AMUSEMENTS

Otago Daily Times, Issue 23517, 4 June 1938, Page 22

AMUSEMENTS

STRAND THEATRE For its Show Week attraction the Strand Theatre is screening two highly entertaining films which should have a wide appeal to motion picture audiences. Comedy that sparkles is provided in the Twentieth Century-Fox production “ Off to the Races,” featuring the comical Jones family, while in “ Under Suspicion,” one of the most baffling mysteries to reach the screen is unfolded. “ Under Suspicion ” stars Jack Holt, Katherine de Mille, Luis Alberni, Rosalind Keith and Esther Muir, and the producer has taken every opportunity to see that the utmost has been made of the dramatic values of the story. Jack Holt is cast as an automobile magnate who, on his retirement, decides to hand over his plant to the employees. Strong objections are raised by shareholders and the manager of the company, however, and before long Holt is subjected to many attempts on his life. Not only do the detectives called in to solve the problem find themselves baffled, but one of them loses his life at the hands of the plotter before the latter is unmasked in a gripping scene at the millionaire’s mountain home. Bright and laughable situations are included in “ Off to the Races,” in which Jed Prouty, Spring and “ Uncle ’ Slim Summerville head the scenes of laughter. There is a racy story running through this comedy, which is bound to appeal to all types of picturegoers. The box plans for the season will be found at the theatre and the D.I.C.

OCTAGON THEATRE The beginnings of a mighty city, its growth into a vigorous if somewhat unbridled metropolis of the middle west, and the salutary lesson it receives when it is purged of its most troublesome quarter by a devastating fire are graphically and dramatically told in “In Old Chicago,” which was shown before large audiences at the Octagon Theatre yesterday. Much has been made In this production of the evils of ward control in municipal politics, such as was practised in American cities, and around this theme a story that is replete with dramatic as well as romantic detail has been skilfully woven, the story reaching its climax with the terrible conflagration which wiped out the notorious quarter of Chicago known as “The Patch.” As a spectacle, the production is unrivalled in its effectiveness, the final scenes, in which the relentless spread of the huge fire, fanned by a high gale, drive thousands of people from their homes to seek refuge in the river, being amongst the most realistic and impressive in the history of the screen. The roaring of the flames as the flimsy wooden buildings are engulfed in the advancing wall of fire, the frantic shrilling of the fire-engine whistles as a hopeless battle is waged against the vast conflagration, and the terrorstricken flight of the inhabitants cf “The Patch,” create a climax that is a fitting conclusion to a production that excites instant admiration. The dramatic side of the story is also of a particularly high standard, the opposing elements in the political life of the growing city being centred in two brothers, who, despite diametrically opposed outlooks, have the sincerest regard for each other’s capabilities. One is a young lawyer whose one desire is to stamp out vice, lawlessness and corruption in the city’s administration, and the other is a brilliant gambler and speculator who seeks, by graft and trickery, to be the governing power behind the nominal heads of the city. Don Ameche, as the lawyer. Jack O’Leary, is responsible for a sound performance which has every aspect of sincerity, and he creates a character which is in strong contrast to that of Dion O’Leary, the brother, played by Tyrone Power. Power’s characterisation is a convincing one, and he makes the clever and not too scrupulous brother a figure that is at the one time engaging yet avid for power. The outstanding performance of the production, however, is that given by Alice Brady, as the Widow O’Leary, the mother of the two boys. Hers is a finely restrained study that at the same time has a requisite amount of colour and life in its conception. She is the forthright Irish woman, proud of her brilliant children, yet always conscious of the respectability of her standing, to the life, and succeeds in dominating every scene in which she appears. Alice Faye, as Belle Fawcett, the darling of “The Patch,” and Brian Donlevy, in an unsympathetic role as Gil Warren, Dion O Leary’s rival for political control of the city, are also well cast, the latter giving a particularly impressive performance. The early scenes show the widow O’Leary established in Chicago in the fifties and labouring as a laundress to support her family of young sons. As they reach manhood the two elder boys, while still the best of friends, take opposite paths in the world, Jack embarking on a study of the law, and Dion placing his trust in the keenness of his wits to gain him a high place in the community. As the result of chance. Dion discovers that a horse tram is to be constructed along a certain route, and uses this information to persuade one or two influential citizens to assist him in the construction of a dance saloon on a commanding site. He also enlists the help of Belle Fawcett, an entertainer in another saloon run by Gil Warren, and establishes her in the new place of entertainment. Warren, simulating friendship with the man who has robbed him of his best drawing card, endeavours to gain his support when he decides to run for the mayoralty of the city, but while outwardly acceding to his rival’s wishes. Dion secretly undertakes a scheme which has the result of placing his brother Jack, a rising young lawyer, in the running for the mayoralty. Warren learns of his somewhat underhand strategy and swears revenge, but Dion outwits him by having all his principal henchmen locked up on the day of the election, which his brother wins handsomely Jack, however, is determined to clean up “The Patch," which he regards as an eyesore, and Institutes an inquiry which will be particularly damaging to his brother. This, however, is also nipped in the bud by Dion, who marries Belle Fawcett, who is to be Jack’s principal witness, and in a series of dramatic scenes the story draws to a close to the accompaniment of roaring flames as Chicago’s slum area is wiped off the map. There is a short supporting programme. The box plans arc at the theatre and at Begg’s

