SCREEN AND STAGE

Otago Daily Times, Issue 23206, 2 June 1937, Page 13

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

“ The Gorgeous Hussy " ■ “Actually the only faults in ‘ The Gorgeous Hussy ’ are its flag-waving and the moments of melodrama which few films are able to do without (writes Smith's Weekly in bestowing a high award). Apart from these, it is a colourful, enthusiastic work, pitched in an historical key, full of that sort of gusto which deserves all the praise it can get. The story of the film is a long one. Those who normally object to a political flavour in their entertainment brew will not be able to take offence at it here, though from' certain standpoints it mars the work’s texture. Lionel Barrymore is the victim (or the exponent, perhaps) of this stuff: he was well cast for it, too. You never make a mistake with Barrymore, if affected ranting and a heart of gold on the sleeve are what you want. As President Jackson, and as mere Mr Jackson, he conquers without stooping. That is the Barrymore way. Well, this is all right. But at the top of the cast is Joan Crawford—a better and different Joan. She proves with considerable energy that she isn’t only a * looker.’ but also an actress of guile and experience. The role she has is long, arduous, and apparently very exacting. yet she keeps her head and her feet thi'oughout. Only in her lovescenes with Robert Taylor and. later. Franchot Tone, does one remember former films of hers, in which she depended far more on the still technique of eyes and lips. Yet these scenes are completely charming. Hooped and stayed and bonneted, she speaks her lines with vigour and energy; her early scenes, in particular’, emphasise a personality which cannot be disregarded. Her real hard work, as much as anything, is what makes the film

scene of the legion’s activities, they meet Miss Churchill, whose brother Is waging a single-handed fight against the lawless band. The two Federal men pose as sympathisers to inveigle their way into the good graces of the legion, and, boring from within, manage to bring the night riders to grief. If you wanted a certain job would you risk your life to get it? That is what Judith Barrett does in Universal’s “ Flying Hostess,” which begins at the Strand Theatre on Friday. In a story dramatising the lives of the girl attendants who ride transcontinental airliners, the actress does a 5000foot parachute jump to prove that she has the courage required of an air hostess. For the most part the picture centres around the romance between her and the pilot, who falls in love with her, but*who bitterly opposes hostesses on the airliners. William Gargan, cast in the leading role of the airline superintendent makes a worthy rival for William Hall in the contest for the girl’s hand. Unexpected developments centring around Randall bring the picture to a climax in which the flying hostess, the man she loves, and 12 passengers are brought face to face with death.

George Arllss to Play “ Dr Syn ” George Arliss, looking fit and youthful after a long holiday in Monte Carlo, started work recently at Gainsborough Studios, Islington, on a Gaumont British Dominions attraction in the name part. "Dr Syn,” Russell Thorndyke’s story of the Kentish smugglers, of which more than 1,000,000 copies have been sold.

George Arliss celebrated his sixtyninth birthday a few days ago. and went straight into a script reading in a West End office. Here, with the pride of a schoolboy, he showed a

“Lullaby,” exercise Bobby’s magnificent voice which a famous well-known vocal coach has compared to that of the unforgettable Enrico Caruso. The story is centred upon Bobby, an orphan, who is lured away by a travelling tent show. Joe Pasquale, its handyman, takes Bobby under his wing. An erstwhile member of the Milan Opera Company, Joe recognises the potentialities of a fine voice in Bobby. With hardship facing them at every turn, Joe and Bobby make their way to New York, where they seek out an opera star whom Joe tutored years before. At her house, she gives a party in honour of the concert baritone, Leon Alba. A surprise climax revealing her guest of honour as the estranged father of Bobby produces a heart-throb climax said to be one of the most gripping denouements to flash across the screen of late. “ Let’s Sing Again ” features George Houston, who renders • a couple of melodies, Henry Armetta, the Italian dialectician, Vivienne Osborne and others. “ Wildflower ”

