She meets an Italian organ-grinder, whom she imagines as a character from one of her books, and telling him that she has run away from an orphanage, she is taken into his family, where she finds a temporary home. A young couple in the same apartment, who are having some difficulty in securing a radio engagement, observe a novelty in training the little girl for their act, and so successfully does she carry out her part that they are signed up by a firm of soap manufacturers. This introduces a complication, for this particular manufacturer is the only serious competitor of Shirley's father, but in the end "a merger, in more ways than one. is brought about, and everything ends just as it should. The supporting cast, which is a thoroughly competent one, includes Claude Gillingwater, Henry Armetta, Alice Faye, Gloria Stuart and Jack Haley. There is a good programme of short subjects. The box plans are at the theatre and at Begg's. REGENT THEATRE Sincerity and fidelity of tone and atmosphere are the qualities which lift "Accused," the new attraction at the Regent Theatre, well above the ruck of ordinary film sensations. It was made by the new British film company, Criterion Film Productions, which made its debut with that arrestingly successful picture "The Amateur Gentleman." .This is the company's second venture, and it is as outstanding in every respect as its predecessor. It comprises a highly-dramatic murder mystery set against a theatrical background, moving at a tremendous pace, and culminating in a Parisian courtroom scene which is distinguished by standards of actirfg and filmcraft that are unusual. HeYe is a murder "thriller," chock full of the most tehsely-dramati6 moments, packed full of exciting and provocative lines, and yet adorned by that greatest of all dramatic graces, restrains. In fact, one recalls this restraint as one of the most memorable features of the production. It is in marked contrast to the unbridled melodrama and inappropriate atmosphere which mars so many court. scenes conceived and executed in Hollywood. The usages and methods of the French judiciary are in themselves an interesting study, especially in the form they are presented in "Accused." In this gripping climax to an absorbing story no fewer than half a dozen players share the acting honours, and one cannot fail to be impressed by the extraordinarily high average of performance among them. Douglas Fairbanks, jun., has the leading male role, appearing as the husband of Dolores del Rio, who fills the title part, Fairbanks is without doubt a polished actor. He has a fine sense of the dramatic, which gives his playing both conviction and artistry, and he seems to be completely innocent of that theatrical charlatanism and lack of restraint which prevented his well-known sire from ever becoming the great actor that his publicity sought to make him appear. His Tony Seymour was a very fine piece of work, on a par with his outstanding portrayal of "The Amateur Gentleman." Dolores del Rio is another type altogether, but she has seldom been more appropriately cast than she is in "Accused." As the Span-ish-American dancer suspected of the murder of the woman who had aroused her jealousy, she reproduces a remarkable variety of dramatic tones, but for all her mercurial temperament she never over-acts. To do so would have been fatal not only to her own role but to the very fabric of the film. Florence Desmond as Yvette Delange.the murdered woman, gives an exceptionally good account of herself in a particularly powerful characterisation of the actress who whips herself to fury with the thought that with the onrush of years her power to charm an audience or a man is waning. Basil Sydney's work as counsel for the defence in the court scene is one of the highlights of the film and the effective tableau he stages as a last desperate resort to convince the jury is a model of neatness. The supporting programme of short subjects this week is an excellent one, including a Disney Silly Symphony of special worth, a Mickey Mouse cartoon, and other interesting and well selected features. In the newsreel one of the most outstanding features is the graphic pictorial record of the breaking up of the Fascist demonstration in England which a few months ago so nearly resulted in a grave situation. The box plans are at the theatre and at the D.I.C. ST. JAMES THEATRE A grim story of a dark page in Ireland's history is unfolded in "Ourselves Alone," an unusually powerful and convincing film based on the popular stage play "The Trouble," which opened its Dunedin season yesterday at the St. James Theatre. The picture deals with the Sinn Fein rebellion of 1921, but the directors have obviously not chosen- this period as a background merely because of its scope for drama. They have, by founding