AMUSEMENTS

Otago Daily Times, Issue 23378, 18 December 1937, Page 7

AMUSEMENTS

OCTAGON THEATRE The life story of one of the great*st composers of negro folk songs, Stephen Foster, forms the poignant basis of “ Harmony Lane,” the film that heads the new programme at the Octagon Theatre. In the tragic role of Foster, Douglas Montgomery gives a characteristically sincere performance. The part is a difficult one, calling for a good deal of emotional restraint, and Montgomery lias handled it commendably. As the girl he loved and lost Evelyn Venable is entirely satisfactory, and Adrienne Ames, who takes the part of the woman who deliberately ensnares him into marrying her, makes an admirable shrew. The story presents with gripping realism the tragedy of Foster's life, which found its way into his songs and which, undoubtedly, was responsible for the most plaintive of his melodies. The most famous of his songs are presented In well-chosen settings, ami outstanding among them are “Swanee River, “Beautiful Dreamer” and “Old Black Joe.” The second film, “California Mail,” is a virile western starring the popular Dick Foran. Dealing with the days when the mail coach was replacing the famous “pony express, the film shows Foran in the role of a young westerner who finds himself up against a gang of unscrupulous road agents who are seeking to run the service that he and his father have managed for years. Among the more spectacular camera shots is a thrilling race between three of the coaches. The box plans are at the theatre and at Begg’s. STRAND THEATRE The new attraction at the Strand Theatre is “Follow Your Heart,’ m which two players whose names are not yet familiar to Dunedin audiences, Michael Bartlett and Marion Talley, have the leading roles, it is a notable production, not only for the pleasing story it has to tell, but also for the excellent quality of the music it provides. The tale concerns the fortunes of the Forrester family, members of which have once been operatic singers. There is a daughter, Marian, and she meets Michael Williams, a singer, whose effrontery offends both her and her fiance. Then Williams, stranded with the rest of a theatrical troupe, hears Marian sing. He is delighted, and tries to persuade her to become a leading member of the troupe. She refuses, but in the end, after some amusing argument, she capitulates, and the romance begins. The other picture, which is entitled “I Cover the War,” has John Wayne in the principal role, supported by Gwen Gaze, who makes her first screen appearance. It is a story of war in the desert, showing the magnificent stand of a column of British soldiers against hordes of Arabs. Wayne is seen as a newsreel cameraman sent to find war-time thrills for American theatre audiences. Both the films demonstrate the ability of a few “ quota ” productions to outshine In photography, acting, and entertainment many of the pretentious eiforts publicised for the benefit of gullible audiences as “screen masterpieces." The box plans for this well-balanced bill are at the theatre and the D.I.C. EMPIRE THEATRE With every production, Australia makes another stride towards recognition as one of the foremost film-pro-ducing countries. ‘ Tall Timbers,” now showing at the Empire Theatre, makes use of resources hitherto untapped by the screen, and makes use of them in a telling way. Lately there have been several successful films of life in American lumber camps—Edward Arnold’s virile work in “ Come and Get It ” having done much to set the fashion —but the Australian production is fit to take its place among the best of them Certainly there is scope for much drama, action, romance, and spectacle in the subject, and all these qualities that go to make up popular entertainment are adequately represented in the attraction at the Empire Theatre. From the outset, in the presentation of the titles, the film is a polished production. Its excellence does not end with its photography and its editing, for the story is good, and the acting is also superior to that which has been seen in previous films from across the Tasman. The story, naturally, concerns a race agianst time by a lumber company to fill a big contract with a rival concern which resorts to all manner of unscrupulous practices to prevent its completion. Bound up in this rivalry is the romance of the hero with his employer’s adopted daughter—a romance which is contrived to end in a particularly happy manner. The climax of the film, however, is not in the romance, but in the last terrific effort of the lumbermen in the race against time. This exciting sequence of a “ timber drive,” an operation in which acres of great trees on a slope are cut half through, and when the trees at the top are felled the whole forest on the hillside is levelled. ✓ The filming of this section and of that showing three people trapped among the falling giants is amongst the most spectacular and convincing film v/ork seen in Dunedin