EMPIRE THEATRE . When Thorne Smith wrote ms stones of Topper he probably did not have in mind the possibility of their being translated to the screen tt remained for Hal Roach, that most intrepid of, comedy-makers, to think of that. '• Topper, ’’ Metro-Goldwyn-Mayer’s screen version of “ The Jovial Ghosts,” commenced a season at the Empire Theatre yesterday, and. judging by the enthusiasm of last night’s audience, should enjoy an outstandingly successful season. It is not all of Thorne Smith’s Topper that one sees on the screen, but one must make allowances for the amount of incident that may be crowded into 90 minutes of film and it would be a grasping critic indeed who would like a longer dose of fun than Is contained in the production, Topper was a very conventional man who worked in a large bank George and Marion Kerby were not conventional at all. and did no work. They played and made merry all night and spent the day preparing to do it all again Then one night their garish motor car. the scandal of the suburb, crashed into a tree and they were no more. At least, that Is what should have been the case, but when Topper, as a gesture of defiance to his wife bought the rehabilitated car and drove it past the tree where the tragedy had occurred he found that they still existed in the .spirit. Indeed. they formed a close attachment for Topper and refused to go anywhere without him. George.was less inclined to be constant and true to the new friend than Marion, and when she found herself deserted by the capricious spirit of her husband, she just went to Topper’s bank to

look him up. It was this which started a long series of unusual and exciting adventures. Marion, being a low-planed spirit, was able as her supply of ectoplasm permitted, to j materialise at will, but it was when she was not visible that most of the fun occurred. There was the occasion when the staff of an hotel was disorganised by the uncanny antics of a pen which signed the register without human aid, the motor car which moved about without a driver, and again the time when a whole squad of police combed a room for people who threw electric lights at them, but could not be found. Not a little of the fun is due to the excellent work of the technical staff which produced the picture. The scene in which an automobile changes a punctured tyre entirely without the appearance of any human agency is a wonder of trick photography, and there are many more equally breath-taking. Though the secret of how it was done is not given away, it may be said that the idea is exactly similar to that employed in the making of H. G. Wells’s “Invisible Man.” Again, the picture could not have been successful without a carefully chosen cast, and there can be little doubt that it was a stroke of genius that caused the selection of Roland Young for the part of Topper, and Cary Grant for that of George Kerby. Constance Bennett is decidedly charming as Marion Kerby, both in the spirit and the flesh, and Billie Burke is suitably tragic as the errant Topper’s wife. The first half of the programme is occupied by three excellent shorts. They include a Pathe news reel which gives a variety of interesting topical items, a Pete Smith oddity dealing with the sport of skiing as only Pete Smith can deal with such a subject, and finally a “ Crime Does Not Pay ” • film in which the racket of charity swindlers is exposed. The box plans are at the theatre and the D.I.C.