The Dunedin Operatic Society is to be congratulated on being the first amateur society in New Zealand to secure the rights to produce “Wildflower.” This delightful musical comedy is probably one of the best-known and it abounds with charming melodies and smart comedy. In the role of Nina, Miss Freda Elmes will have one of the most outstanding roles of her stage career, for in addition to having to sing several outstanding musical numbers Miss Elmes is called upon for some brilliant acting with contrasting moods of light-heartedness and stormy anger. Miss Louise Henderson has been entrusted with the difficult part of Blanca, “haughty and superior” cousin of Nina. Miss Henderson’s singing of “ Come Let Us Dance” at the opening of the second act promises to be one of the high lights of the play. Miss Sybil Thompson, a “new find” by the Operatic Society, will play the comedienne, Lucretia, and with Mr Stan Lawson as Gabby, should provide an abundance of mirth. Their chief number of the evening will be “The World’s Worst Woman.” Mr “Spud” Murphy will be entrusted with the role of Gaston Larotta, the rascally lawyer, and Mr Murphy’s natural humour is wellknown. Mr Arthur Lungley, as Guido, Nina's lover, has a heavy part of the work, but this experienced player should be more than equal to it and it is said that Mr Lungley has never been in better voice. Mr Reynolds Herbert, well-known as a character actor, has the role of Luigi, aged friend of Nina, and Mr Roy M’Dougall, the possessor of a fine baritone voice, will play Alberto, schemer for Nina’s hand and money. Members state that never before has the society assembled such a strong chorus and Miss Rosetta Powell has created new and novel ballets for the production. The “ Wildflower ” season will be opened next Saturday at His Majesty’s Theatre for a period of one week, with matinees on each Saturday and on Wednesday (King’s Birthday).

“Three Smart Girls” Success On rare occasions a motion picture looms up on the film horizon in an unobtrusive manner which is so fine, so entertaining, and so completely sat-

jure up for many people visions of Woizikovsky, Raievska, and the rest of that gorgeously-clad band of warriors, while those who did not see the ballet will be equally impressed by the vivid splendour of the composition itself.

Grand Changes A thoroughly delightful and hilarious comedy of married life. Paramount’s “Wives Never Know,” which will be shown at the Grand Theatre today, brings to the local screen that charming and inimitable screen husband and wife, Charlie Ruggles and Mary Boland. “ Wives Never Know ” is a story of a happily wedded pair whose romance goes on the rocks when they take the advice of suave Adolphe Menjou, cast as a novelist who believes

himself too wise to get married but is free enough with his wild-eyed theories on what constitutes happiness in marriage. He urges the husband to make his wife jealous so that she may know the joy which comes with forgiveness. Always anxious to please. Ruggles takes the advice, getting himself into a series of scrapes and complications that work into a hilarious climax which ends with the wise one finding himself tricked into the bonds of matrimony. Ruggles and Miss Boland carry the lead roles in inimitable manner which has endeared them to millions. The cast also includes brunette Vivienne Osborne as the “other girl.” A woman newspaper editor, whose joy in life is to help others out of their troubles while she laughs away her own, is the central character in “ Laughing At Trouble,” Twentieth Century-Fox’s new feature, also opening to-day at the Grand Theatre. Cast

first big success in a story of London, since he comes of a famous London theatrical family. His father, also Tyrone Power, was for nearly 50 years one of the finest actors of the British and American stage. From time to time he also appeared in films. He was last seen in the part of Red Flack, the bearded ruffian of “ The Big Trail.” After his father’s death young Tyrone Power avoided for two years anything to do with stage or studio. But acting was in his blood. His father had taught him a great deal. In 1933 he did fairly well with a repertory company m Chicago. He decided to invade Broadway. For three months he lived at the rate of a pound a week and listened to theatrical agents saying, “ Nothing tose tells a story of how he was invited to a swagger dinner and was later seen walking down Broadway barefooted but otherwise faultlessly dressed in top hat, white tie and tails. His shoes pinched. To be able to walk he had to take them off. He had no money to pay a fare on the underground. He was fairly dispirited. He wanted to see a play called “Flowers of the Forest,” but had no money. Rather fearfully he called on the manager, intending to beg a free seat. Before he could speak the manager asked him if he would be interested in understudying the leading man. That was the beginning of his good fortune. Two more plays in New York and he was spotted by a scout for Twentieth Century-Fox and carried oft to the Hollywood which, five years before, had given his father and himself an indifferent welcome. So this young man, six feet tall, 23 years of age, finds himself famous overnight. Mayfair Attractions

Mae West’s newest hit, Paramount s “ Klondike Annie,” comes to-day to the Mayfair Theatre. Mae West has the reputation of being the best sport in all Hollywood—just as quick to help anyone out as she is ready with a wise-crack for all occasions. She is the least affected person in the world. She likes prize fights, so she goes to every one in town, and at the same time is perfectly willing to stay at home and sew. Although she has always played the part of a “hard-boiled gal’ she is one of the few people in Hollywood whose private life has never had even the faintest whisper of scandal attached to it.