for a long time. The cast is headed by Frank Leighton, Shirley Ann Richards, and Campbell Copelin, and if the Australian studios can hold these players against the blandishments of Hollywood they should do much to bring further success to the industry Shirley Ann Richards is a comparative newcomer to the screen, but she has ability, youth, and beauty, and passes with ease through the differing settings of the picture. Experience is all she needs to become a really fine actress. Frank Leighton and Campbell Copelin will both be remembered by New Zealand audiences for their splendid work on the stage with a visiting Australian company some two years ago. Leighton is now at home with screen technique, and by his virile performance in this picture he moves several rungs up the ladder of success. But probably the best performance in the cast is given by Campbell Copelin. He is a very accomplished and debonair villain. Joe Valli,. long known on the vaudeville stage, provides most of the broader humour of the picture, and he has some capable assistance from minor members of the cast. The storv is adapted from a novel by Captain Frank Hurley, the noted Australian author and photographer, The supporting programme is headed by a new issue of the March of Time, dealing with the Rockefeller Millions, the problem of orphaned and unwanted Babies in the United States, and Hawaii’s fight to become the forty-ninth of the United States. Newsreels, topical films, and a “Goofy Gus" cartoon comprise the other units. The box plans are at the theatre and the D.I C “A HUNDRED MEN AND A GIRL ’ “A Hundred Men and a Girl ’’ will be the Christmas feature at the Empire Theatre. Deanna Durbin’s first picture, the well-remembered “ Three Smart Girls,” burst upon the public practically unheralded and scored an instantaneous success. This time, the avenues of publicity have been well explored. The result is all that can be desired, however, for undoubtedly “A Hundred Men and a Girl” is a better picture than its predecessor. The plot, dealing with the finding of employment for 100 out-of-work musicians, appeals more to the public than a battle between the three daughters of a millionaire and the siren who is seeking to part him from some of his money. All the outstanding figures in the old cast are retained, and to them are added such well-tried players as Adolphe Menjou and Billy Gilbert, and the famous conductor Stokowski, with his magnificent Philadelphian Symyphony Orchestra. GRAND THEATRE An extremely entertaining programme is at present being screened At the Grand Theatre. The main, attraction is “Crack-Up,” a Twentieth Century-Fox production, featuring Brian Donlevy and Peter Lorre. It ts loaded to fhe hilt with intrigue, aeroplanes, and international spies. Its plot la “ eommonsense,” but by no

means commonplace, and It gains emotional momentum as the suspense builds towards the dramatic climax. The plans of an invention that excites a ring of foreign spies form the centre of the action, and the climax is reached when a transatlantic flight ends in disaster. Brian Donlevy, as a disloyal pilot, does some of the best work of his career, snatching the acting honours for the film from the brilliant Continental actor, Peter Lorre, who plays the foreign spy. Romance has little chance in this virile story of action, but Helen Wood and Thomas Beck cannot be overlooked. The programme also includes a thrilling picture dealing with a reporter’s investigations of the battles of G-men and gangsters, and entitled “ Behind the Headlines." Lee Tracy, Dinna Gibson, and Donald Meek are the featured players. The box plans are at the theatre and Begg’s. “HEIDI OF THE ALPS” As a special Christmas attraction the Grand Theatre has secured the latest Shirley Temple film, “Heidi of the Alps.” This feature will be commenced on Wednesday next when it will have its New Zealand premiere. Included in the cast of this story of the Swiss Tyrol are Jean Hersholt, Arthur Treacher, and Helen Westley. “ Heidi ” is an adaptation of a story by Johanna Spyri, which has long been a favourite wijn American children, although it is not so familiar in this part of the world. fSet high in the Swiss Alps and later in the city of Frankfurt, the story tells of an orphar| child who brings joy and happiness into many lives by her own zest and interest in everything that goes on around her. Left alone with an aunt who hates her and who determines to be rid of her, Heidi is taken to her grandfather, an embittered old hermit, who cursed his son when he married and left the village to dwell alone. She is literally left upon his threshold, but the old man is gradually softened by the child's determination to be happy, and the two become great friends. Then the aunt appears again, having found a chance to make Heidi useful to her and, while the old man is out cm the mountainside, she carries the child away to the city to become the companion to the invalid child