GRAND THEATRE A cheerful and highly entertaining bill of fare is provided in the programme at the Grand Theatre, with “ Breakfast for Two,” a comedy with a romantic motif, as the outstanding attraction, and a first-class assortment of supporting subjects. In the main picture Barbara Stanwyck and Herbert Marshall appear in a new light as knock-about comedy artists, and they give a highly joyous atmosphere to the story. Marshall plays the part of a “ playboy ” who has inherited a large income from business interests in which he is not interested, and has devoted all his talents to dissipating his fortune when Miss Stanwyck comes to town with the object of doing her good deed. In the course of her activities, which are strongly resented by the object of her affections, she proves the truth of the old proverb that it is not the way to paradise that is paved with good intentions. Acting on the policy that all is fair in love and ivar, the pair settle down to an hilarious fight. Barbara Stanwyck’s cave woman tactics and Herbert Marshall’s masculine reactions to being treated rough set the pace for highspeed comedy, while Glenda Farrell gets in some of her best characteristic work, and Eric Blore and Donald Meek keep the fun going at a fine pace. The box plans are at the theatre and Begg’s.

STATE THEATRE Distinguished alike by particularly capable acting and faultless production, “King Solomon’s Mines,” a film version of Sir H. Rider Haggard’s popular novel, opened its Dunedin season yesterday at the State Theatre. Apart from the essential entertainment that the story affords, the film is graced by an exceptionally strong cast, above which Paul Robeson, in a leading role, towers head and shoulders. The production, however, is more than a mere vehicle for Robeson—it is in itself one of the most spectacular films which have been shown here for many a day. To secure authentic backgrounds for the story, a production unit was sent to South Africa, and native “ extras ” were engaged to provide added realism. The scenes of native warfare and celebrations are intensely gripping, and actual photographs of the famous Zimbabwe ruins, which are said to have inspired Rider Haggard to write the story, are also included. There are, - moreover, vivid scenes of diamond diggings, trackless desert and jungle, and the tremendously impressive climax —a volcanic eruption—is staged with extraordinary skill, to set the seal on a film replete with thrills, drama, and action. To recapitulate the story of “ King Solomon’s Mines ” is unnecessary. Suffice it to say that the characters are brought to life by a cast every member of which handles his or her part to perfection. As Umbopa, who leads Allan Quartermaki’s party into the unknown, Paul Robeson has a role which enables him to exploit to the full all those attributes which have made him the idol of picturegoers the world over. Not only does he prove himself an actor of intense dramatic force, but once again he delights his audience with his vigorous singing of several songs, which alone make the picture something to remember. Of these, “ Song of the Mountain ’ is perhaps the outstanding number, others which have a distinct appeal being “The Wagon Song” and “ Kukuana,” the last-named of which is sung with rare effect as Umbopa welcomes the returning sun after the timely eclipse which saves the party from annihilation. Superb, however, as is the performance of Robeson, the great negro artist by no means dominates the picture. Sir Cedric Hardwicke, the noted English actor, has rarely interpreted a character with more effect than that of Allan Quartermain, and he makes the great hunter of the story live just as Rider Haggard must have intended him to. As Kathy O’Brien, the irresponsible but entirely lovable colleen who leads the party into all sorts of dangers, Anna Lee has the only feminine role. and. with John Loder as Sir Henry Curtis, the intrepid adventurer, supplies a touching romantic interest which lightens the more dramatic side of the story. In the role of Commander Good, that typically cool naval officer who can laugh at any danger, Roland Young is at his best. On his shoulders falls the responsibility of the comedy relief, and his work throughout bears the touch of the real artist In addition to the main picture, an entertaining and varied programme of short subjects is also shown. The box plans are at the theatre and Begg's