the main incidents on fact, actually taken a page from history, and have vested the film with a stark realism that brings home to an audience as nothing else could possibly do the horror of those troublous days. The chief characters are Inspector Hannay, of the Royal Irish Constabulary, and Captain Wiltshire, who have been set the unenviable task of running to earth the notorious Sinn Fein leader O'Dea. There also come into the picture Maureen Elliott, the daughter of an-ancient house, and her firebrand brother Terence, who is actually, although the fact does not emerge at once, the rebel O'Dea. The plot centres around these four, and as the action moves on the tenser does the drama become. Maureen, who is unaware that her brother is the eagerly-sought O'Dea, is engaged to Hannay, but the story takes an unexpected twist when she discovers, to her dismay, that it is Wiltshire whom she really loves. O'Dea is finally cornered, and in attempting to escape is shot dead by Wiltshire, who is then captured by the Sinn Feiners and taken away to be shot in reprisal. Through the instrumentality of Maureen, whose love overcomes the fact that he has killed her brother, he escapes, and the picture ends on a note of self-sacrifice when Hannay takes the blame for O'Dea's death on himself. This is but a bald outline of the story, but if one is to appreciate its thrill and grimness and the tragedy underlying the Irish trouble, one must see the film. There are armoured cars tearing through villages whose beauty suggests nothing but peace; there are men whose one object is to kill, but whose soft brogue suggests nothing but laughter; there is romance in an atmosphere of blood-

shed and hatred; there are men killing each other for the sake of an ideal. This is, indeed, the centuriesold sadness of Ireland, and to heighten the contrast between the beauty of the country, its sadness and its pride, and the terrible things that were done there in the name of patriotism, the lovely melody, "The Rose of Tralee," has been woven through the action as a theme song. The scenic settings leave nothing to be desired, and the producers have chosen to interpret the story a particularly capable cast, which includes such fine players as John Lodge, John Loder, Antionette Cellier and Niall M'Ginnis. A strong supporting programme is screened. The box plans are at the theatre, Jacobs's and the D.I.C. OCTAGON THEATRE Not only is "The Preview Murder Mystery," which commenced a season at the Octagon Theatre yesterday, a singularly good mystery-thriller, with original elements, but it also gives theatre patrons a chance to renew its interest in such names as Rod la Rocque, Bryant Washburn, Conway Tearle, and Jack Mulhall. The action of this melodrama takes place in a Hollywood film studio. The screen has shown film studio stories before, but this production has a verisimilitude and an unseifconscious realism that are exceptional. At the Hollywood review of a new and important picture, a "silent" version of which had been made several years before, the leading actor is murdered after warnings. Later, attempts are made on the life of the company's woman star, and then the director is killed. One of the features of the unravelling of the mystery is the fact that the members of the film colony "ompulsorily locked within the grounds of the studio, succeed in producing such a state of nervousness that this tenseness is communicated to the audience. The director, Robert Florey, has intensified the eerie atmosphere by introducing unusual angles and sinister highlights and shadows in the photography. The second picture is "Everything Is Rhythm," featuring Harry Roy and his famous dance band. This story is said to be based on Harry Roy's own romance, Mrs Roy being Princess Pearl, the daughter of an Eastern potentate. Roy, as the hero, finds romance in the person of a princess, the only drawback being that she thinks he is a waiter. This does not dampen her ardour, however, but complications arise when an inquisitive maid reports proceedings to the princess's uncle. The princess is recalled, and Roy, under the impression that he has been jilted, sets out on a world tour to ease his broken heart. All ends happily, however, after an exceptionally fine performance has been given by his band. The box plans are at the theatre and at Begg's. GRAND THEATRE Two exciting features, " Human Cargo," starring Brian Donlevy and Claire Trevor, and "Dark Worlds," a British film introducing Tamara Desni and Leon Quartermaine, constitute the current programme at the Grand Theatre. "Human Cargo" is a thrilling tale of one of the most modern developments in the activities of the racketeers—that of smuggling and then blackmailing aliens. When a ncn young woman (Claire Trevor), in search of a thrill, obtains