Threading a needle is the supreme test of poise and aplomb before a “movie” camera, according to nitz Lang M.-G.-M. director, who watched Sylvia Sidney do the feat for a scene in “ Fury,” opening to-day at the Mayfair Theatre. The script called for the actress to open a small travelling bag.

go so well. Taylor, himself, joins her in this. He is a pleasing whirlwind as the young sailor who sweeps Peggy off her feet into a church, a marriage bed, and widow’s weeds. Franchot Tone is more restrained—a very quiet young man in such good company. He still has, however, that peculiar slide and shine of the eye which makes him look quite himself, quiet or noisy. Melvyn Douglas, as another silent man, another senator, another of Peggy’s lovers, goes into his part with great purpose, and keeps a strong-man of the character he is occupied with. And so it is, too, with most of the others. Therefore, since this quality is allied to good photography and experienced directing (Clarence Brown did that job). the film can have no chances of failure. The photography is often most beautiful: particularly because such care has been taken with settings, clothes, and customs. It is a long film: it moves with a decent slowness, but that doesn’t mean it ever becomes dull. Clarence Brown would see to that, as he has seen to the organisation of the ‘ crowd ’: scenes and the generally close texture of the whole. We are hanpy to praise ‘The Gorgeous Hussy, and to believe that it will be enjoyed.” Strand's Next Programme

Telling what is said to be one of the strangest stories ever to come from American life, Columbia s dramatic “Legion of Terror.” is scheduled to open on Friday at the Strand Theatie. Bruce Cabot, Marguerite Churchill, and Crawford Weaver, a newcomer, head the cast. The activities of the infamous hooded legion that terrorised many communities in the mid-west provides the theme of the film, as the title may have hinted. Much excitement is injected into the picture when the ral Government, in the person of postal inspectors, go to work on the hooded folk when they attempt to send a timebomb through the mails. Cabot and Weaver are seen as the post office department’s sleuths. Arriving at the

birthday present in the form of an attache case with alphabetical compartments for papers, a tribute to his methodical habits.

The story of “Dr Syn” is full of action—ut deals with the smuggling exploits of a well-known Kentish flshin« village more than 100 years ago. It has humour, tension, excitement. Anna Lee plays Imogen, the heroine; John Loder plays her lover; Muriel George is the buxom landlady of the smugglers’ l inn. Wally Patch is a bo’sun. Fat-boy Graham Moffatt has a fat part, too; Athole Stewart, Alan Whittaker, Fewlass Llewellyn, Frederick Burtwell, Wilson Coleman are also in the cast, and a German character actor, Meinhart Maur is a curious, creepy, half-breed. Mr Arliss’s role, that of a parson by day and a smuggler by night, is in complete contrast to anything in which he has hitherto appeared. He is wily, without being hypocritical, law-breaking yet not a criminal, a leader of men by his forceful. yet kindly, gentle nature. Maude Howell, an importation from Hollywood some 18 months ago, will co-direct with Herbert Mason.

“ Let’s Sing Again ” Five years of assiduous effort have brought Bobby Breen the reward he so well merits and the goal so many parents seek for their talented children. Bobby is in the movies, the star of “Let’s Sing Again,”’coming to the State Theatre. Bobby Breen is the oight-year-old, who, equipped with a sincere understanding of what is required of him and a well-trained and unusually powerful voice for a lad of his age, makes his screen debut. Starting his career five years ago as a singer in the Silver Slipper Night Club in Toronto, Bobby advanced to vaudeville and footlight engagements, and now is in the kinema sponsored by Sol Lesser. Full range is given to Bobby’s remarkable talents in “ Let’s Sing Again.” Opportunities to sing “ La Donna e Mobile,” from “Rigoletto" in Italian, two folk songs, and three popular tunes, including the title song and

isfying in every respect that it becomes a sensation. This has been the happy case with “Three Smart Girls,” which is enjoying a phenomenal success at the Empire Theatre. Relying not on famous names in its cast, nor yet on an imposing story or spectacular musical background to carry it through, “ Three Smart Girls ” towers head and shoulders above the average light comedy. The picture brings to the screen for the first time yet another youthful star —Deanna Durbin. Seen as the youngest of the “ three smart girls,” she is attractive and charming, with a genuinely youthful spirit, while her voice, strong and clear, is comparable to the best on the screen. She sings two new numbers, “My Heart is Singing” and “ Someone to Care For Me.”

