AMUSEMENTS

Otago Daily Times, Issue 23203, 29 May 1937, Page 19

AMUSEMENTS

OCTAGON THEATRE A well-produced film of topical importance, "The King's People," and a dramatic study of medical life, " Once a Doctor," are the new features at the Octagon BFheatre, and, judging from the large attendances at yesterday's sessions and the interest taken in the first film, the theatre should be, well patronised during the coming week. "The King's People" is a review of the growth of the idea of the British Commonwealth of Nations from the Imperialism of the Victorian era to the common sharing of a great heritage. The story was written by John Drinkwater, a great lover of all things English, and in this work, which was one of the last he did, he gave full exoression to that love in the commentary which accompanies the unfolding of the story by contemporary news films. The producers have profited by the experience gamed in the preparation of films for the silver jubilee of King George V, and in this entirely new production, material found in the researches for the earlier films has been made good use of. Glimpses of the great Queen and her people are followed by scenes in which her descendants played their important parts, until the proclamation of George VI. This story is ingeniously interwoven with scenes showing the activity of the author in preparing the film and including discussions about the work and about the Empire in general with Sir Austen Chamberlain, who also recently passed away, Lady Astor, and George Bernard Shaw. The interludes are full of interest, particularly that which Mr Shaw himself wrote. With an arresting story and a uniformly strong cast. "Once a Doctor has everything to commend it. The production is all the more notable in that it brings together for the second time an excellent screen team comprising ' Jean Muir and Donald Woods. Woods is rapidly climbing to fame, and his present portrayal should bring him even closer to the top ranks. Presented with an ideal role, he is cast as a young doctor, who, after being falsely judged by his foster-brother (Gordon Oliver), is driven from his practice, only to vindicate himself after many adventures in which he is the central figure. Perhaps it would be too much to say that he improves on his work'in "Tale of Two Cities" and "Anthony Adverse," but there is no doubt that he maintains a high standard. Jean Muir is cast as the daughter of Dr Norland, a famous surgeon who has perfected a certain type of brain operation, which he alone can perform. Her role is an exacting one, but she plays the part cleverly. Supporting the stars are several well-known players in character parts. Henry Kolker is. convincing as the great brain specialist. Also worthy of mention is Joseph Crehan as a sea captain. In lesser roles are David Carlyle, Guy Usher, and Edward Keane. The film is also remarkable in that a,new camera device was used for the first time during its manufacture to enable shots to be made of ships rolling at sea. The box plans are at the, theatre and at Charles Begg's.

GRAND THEATRE In "The Holy Terror," a Twentieth Century-Fox film, which is welldirected and thoroughly amusing, and which is now being shown at the Grand Theatre, Jane withers, the talented child actress, imparts a tremendous amount of vigour to her characterisation in the title role, and succeeds in infusing a notable degree of humour into her work. She is seen as the pet of the naval base, subduing all who meet her, whether it be the admiral himself or the merest " gob," by her wheedling ways or, if those fail, the more demonstrative methods favoured by young people, such as prodigious bellowing. The intrusion of a gang of foreign spies into the otherwise peaceful atmosphere of the base, and Jane's* dark suspicions concerning the foreign gentry, provide ample material for a wealth of exciting and amusing situations, while a romance between two young people, played by Anthony Martin and Leah Ray, which is strenuously sponsored by the lighthearted Jane, gives an added spice to the story. John Eldredge and Andrew Toombes give good support, and Joan Davis, a new comedienne who is rapidly making a name for herself, and Joe Lewis, contribute a large proportion of the humour of the production. The second picture is "wild Brian Kent," featuring Ralph Bellamy. Adapted from Harold Bell Wright's story, "The Re-creation of Brian Kent," this film presents a full-blooded drama of the American West, in which Bellamy, as Brian Kent, wages a singlehanded battle with a gang of desert bandits whose aim is to dispossess the girl he loves of her ancestral ranch. It is a thrilling story, told in vivid and exciting style. A feature of the programme is the presentation of the first pictures of the Coronation in London to reach Dunedin. These pictures are being shared by the Grand, and the State Theatres during the coming week. The box plans are at the theatre and at Begg's.