a position on a newspaper, she finds more excitement than she had looked for. She is assigned to accompanv one of the paper's star reporters (Brian Donlevy) on an attempt to expose the smuggling of human beings. She is used as a lure and finds herself in prison, while Donlevy escapes, sheltering a smuggled woman. The latter is murdered before she can tell her tale, but Donlevy is on the trail, and the story rapidly moves to a' most exciting climax. Donlevy gives another forceful characterisation, and Claire Trevor is also more than satisfactory. Alan Dinehart, Ralph Morgan, Helen Troy, and Rita Cansino are in the supporting, cast. " Dark World" is a brilliant, gripping drama with plenty, of comedy relief, dancing, and music. The story tells of a man's jealousy of his younger brother and how the tenseness reaches its climax when both fall in love with the same woman, a dancer, who prefers the always-favoured younger son. the older man kills his brother, imagining he has Invented the perfect crime, but an unexpected hitch brings his plans to disaster. Leon Quartermaine, as the elder brother, makes an unsympathetic character so vivid and real that he succeeds the pity of the audience. Tamara Desni has an excellent opportunity of which she fully avails herself, revealing her full talents as a dancer and as an actress. Viola Compton and Morton Selten appear in the supporting cast. The box plans are at the theatre and at Begg's. EMPIRE THEATRE - Richard Tauber needs no introduction to screen audiences, for besides making a name for himself in Blossom Time," his robust tenor voice is well-known over the radio. In Blossom Time," Tauber proved conclusively that he was a fine singer, with a voice of extraordinary quality and tone; but in " Land Without Music," which commenced a season jit the Empire Theatre, he goes further than that. His singing is superb, it is true—better probably, than in his previous screen efforts—but in the present instance he adds to this an acting ability which formerly he did not possess to such a degree. It can hardly be that he is better cast in "Land Without Music, because he made an ideal Schubert. A greater experience is perhaps the reason, but whatever it is, he gives a performance that easily surpasses his former characterisations. He throws himself into a joyous part with gusto and spirit and in consequence he carries the film along with a fine swing from start to finish. At frequent intervals his voice is heard to advantage in a number of tuneful and lilting songs by Oscar Strauss, to whom must be given considerable credit for the delightful music to which the production is set. Tauber's singing alone makes the film well worth a visit to the theatre, but in addition to this there is some nonsensical comedy dispensed in an artless and satisfying manner by Jimmy ("Schndzzle ) Durante, a magnificent chorus which enhances the beauty and volume of the musical passages, and two charming romances. The first, which is more hinted at than anything else, is between Tauber himself and Diana Napier, his wife, who is cast as the Princess Regent of the mythical kingdom of Lucco, and the second is between June • Clyde, as Durante's daughter, and Derrick de Marnay, as the son of the Chief of Police. The plot is a slight one, being more or less a vehicle for Tauber's songs, but it is perhaps not quite so farcical as it sounds, for it is said to be founded on an actual incident of the nineteenth century. Tauber, as a famous singer, returns to the country of his birth to find that the Princess Regent has prohibited music in the country because the people are more interested in vocal or instrumental expression than in working to pay the taxes. Her action is perhaps justified for even the Cabinet bands together to play chamber music instead of attending to the business of State. Tauber is banished as a danger to the peace of the country, but he returns secretly and gives a concert in a huge cave. The arrival of the Princess ends matters very suddenly and the principals are thrown into prison, but even then their voices cannot be drowned, and eventually a "musical" revolution occurs, which makes the Princess see the error of her ways, and all ends happily. The chief item on the supporting programme is a British film entitled "Vanishing Sails," an interesting little morsel dealing with the barges which ply up and down the River Thames. The photography is excellent in this short. In one of the several newsreels screened there appears a juggler who does the most amazing things with hoops, clubs and rubber balls. The box plans for the season will be found at the theatre and the D.I.C. STRAND THEATRE Cary Grant and Joan Bennett are featured in " Big Brown Eyes," which is the main attraction on the new programme at the Strand Theatre.