Echoes of the Ballet Those who remember with pleasure the colourful “Prince Igor” ballet as presented by the de Basil Company recently will welcome the news that the music will be performed in its original choral version by the reorganised Choral Society at its concert on June 14. It is surely some of the most exhilarating and exciting music of its type, and members of both chorus and orchestra are entering whole-heartedly into the rehearsals. The presentation in concert form of this pulsating composition will con-

in this story arc Jane Darwell, Sara Haden, Lois Wilson, Margaret Hamilton, Pert Kelton, John Carradine, and many other players. Pitting her brains and courage against a murderer to save an innocent boy from the electric chair, Jane Darwell laughs and fights her way through to cheat a malignant fate of its prey. Allan Lane, attractive youth in love with Delma Byron, is arrested and convicted of the mystery murder of the town philanthropist. Editor Darwell, sensing a great injustice, carries on a relentless, smashing crusade in her newspaper to bring about Lane’s exoneration and find the guilty person. She discovers that the murdered man, shortly before his death, placed in his will a 10,000-dollar bequest to a charitable institution. With this as a clue, the robust, twofisted, gaily determined woman exposes the real murderer by playing upon the jealousy of a woman in love with an unscrupulous lawyer. Meanwhile, she stands off single-handed an enraged mob which had pursued Lane to her home after he breaks gaol. The Old Tradition Tyrone Power is the latest young romantic star to be found by Hollywood (writes Seton Margrave in the Daily Mail). He has already played parts in “ Girls’ Dormitory ” and “ Ladies in Love,” but neither pictures nor parts gave him any chance to make a hit. Now in “Lloyds of London” he becomes a star of first rank. It is fitting that he should make his

take out needle and thread, remove one glove, thread the needle, and sew a torn pocket on the coat of her co-star, Spencer Treacy. Tracy began teasing her as they prepared for the scene. Players and stage hands gathered on the sidelines to watch the result as though it were some exciting sports spectacle. Straight through the action went the imperturbable Miss Sidney. Twice more the scene was filmed, and with the calm precision of a sharpshooter, the actress hit the bull’s-eye on the first try. “ Fury,” based on an original story by Norman Krasna, is a dramatic narrative of mass lawlessness in modern America, showing the tragic effect of a mob’s attempt to “ punish ” a man accused of a crime and proved innocent too late.

“Gold Diggers of 1937”

“Gold Diggers of 1937”—fourth of the famed series of musical movies which began in 1929 with “ Gold Diggers of Broadway,” and carried on with “ Gold Diggers of 1933 ” and “ 1935”—opens at the Regent Theatre next Friday. Just like the perennial Ziegfeld “ Follies ” and George White’s “ Scandals,” these “ Gold Diggers ” of the Warner Bros, seem to have become a genuine American institution. Combining plenty of comedy, hit songs, and speedy and beautiful .dancing by big choruses of lovely girls, they have all been tremendous successes. This 1937 edition co-stars those newlyweds Dick Powell and Joan Blondell. It features Victor Moore, Lee Dixon (a sensational new dancer), Glenda Farrell, Osgood Perkins, Donald Meek, Rosalind Marquis, Irene Ware, and other fun-makers, plus 200 dancing beauties trained by Busby Berkeley. Those who have seen previews of “ Gold Diggers of 1937 ” proclaim it to be funnier and more tuneful than any of its predecessors, and especially are its settings of unusual size and beauty. Thfe most elaborate set, upon which the entire company appears in several scenes, represents the Long Island estate of a New York theatrical producer—played by Victor Moore of “Of Thee I Sing” fame. The story, in brief, concerns Dick Powell, an unsuccessful insurance salesman, and Joan Blondell, stranded showgirl, who becomes his secretary, and who saves the day by landing him a million-dollar application. Songs by ■E. Y. Harburg and Harold Arlen and Harry Warren and A 1 Dubin are entwined throughout the picture, while Busby Berkeley’s dance ensembles are featured at the climax, which represents the presentation of a Broadway musical comedy. Lloyd Bacon directed the dramatic part of the picture. “ Gold Diggers of 1937 ” is based on the play “ Sweet Mystery of Life,” by Richard Maibaum, Mike Wallach, and George Haight. Warren Duff and Tom Reed wrote the screen play. To succeed, the modern “gold digger” needs to be beautiful, but she cannot be dumb. The intangible things which Dance Director Busby Berkeley calls “ personality” and which the college professor catalogues as “ brains,” turn out to be almost one and the same thing. The Marcus Show An entirely new type of theatrical production for New Zealand is to be presented in Dunedin on Saturday, June 19, when the Marcus Show, imported to the Dominion by Sir Benjamin Fuller, will open at His Majesty’s Theatre It was claimed before the show began in New Zealand that it was one of the most amazing combinations ever brought to the Dominion. American non-stop revue is, in fact, something new to the southern hemisphere. The Marcus Show has everything on a grand scale. Coming direct from New York, there are 80 performers in the company, including 22 principals, a chorus of 25, and a ballet of 30 American beauties. The scenery occupied one-fifth of the space on the Aorangi, which brought the company from the United States, and is spectacular beyond description, while the girls in the company display no fewer than GOO gowns in the first revue, “ La Vie Paree." Catchy music is put over in good style, there are dances in plenty, and the fact that there are no fewer than four comedians ensures that the comedy is both original and fast. “ La Vie Paree ” consists of 30 scenes with about 12 special scenes of particular effect. Although the girls are, naturally, a big feature of the show, at the same time it is not a “ girl show ” in the generally accepted sense, for the