of a wealthy man. STATE THEATRE Comedy of all types is definitely In vogue and the screen at present, and the 20th Century-Fox feature, “ Cafe Metropole," which commenced a Dunedin season at the State Theatre yesterday, combines farce and romance in a style which makes it a most worthy sample of this trend of entertainment. It presents the romantic team of Loretta Young and Tyrone Power, both deservedly popular screen personalities, in light roles, and they are supported by a cast that includes Adolphe Menjou, Gregory Ratoff, Helen Westley and Charles Winninger, and of those Menjou is in particularly fine form. The general setting of "Cafe Metropole” is Paris, the particular locale being the elaborate cafe over which Menjou holds sway. No doubt most fllm-go'ers base their estimate of Tyrone Power’s standard on his performance in “ Lloyds of London," a role which gave him great scope. In this film he plays the part of a young American who falls into Menjou’s hands in consequence of a gambling debt and a worthless cheque. The outcome is that lie is forced to impersonate a Russian prince, taking his part in a scheme evolved by Menjou to attach some of the wealth of a celebrity-hunting American girl, played by Loretta Young, and her • parents, played by Charles Winninger and Helen Wesley. Unfortunately the real prince makes his appearance, and complications arise. The real prince materialises us a waiter in Menjou’s cafe, and the hero refuses to carry through his impersonation. The girl was not deceived. however, and refused to take “no” for an answer. The plot is not a heavy one, but clever writing, good direction; and several original twists redeem it from mediocrity. There is vitality and dash in “ Cafe Metropole ” from the opening sequence, and such vigorous direction and acting give a fresh Interest to the well-tried theme of an American heiress falling in love with a bogus foreign nobleman. For that reason, the author, Gregory Ratoff, who incidentally does justice to one of his own roles, the French playwright, Jacques Deval, and the director, Edward H. Griffiths, must be given much of the credit for the success of the film. Ingenuity was necessary to extend the story, and it is used so clevely in co-operation with excellent comical characterisation that the result is most happy. Tyrone Power does himself justice, and lovely Loretta Young is always an attraction. Adolphe Menjou goes close to stealing the acting honours, but the whole cast is consistent and thoroughly in character. “Cafe Metropole” is certainly something above the average in its Particular sphere of entertainment. The supporting programme helps to make the theatre’s offering a most acceptable one. The box plans are at the theatre and Begg’s.

“WINGS OF THE MORNING” " Wings of the Morning,” the first technicolour film to come from a British studio, will be the Christmas attraction at the State Theatre. It is a film that marks a great forward step in the progress of England’s producers. Many features combine to make the film the success it has proved to be, and not the least is the presence of Annabella, the beautiful French star, who makes her English debut. She is not only a charming personality, but an excellent actress, and she proves an admirable subject for the colour camera. Henry Fonda, one of her costars. who has won American laurels both as a dramatic actor and comedian, is not unfamiliar with the technique required by the use of technicolour, as he has already appeared in “Trail of the Lonesome Pine,” Leslie Banks, one of the finest actors on the British screen, completes the starring trio. John McCormack, the world famous Irish tenor, sings three ballads; Steve Donoghue. the well-known jockey, makes an appearance; Stewart Rome, Irene Vanbrugh, Helen Haye. and Harry Tate also appear. REGENT THEATRE The stirring days ot the Russian revolution are faithfully depicted m “Knight Without Armour,” starring Robert Donat and Marlene Dietrich, which commenced a season at the Regent Theatre last night. Donat and Dietrich form one of the most glamorous romantic teams that the screen ihas brought together and the story is one ot the best which has come from the pen of James Hilton, author of “ Lost Horizon " and “ Goodbye Mr Chips." The film, which must rank as one of the most successful to come from a British studio, is outstanding for the faithfulness V the background, the actual scenery carrying an air of authenticity which lends to the picture the atmosphere of the Russian locale. Her first English picture casts Marlene Dietrich as an alluring Russian countess and Donat is seen as a modern knight errant whose hatred changes to love as they live through a series of stirring adventures The settings which are on a lavish scale, are designed by the man who wa’s responsible for the striking effects of “ Fire Over England." Whether it is a mansion of the aristocracy, a Volga barge, Siberian prison camp, or Russian railway