REGENT THEATRE With the colour and romantic charm of the South Seas reproduced in the most realistic technicolour and with a tense, exciting story from Robert Louis Stevenson’s famous pen, there is little wonder that “ Ebb Tide.” the Regent Theatre’s outstanding new feature created a profound impression with those Winter Show visitors who attended the opening screenings yesterday. It is a strong dramatic talc of stirring adventures on island and sea that grips the interest from the opening beach scene to the closing blaze of colour of a South Seas sunset and the culmination of a South Seas romance that is kept quietly in the background while terrifically interesting events follow one another in rapid succession. “ Ebb Tide ” is one of the very few pictures that can maintain an audience in a pitch of excited interest from beginning to end. It is one of the masterpieces of the screen that has performed the difficult task of improving on the brilliance of a writer’s tale, with the result that words are of little use in describing its epic grandeur The story opens quietly with an ill-assorted trio of beachcombers comforting each other in thenbad luck on the beautiful South Sea island of Tahua Then a strange schooner flying the yellow flag puts into the island port and the fortune of the trio changes. One of them, a disrated sea captain, is offered a chance to take the masterless ship to Sydney and he signs on his comrades as mate and steward. At sea they conceive the idea of making off with the vessel to Peru and selling the cargo and ship to make their fortunes in the mines Their plans are interrupted by the appearance of the dead captain's daughter, but, despite her protests and attempts to shoot the captain, they hold to their plan. It is then that the Cockney steward—an objectionable creature—finds the cargo of champagne.

and he and the skipper help themselves to the drink, with the result that there is only their comrade and the Kanaka crew to sail the ship. A I tornado, magnificently filmed and sensational in the extreme, nearly brings disaster to the ill-manned vessel, and she limps into an uncharted island lagoon in search of supplies. There is something ominous and terrifying in the appearance of the island for there is no one to be seen despite the presence of a grotesque ship’s : figurehead, a house of ship’s parts and a British flag at the masthead. The three men are in the midst of satisfyj ing their curiosity when the owner ot the property appears dramatically with his native bodyguard and at once the ] tenseness of the atmosphere grows He ! is eccentric in the extreme and the I dinner party he gives his guest? and j his after-dinner stories do not help ■ by any means to eliminate the feeling lof uneasiness. The greed of the skipi per and the Cockney when they learn ' of the resident’s fortune of pearls gets i them into trouble and an unforgettable 1 climax, with a remarkably enacted death scene, ends the tension of the , island drama and the schooner is able l to sail away to bring a happy ending jto the film. The acting is magnificent , and every player contributes to its exI cellence. Honours must, however, go to the Continental actor Oscar Homolka, who gives an unusually fine portrayal as the skipper of the vessel His every gesture and facial expression conveys a wealth of meaning and he fills a difficult role with distinction. Rav Milland also acts brilliantly in the role of the mate who falls in love with the dead skipper’s daughter, played by the beautiful and accomplished actress, Frances Farmer. Barry Fitzgerald make a distinctly objectionI able yet at times amusing Cockney, l and Lloyd Nolan vividly portrays the ! sinister and unpleasant madman-owner |of the island. The supporting programme is fully in keeping with the excellence of the main fare and com- ; prises a Popeye cartoon, “ I Likes Babies and Infinks,” a Paramount Pictorial, an excellent feature, “ Let’s Go Latin,” and newsreels. The box plans are at the theatre and the D.I.C.