Fauntleroy, Little Eva in “ Uncle Tom’s Cabin," the girl in “Ten Nights in a Bar Room” who pleads “Father, dear father, come home with me now. Lovely Mary in “Mrs Wiggs of the Cabbage Patch.” and Little Willie in "East Lynne.” . „ , She studied dancing with Ned Wayburn, and was in burlesque, musical, comedy, and vaudeville. In burlesque she was known as “The Baby Vamp.’ In vaudeville she originated the shimmy dance, although Bee Palmer and Gilda Gray were credited with this sinuous achievement. She gave imitations of George M. Cohan and the late Eddie Fay in vaudeville. She was featured in Wayburn’s musical “ demitasse revue” and “The Mimic World. She was featured with Ed Wynn in "Sometime.” That was in 1919. A five-year career in vaudeville followed. Then Miss West wrote, staged, produced, and starred in “Sex.” The play, considered extremely daring at

Miss West has never married. She lives simply in an apartment in Hollywood half a mile from the studio. She has a sister. Beverly West, a vaudeville actress, and a brother. Jack West, jun., who also has been in vaudeville, but now is in the film business in Hollywood. Her sister married Vladimir Baikoff in January, 1934. Miss West is five feet four inches tall and weighs 1261 b. Her hair is platinum blonde, and her eyes are deep blue. Her latest film is “Go West, Young Man.” In this picture she is supported by Warren William, Randolph Scott, and Alice Brady.

entertainment, in addition to the beauty provided by the chorus and ballet, comprises a rapidly-moving succession of highly-developed and lavishly - produced variety acts, sketches, poses, tableaux, and musical comedy items. In “La Vie Paree,” one of the most striking ensembles, is “ Maid of Silver,” in which girls, symbolising the precious metals of the earth, appear in thousands of yards of silver-encrusted draperies.

Mae West’s Story Mae West was bom in Brooklyn, New York, on August 17. Her father, the late Jack West, was a prominent feather-weight fighter in the days of John L. Sullivan and Corbett. Her mother was French, born in Paris. Both are now dead. As a child, Mae displayed unmistakable talent as an entertainer. When she was 5 she made numerous public appearances at church and club socials, doing child imitations of Eva Tanguay, the vaudeville idol of the day. A year later she joined Hal Clarendon’s stock company at the old Gotham Theatre, in the Bushwick section of her native city. For six years she played child characters —Little Lord

that time, was a great success and ran for more than a year. She followed this with “Pleasure Man” and then with “ Diamond Lil,” one of the greatest theatrical hits of the past decade. The next Mae West play, “The Constant Sinner,” produced during the nation’s depression days, did not match the popularity of “Diamond Lil.” but further helped to establish its star as a dramatic actress of rare versatility. In the spring of 1932 Miss West finally accepted a screen offer. She came to Hollywood for Paramount and was assigned to play a featured role in “ Night After Night ” with George Raft, Constance Cummings and Alison Skipworth preceding her in the billing. Miss West asked permission to write her own dialogue, with the result that she was acclaimed as the hit of the film. Paramount received so many enthusiastic reports about audience reactions to Miss West that it decided to star her in her next film, “ She Done Him Wrong.” This picture was the greatest box office success of the year. It was a bracing tonic for the depressed motion-picture exhibitors, and it immediately stamped Miss West as the great, new star of the screen.