station that is depicted, no fault can be found with the backgrounds. The tendency of some British producers to use interior scenes and painted back grounds has been completely vanquished in “Knight Without Armour,” which from this point of view alone rivals many of Hollywood's biggest productions. It is hardly necessary to say that the acting of both orincipals is excellent-—neither Donat nor I/larlene Dietrich have ever failed to give complete satisfaction to their hosts of admirers. Donat plays the part of a young English journalist who becomes involved in revolutionary activity just prior to the outbreak of the Great War and is sentenced to imprisonment in Siberia, where he remains until the Red Revolution frees all political prisoners. He is given a post as assistant commissar and is ordered to convey to Petrograd the Countess Alexandra (Mar-

lene Dietrich), a young widow whose country estate is invaded by the Reds. In the turmoil of revolution in which each man seeks to gain whatever takes his passing fancy, the two are forced into companionship, and they fall in love. Donat forfeits his standing with the Reds because of the aid he gives the countess, and she herself, although she finds temporary shelter with some White soldiers, soon undergoes another reverse. The judges become the judged, and are lined up for execution against the same wall where a few hours before they had ordered others to be shot In the midst of it all the two ome together again, and find a few days’ happiness while hiding in the forest But again they are forced to flee, and they fall into the hands of the Reds Fortune favours them once more, and a friendly officer who is put in charge of them allows them to escape and on a barge they reach the border where they are cared for by the American Red Cross. There are r number of strikingly good sequences in the picture, and in these the strong cast, which includes Irene Vanbrugh, Miles Malleson, Hay Petrie, Lyn Harding, Herbert Lomas, and Austin Trevor gives excellent assistance to the principals. Heading the supporting programme is a Walt Disney cartoon. 1 Little Hiawatha,” a delightful burlesque of Longfellow’s character. New flashes and a short unit conveying Christmas greetings in novel fashior are also included in the programme. The box plans are at the theatre and the D.I.C. “LIFE OF EMILE ZOLA” “ Ranking with ' Rothschild ’ as a social document, magnificent in its force great in its sober dignity, ‘The Life of Emile Zola’ (which is to be the next film at the Regent Theatre) is one of those extraordinary pictures which no one should miss,” writes the film critic of the Daily Mirror. “Paul Muni in the leading role and Joseph Schildkraut as Dreyfus play the story with matchless fervour, as they describe the terrible campaign of injustice which was waged against Dreyfus and which took a shameful place in social history as ‘the Dreyfus Affair.' Most artfully dramatised, the picture introduces no prejudices, and gains in dramatic force by the sheer simplicity of its treatment. It introduces Zola as a young writer whose burning passion for truth early marks him as a man destined for hardship and poverty. Wealth and success come, but he is ready to risk them in a desperate war for justice. Muni’s performance is the most stirring, easily, that he ever has contributed to a film. An heroic actor, he plays Zola with a grandeur to provoke cheers. Schildkraut, too, is at his best, representing Dreyfus with artful restraint and dignity.” ST. JAMES THEATRE Not merely one of the finest programmes seen for some time, but the best offering seen for many a Jong day, appropriately sums up the new bill of fare which commenced screening at the St. James Theatre yesterday. Something distinctly new in dramatic intensity, excitement and eerie happenings are provided in the principal attraction, “ The Thirteenth Chair," a first class Metro-Goldwyn-Mayer production which will provide seekers of murder mysteries with the maximum amount of puzzling bewilderment which other films modelled on these lines have done in the past. “The Thirteenth Chair,”’ however, is more than a murder mystery, for the picture offers to the discriminating patron an amazing study of psychological contrasts which are as natural and original as they are absorbing. Adapted from the mystery romance of the same name by Bayard Veiller, the screen version relates the story mostly by dialogue, almost all the action taking place in the one room. Outstanding among the really excellent performances given by a large cast is that of the English actress Dame May Whitty. who invests her role without overdoing it on any occasion, with every degree of finesse and perfection Called upon to register displays of terror, affection, emotion and shrewdness, the actress rises to great heights in many scenes and lives the part in a realistic and convincing manner. Also prominently cast and responsible for excellent characterisations