The title suggests something soft and sentimental, but that is wrong. It is a crime story with a really thrilling climax. The dialogue is plentifully sprinkled with what the Americans call " wisecracks," and it cannot bo denied that they are outstandingly good " wisecracks." They glitter, explode, and arc gone. Joan Bennett proves herself entirely worthy of the role of chief of the exponents of " wisecracking," and her repartee has the sting of a whip. She is seen as a manicurist, newspaper woman, and sleuth tracking down gangsters whom the police have entirely failed to bring to book. The film is produced with a pictorial brilliance that matches its verbal sophistication. One of the gangsters is a fastidious creature who listens to broadcasts on the cultivation of the orchid when not " bumping off" undesirable antagonists, and inhabits a magnificent flat. The part is played by Lloyd Nolan. There are smart scenes in a fashionable manicure and hair-cutting establishment, and the director has here used the close-up to good effect, moving from head to head as the customers discuss in rotation the jewel-thieving and baby-killing crimes with which the film is concerned. The other picture is "Trailin' West," with Dick Foran, better known as the Singing Cowboy, at the head of the cast. Foran has never been in better voice, nor has he done more dashing riding nor more dare-devil stunts than in this film. Paula Stone does excellent work playing opposite the principal. Both are cast as secret service agents working independently in the same field to break up a band of criminals. Neither knows of the other's activities. There are many thrilling episodes in the picture, including the hold up of a stage coach, the capture of a gold pack train by Indians, and one thrill follows another to the breath-taking climax. The box plans are at the theatre and the D.I.C. MAYFAIR THEATRE Exciting entertainment is offered in "You May be Next!" featuring Ann Sothern and Lloyd Nolan, to be commenced at the Mayfair Theatre to-day. The exciting drama develops out of one of the most unusual and unique situations the Hollywood sages have yet conceived. Briefly, the story concerns a master plotter's attempt to jam a nation's radio channels with a mysterious and secret interfering wave. He is thus able to extort fabulous sums from the radio companies, successfully evading justice, even with the army and naval authorities on his trail. Heading the cast is Ann Sothern, in the role of a cafe and radio entertainer. Douglass Dumbrille is featured as the super racketeer who discovers and puts into practice the novel method of hi-jacking the big broadcasting stations out of hundreds of thousands of dollars, while Lloyd Nolan appears as a young radio engineer, in, love with Miss Sothern, who is suspected of ruining his former employer's broadcasts. The story unrolls a dramatic sequence of thrills, interspersed with comedy by John' Arledge and melodies by Miss Sothern. The picture holds its suspense up to the very end, reaching a smashing climax in its closing moments. The associate film will be "The Trail of the Lonesome Pine," starring Sylvia Sidney, Fred Mac Murray, and Henry Fonda. The box plans are at the theatre sweet shop and the D.I.C. GREEN ISLAND THEATRE The adventurous career of that benign detective, Charlie Chan, very nearly comes to an untimely end as Warner Oland, again playing Chan in "Charlie Chan in Shanghai," to be shown at the Municipal Theatre, Green Island, to-day, ventures into China's roaring metropolis to break up a dangerous gang of international opium smugglers. From the moment Chan sets foot m Shanghai, his adventures begin with the murder of his host, an English secret service man. Chan's own life is menaced by mysterious assailants who shoot at him during the night, attempt to kidnap him, but fail to match his Oriental guile. Joining forces with the American secret service, Chan takes up the threads of the crime. The Englishman's secretary, Charles Locher, is suspected of the murder and held, despite the protests of his lovely fiancee, Irene Hervey. The motives and the positions of the various members of the drama become more and more involved, until finally, in a thrilling gun fight in a water-front cafe, Chan gets his men and uncovers the forces behind the mystery. Keye Luke, prominent Chinese actor, is featured as Chan's son, and Russell Hicks and Halliwell Hobbes are prominent in supporting roles. There will be an entertaining and varied, programme of short subjects in support of the main feature.