EMPIRE THEATRE The spirit of gaiety sparkles brightly throughout "Three Smart Girls," the new Universal comedy which yesterday commenced the second week of its successful season at the Empire Theatre. The film has been called (different, and it is emphatically that. Comment of the critics has emphasised the personality, voice, and performance of Deanna -Durbin, with complete justice to her talent and charm, but with something less than that to Barbara Read and Nan Grey as the other girls of the title, and to Charles Winninger as their father, a difficult role, very well acted. Also crowded out of most published praises of the picture are Ray Milland and John King, who portray young romance with intelligence, Mischa Auer in an unusual comedy role, Binnie Barnes as a matrimonial fortune-hunter, and Alice Brady as her mother. Deanna Durbm, Nan Grey, and Barbara Read are cast as three sisters, whose wealthy father, divorced from their mother 10 years previously, \is reported engaged to a voung and famous beauty. They go from Switzerland, where they have been living, with their mother, to New York, where their father resides, with plans to prevent his marriage. How these plans work out, and how an uproarious mistaken identity is cleared up, it is not fair to the picture to reveal. The dialogue is exceptionally bright and fresh, and the competent direction and acting have produced a screen play that holds one's unswerving interest. There are two gay young romances tucked in, and some suspense and pathos for good measure. The supporting programme fully maintains the high standard set by the chief attraction. The box plans are at the theatre and the D.I.C. STRAND THEATRE An entertaining double-feature proE'ramme, which embodies a well-bal-anced blend of excitement, action, romance, and humour, commenced a season at the Strand Theatre yesterday. The first picture is "Sea Spoilers/' a vivid and absorbing story of the activities of the American coastguard units, whose principal occupation in Alaska would appear to be the frustrating of the nefarious schemes of seal poachers. John Wayne gives a, virile characterisation as a boatswain in the Alaska coastguard, who, while in temporary command of a Government ship, sets out after a gang of poachers on the northern coast. The efforts of the wily poachers to pit their wits against the coastguard men result in a large number of exciting episodes, in which the thrills and romance of the work or the patrols are excellently depicted. Supporting the principal actor are Nan Grey and Wifliam Bakewell. The second feature is "I'll Love You Always," an intriguing tale of the struggles of a young couple to overcome the disadvantages of poverty, and achieve a sound marital state. Nancy Carroll is admirably suited to the role of a beautiful and talented young actress who sacrifices her career to marry an equally young engineer who is fresh from the triumph of his

graduation. As the latter, George Murphy acts with restraint and effect, and assists materially in giving the story its notable air of conviction. The box plans are at the theatre and the D.I.C.

STATE THEATRE Although included among the supporting pictures, the film of the Coronation, which had its Dunedin premiere yesterday at the State Theatre, was by no means the least important feature of the programme. When one considers that within 15 days this striking pictorial record of the great historical event has travelled across the .world, and has brought to the people of the Dominion a better view of the procession and actual crowning ceremony than many of the millions in London were privileged to enjoy, one cannot help but realise that the film is vested with more than a little romance. Every sequence is clear and sharp, and along the route of the procession and in the Abbey itself the principal incidents have been caught by the camera and woven into what is undoubtedly a striking picture. Several close-up " shots" of the King and Queen as they drive through London in the State coach, and the placing of the crown on the King's head by the Archbishop of Canterbury, are, perhaps, the outstanding scenes, but the views of the procession from various points of vantage are also very fine. The final scene of all, when their Majesties, Queen Mary, and the little princesses appear on the balcony of Buckingham Palace is a magnificent piece of photography, and provides a fitting climax to a picture which is well worth seeing. The film is sound synchronised, and is accompanied by a lucid and informative running commentary. Now in the second week of its Dunseason, "Dimples," with the talented juvenile star Shirley Temple in the leading rola, occupies the latter half of the programme, and, with its delightful blend of comedy, romance, and drama, provides an admirable concomitant to the Coronation film. The story tells of a lovable little street minstrel and her incorrigible, but irresistibly funny, guardian (Frank Morgan). The film opens with Shirley leading a group of young sidewalk minstrels through songs and dances. As they conclude their performance Morgan pushes through the crowd and starts off the "contributions." This is how he and Shirley eke out a precarious livelihood. Morgan has a penchant for other people's belongings, and his nimble fingers fasten on anything of value with which they come in contact. His peccadilloes eventually lead him into trouble, but he goes scot free through Shirley's winsome smiles and pleas. With Shirley mothering and caring for the irresponsible scamp, the film moves through its highly entertaining story, reaching the climax with Shirley being cast in the starring role in the presentation of, "Uncle Toms Cabin." With Morgan and Stepm Fetchit contributing hilarious laughter. Robert Kent, Astrid Allwyn, and Deima Byron youthful romance, Helen Westley and Berton Churchill providinng stirring drama, and the little star herself brighter and more charming than ever, "Dimples" is probably the most attractive picture in which she has yet appeared. The box plans are at the theatre and Begg's.