are Madge Evans. Lewis Stone, Elissa Landi, Thomas Beck, Henry Daniell, Janet Beecher and Ralph Forbes. With its setting in Calcutta, the story opens with the murder of a generally disliked man whose only friend arranges to hold a seance at which he hopes the murderer to be revealed. Lewis Stone, who is called from Scotland Yard to handle the case, is reluctant to agree to what he terms a fantastic proposition when the seance is first mooted, but he finally acquiesces. He has another murder to solve, however, when the friend of the murdered man who arranges the seance is stabbed just as the identity of the first killer seems imminent. Needless to say, suspicion for both murders attaches to several people present at the seance, and the one whom the police believe responsible for the crimes turns out to be the daughter of the medium. From this stage the story takes a further twist and, in her distress, the old medium calls upon all her ingenuity to save her daughter Her persistent pleadings to Stone that her daughter is innocent are not regarded as serious by the Scotland Yard official, but her dominating per severance triumphs, and in a smashing and bewildering climax, reached after a series of dramatic and emotional scenes, a solution is arrived at in clever fashion. Two scenes in which seances are held to frighten the murderer into a confession are played in complete darkness. Although _ the audience sees nothing during this time they can hear the conversation of the players grouped together in the room This eerie atmosphere created a feeling of tense suspense among last night’s audience, which appeared to welcome the reappearance of lights on the screen. Preceding the main feature, a particularly well-balance.i and attractive series of short films are also shown. “ Have Courage.” another Metro-Goldwyn' Mayer production is comedy of the refreshing kind and will appeal to any type ff picture patron. A musical romance is unfolded in ‘ Carnival in Paris.’ and a catchy tune is rendered by a male quartet in this short. A further series of adventures of “ Coo Coo Monkeyshines ” is shown and an interesting Cinesound Review rounds off a programme which is bound to prove popular with all patrons to the St. James Theatre this week The box plans for the season will be found at the theatre. Jacobs’s and the D.I.C. MAYFAIR THEATRE A romance in the heart of the Malayan jungle between a white man lost rn the wilderness and a girl who nad never seen a white man before is the story of Paramount’s "The Jungle Princess,” which is the first new feature at the Mayfair Theatre. Dorothy Lamour, whose golden voice has captivated millions on the American radio, makes her film debut in this picture as the child of the jungle whose only companion is a full-grown man-eating tiger and a giant chimpanzee. Ray Milland plays the part of the explorer in the Malay jungle who is saved by the girl, and then falls in love with her. Thrills in large measure are furnisned in “The Jungle Princess” by a stampeding elephant herd the battle between a man and a tiger the fight to the death between a tiger and a leopard, and the destruction of a Malay village by a herd of baboons. Miss Lamour sings a Malay cradle song during the course of the picture. The supporting cast includes Molly Lament, Akim TamirofT. Mala. Lynne Overman. Hugh Buckler and Robert Law. Nero Wolfe can get awav with murder —and make you like it 1 The famous fat detective created by Rex Stout’s pen solves three strange slayings in the s P cond film. ' The League of Frightened Men.” The incomparable Walter Connolly portrays the stout detective, who finds a sinister shadow hobbling grotesquely through the lives of 12 cowering men. One by one the killer’s victims fall, till Connolly. as -Nero Wolfe solves the mystery. Included in the steriirt cast are Lionel Stander, Eciuardo Ciannclli, Irene Hervcy. Allen Brook, Victor Killian, Nana Bryant, and others. The box plans are at the theatre sweet shop and the D.I.C.

GREEN ISLAND MUNICIPAL “Dishonour Bright” is the title of the Green Island Municipal Theatre’s week-end attraction. Tom Walls plays the role of a highly sophisticated man-about-town with a reputation which makes jealous husbands shut their doors on him and romantic wives open them again. Yet he finally destroys the illusion he .uis built around himself by not being able to resist his own charming, vague, cold-in-the- “ dose ” wife. Betty Stockfeld takes the nart of the girl who very nearly comes between the happy pair, while Diana Churchill i- Tom’s better (if sniffling) half. Eugene Pallette plays the part of a crook whose zeal just fails to make up for his natural stupidity. Arthur Wontner Cecil Parker, and Henry Oscar are among others to whom important roles 're allotted. “ Dishonour Bright ” was written by Ben Travers, and is a merry tale of muddled marriages and a captivating co-resnondenf who won women even from the witness box in ♦ho Divorce Court