ST. JAMES THEATRE Crammed with humour, displaying beautiful girls, and presenting tuneful melodies, “Artists and Models,” the Gt. James Theatre’s new attraction, should appeal to all who have a liking for the lavish and entertaining type of picture. It is produced on a large scale, but it would not be the musical triumph it is were it not for the performance of Jack Benny as a placid, matter-of-fact head of an advertising agency. This famous American radio personality maintained the high standard he has set in his previous films, and his good-natured clowning is the outstanding feature of this production. One scene, in particular, when a wealthy young society woman, played by Gail Patrick, proposes marriage to him, is one of the funniest the screen has shown for some time. Benny, by virtue of the fact that he is chairman of the Artists’ Ball. Committee, secures a valuable contract from a millionaire manufacturer of silverware (Richard Arlen) on the understanding that the “ Silverware Girl ” will be chosen as queen of the ball. Benny has half promised the honour to Ida Lupino, a professional model with whom he is in love, but Arlen prefers the society girl (Miss Patrick). So Miss Lupino sets out to prove that she is as good as any society girl, and falls in love with Arlen, while Benny is consoled with Miss Patrick. In and out of the story dash the crazy Yacht Club Boys, full of “ inspirations ” for the forthcoming ball. Andre Kostelanetz and his Orchestra are featured in a magnificent setting, and Connie Boswell gives a perfect rendition of “ Whispers in the Dark.” An underwater “ dance ” novelty, a clever puppet show featuring “Mr Esquire,” and hilarious dance work by Ben Blue and Judy Canora, are distinctive and entertaining interludes. The spectacular highlight is the ball sequence, which features—though perhaps not so much as one might expect—some of America’s leading illustrators and several of the world’s most famous models, including Sandra Storm. Some of the camera “shots” in this fast-moving musical are especially attractive from an impressionistic angle. The greatest appeal of the production is its “freshness,” which easily keeps within the limits of bright, intelligent entertainment. Deftly directed by Raoul Walsh, “Artists and Model ” is a melodious and vivacious story, and should meet with the approval of the St. James Theatre’s “ Show Week ” patrons. In support of the main feature is a programme of interesting featurettes which present an attractive cross-sec-tion of kinema entertainment. A “ Popeye the Sailor ” cartoon, an entertaining “Unusual Pets” film, and the newsreels showing events of the day from all over the globe, are worthy of special mention. Dance music enthusiasts will find several new numbers in the main film. These include “Mr Esquire,” “Sasha Pasha,” “Stop, You’re Breaking my Heart.” “Life is Like a Bubble,” and the notable “ Whispers in the Dark.” The box plans for this programme will be found at the theatre, the D.1.C.. and Jacobs’s.

MAYFAIR THEATRE A cast headed by Joan Crawford, William Powell and Robert Montgomery appears at the Mayfair Theatre in Metro-Goldwyn-Mayer’s “The Last of Mrs Cheyney,” based on the stage play by Frederic Lonsdale. The screen version of this memorable play is said to be better than the original. An exceptional supporting cast includes Frank Morgan, Jessie Ralph Nigel Bruce, Colleen Clare. Benita Hume, Ralph Forbes, Aileen Pringle and Melville Cooper. The story, ultra-modern as a stage play, has been advanced to the current minute in dialogue and atmosphere, so that It is more than ever smart and sophisticated. All the thrills of those adventurous days when men dared all for love live again in “ Under the Red Robe." an exciting swashbuckling romance starring Conrad Veidt and Annabella. which will be the associate feature. A colourful and epic photoplay, the Twentieth CenturyFox release is based on the story by Stanley J. Weyman and on the stage olay by Edward Rose. Combining the intrigue of “ Richelieu,” the romance of “ The Scarlet Pimpernel,’' and the adventure of “ The Three Musketeers," the picture tells a tale of scarlet intrigue that threatens a throne, with Conrad Veidt, acclaimed as one of the greatest actors Europe ever produced, as the dashing audacious adventurer Gil de Berault. whose sword strikes terror into the hearts of men, and whose smile brings love to the hearts of women. Box plans are at the D.I.C. and Gadd’s.