REGENT THEATRE " Men Are Not Gods " should be sure of - a good reception at the Regent Theatre during the coming week. It is a. British film and a good one, directed by Alexander Korda, and presented by a cast that has balance, talent and personality. Among its numerous highlights are many moments of intense dramatic strength which call for sheer ability. Happily both Miriam Hopkins and Gertrude. Lawrence are not lacking in the particular brand of capability necessary to a right interpretation of such drama. Gertrude Lawrence has her name in the press sheets and also on the title scroll of the film in lesser type than is given to Miriam Hopkins, but it will be a matter of widely varying opinion whose the real laurels.for this admirable piece of work actually are. The theme is a familiar, Meredith's usual three " husband, wife and lover, or perhaps one should say near lover. And the whole idea of the plot seems to be to show that men are really very, very human. The trouble is that only men need to be convinced of that fact SSfone suspects that it will take more Kenan Alexander Korda. film o convince them. At one impassioned stage in the story Miriam an exasperating mood of half anger I!? thi base There is the philosophy 3 the film in a nutshell, ans. although £Tis inclined to be disappointedl tha the tense drama of the wnoie arid.ii should be rocked to its very foundations and finally overthrown by. a momentary confession of an eminenuy natural occurrence by thet wiie we story holds together well and cariies a degree of conviction that is highly satisffi. There is a great deal of delightful comedy in the film, one oftne elms being the peculiar aritics of a Stated dramatic critic in his pereurinations round his office the wnne E dictates to his secretary the subject matter of the critique of a first night of "Othello" that is to make or break an actor For it must be remembered thaf this particular critic is a very famous crftic. Then there are the quS absurdities of the man whose main object and purpose in lifei isto write the obituary notices of his fellows. The passages from Othello which find their way into the theme are admirably selected, one or two of them because of their particular relevance to the story andl othersr which have their reason for being therein the selective genius of the producer The lines are always well voiced by Sebastian Shaw, who takes the role of the Shakespearian actor whose careei is made by the interference of .the secretary with the review of the critic. Gertrude Lawrence appears as tne wife of the actor in the case, and she draws a superb portrait, enhanced by a brilliant restraint and a personality which seems to affect the. whole film She is an actress who brings to the screen much of the sincerity, and polish of the legitimate stage which far too i many sound screen productions stUJ lack! Miriam Hopkins is her own | charming self in a role which suits her i perfectly. She has it in her to be the perfect little gamin and almost in the i twinkling of an eye she can change her tune and her tempo to present the genuine romantic. This she does with a rare distinction in "Men Are Not Gods," and it is difficult to avoid the conclusion that without her consummate artistry the film would have been much less convincing and arrestingl.y : enjoyable than it actually is. There is an excellent supporting programme of short subjects which commences with a well-selected series of news shots, and goes on through an interesting pictorial survev of Williamsburg, the capi- j tal of old British Virginia, which has the distinction of being probably one of the only towns in the world that has deliberately preserved the appearance, styles of architecture and town planning which characterised it when it was a much more important centre than it is to-day or ever can be again A Walt Disney Sillv Symphony, " The Three Mouseketeers," offers the usual , delightful diversion. The box plans for the season will be found at the theatre and at the D.I.C.

ST. JAMES THEATRE Rollicking comedy of a most entertaining variety is contained in "The Widow from Monte .Carlo," which opened its Dunedin season at the St. James Theatre yesterday In the first place, the stor> was v ltten for the screen by two well-kn~wn playwrights in lan Hay and A. E. W. Mason, and this is in itself a sufficient guarantee of the attractiveness of the plot, while in the second place the acting of the principals is of a very high standard of quality. The story is the conventional one of musical comedies —the duchess who. because of her social position, is not free to love whom she likes, or ever to make the friends she likes—but in " The Widow from Monte Carlo" the story takes many unconventional and amusing twists before the happy ending is finally achieved.

Dolores, Del Rio is cast in the role of the Duchess of Pye, and her lover, whose acquaintance is made in no less romantic a place than Monte Carlo, is portrayed by Warren William. These two make an almost perfect combination, the former's glamorous personality ad exotic beauty being admirably offset by William's suave and polished acting. There are others in the cast, however, who give more than adequate assistance to the principals, and chief among these are Herbert Mundin and Louise Fazenda. The former has the role of a marmalade king, devoid of aspirations, but blessed with a wife whose greatest ambition in life is to be socially recognised by the duchess, her next-door neighbour. Miss Fazenda is cast as the wife, and she gives one of those spontaneous performances that have made her famous in comedy parts. The steps which she takes to achieve her ambition are the centre of the plot. A stolen letter which might compromise the duchess, unless she attends a party given by the ambitious social climber, provides Warren William, aided and abetted by a naive and strange American gangster, with a difficult problem. The letter has to be recovered, and the manner of its theft provides some screamingly funny situations. In the end the very thing that is feared happens—the contents of the letter become known, or at least guessed at, by the aristocratic and rather ineffective fiance of the duchess—and everything very surprisingly and suddenly turns out for the best. The photography is excellent, some of the views of Monte Carlo and Cannes being outstanding. Others in the cast include Colin Clive, Warren William, Olin Howland, Mary Forbes, and Ely Melyon. The supporting programme includes two interesting travelogues, a "Stranger Than Fiction" novelty, and an Oswald the Rabbit cartoon. The box plans are at the theatre, the D.1.C., M'Cracken and Walls's, and Jacobs's.

MAYFAIR THEATRE In " The Great Ziegfeld," now at the Mayfair Theatre, motion pictures have picked up the torch where the late Florenz Ziegfeld laid it down and have succeeded in out-Ziegfelding the great Ziegfeld himself. "The Great Ziegfeld" has everything that a great musical picture should have. It has, in the life of Ziegfeld, a most gripping and perfect dramatic story. In its musical numbers, never before produced on such a scale of grandeur, it has many of the most dazzling scenes ever seen in pictures. In entertainment alone it rates just about 1000 per cent. First, there are William Powell as Ziegfeld, Myrna Loy as Billie Burke, and Luise Rainer as Anna Held. Then there are Virginia Bruce as Ziegfeld's greatest glorified Modern Girl, Frank Morgan as his rival producer, Nat Pendleton as Sandow, Reginald Owen as Ziggy's manager, Fannie Brice as herself, Ray Bolger and his amazing dancing feet, Harriet Hoctor, and hordes of the most beautiful girls ever to smile at one from the screen. The story opens in Ziegfeld's youth in the dazzling Chicago World's Fair of 1893. It progresses as Ziegfeld himself progressed, massing fortunes, to lose them and build other fortunes. But always in the foreground are the spectacular Ziegfeld productions and his amazingly beautiful showgirls. GREEN ISLAND MUNICIPAL Pioneer Pictures' spectacular terpsichorean romance, "Dancing Pirate," the first feature-length motion picture of its kind ever photographed under the new full-colour technicolour process, is to be shown at the Green Island Municipal Theatre this evening with an all-star cast, including Charles Collins, Frank Morgan, Steffi Duna, Luis Alberrii, Victor Varconi, Jack La Rue, the Royal Cansino family, scores of famous dancers and the Three Huapango Rhythm Kings of Mexico City. The story, a rollicking parade of adventure, romance, thrills and one embarrassing situation after another presents Morgan as the Alcalde, or Mayor, of an old California village, who is beset by pirates, a host of villains, and the vagaries of a beautiful and fiery daughter.