AMUSEMENTS

Otago Daily Times, Issue 23637, 22 October 1938, Page 19

AMUSEMENTS

OCTAGON THEATRE So many superlatives have been used in the past to describe the sheer artistry on the ice of Sonja Henie that it is relatively difficult to describe afresh the poetry of motion of this twinkling star in ‘ Happy Landing," which commenced a season at the Octagon Theatre yesterday. Her art is consummate. She dances her way on silver skates through a will-o’-the-wisp story, and makes of her latest picture a gay and delightful adventure. It is two years now since Sonja Henie arrived in Hollywood from her native Norway, and in that time she has been the pivot of three of the most spectacular and popular musical shows that have been filmed—“A Girl in a Million,” "Thin Ice,” and now “Happy Landing,” the most lavishlystaged and produced of the three. Never has the radiant skating champion been so graceful and so exciting as in the ice scenes of this production when the thrill and daring of her evolutions has to be seen to be believed, while the magnificent settings provide a background ideally suited to the happy mood of the entertainment. It might have been thought that two pictures would have been enough to exhaust the screen possibilities of Miss Henie. but “ Happy Landing" rather proves to the contrary. Restricted though she is by the fact that she has to be kept on ice, th° little blonde skating champion shows that she still has plenty of entertainment of the most meritorious kind to give the world. Best of all. she remains individual; she still refuses to conform to stereotyped Hollywood standards. At the same time, however, her grip on talkie technique is rapidly showing improvement, for she seems to be learning how to act without giving the impression of obviously trying. The story of “ Happy Landing ” has been written so that a fair part of it will show the star in her natural environment. This is brought about by Cesar Romero, a song-writing band leader, and his agent, Don Ameche, flying the Atlantic, and, forced from their course by an ocean fog, coming down in Norway, where Miss Henie, cast as one of five daughters of Jean Hersholt, is the central figure in an ice carnival. A simple and unsophisticated maiden, she is attracted by the surface appeal of the suave Romero, and is flattered when he asks her twice to dance with him at the “ Bride’s Fair.” Unfortunately an old Norwegian custom is invoked by this act, for a man who dances twice with a girl at the fair is taken to be proposing to her. The result is that Romero is involved in a love affair that is all 'hero-worshipping on the part of Miss Henie. Don Ameche, sincere in his interest, endeavours to keep things on an even keel, but the situation becomes more involved when the flyers return to America. They are followed by the skating champion, who then discovers that Romero is very much engaged to a girl in his home country. She is sadly disillusioned by the band leader, but is sufficiently consoled by the handsome and much more reliable Don Ameche, The story actually is a slight one, but it is more than sufficient to provide opportunities for Sonja to skate, and for Cesar Romero to create a surprise with his comedy performance. On ice Sonja Henie becomes the embodiment of graceful movement. Often, as in the lovely “ Snow Maiden ” scene, she has the accompaniment of spectacular ballets, but it is the little figure in the foreground which holds the attention of the audience as she skims the surface in bird-like flight. The music of the film is catchy and pleasing. “A Gipsy Told Me” making a charming theme song, insinuating itself into the canvas on which Miss Henie paints so charming a picture. An excellent specialty number is provided by the Raymond Scott Quintet. The supporting programme is a strong one and includes several news reels, one of which shows some shots of the war in China, and an amusing cartoon. The box plans for the season are at the theatre and Begg’s. EMPIRE THEATRE “ Submarine D-l ” is the new feature at the Empire Theatre and in it is crammed all the colour and magnificence that Americans generally manage to gather around the various arms cf defence of the United States. It is possible that neither the scenario writer nor the producer has ever heard of the British Navy, so that frequent reierences to the finest body of men in the world are not unreasonable. But apart from such considerations, the film gives an illuminating insight into the tremendous development of naval armament since the days of the Great War. The American Fleet is deified throughout, with special emphasis on the submarine section, and in achieving this end the producers give a striking demonstration of the advances that have been made of late years in this form of defence or offence. Submarine warfare, if this film is to be believed, is no longer the hazardous adventure it v/as once. There was a time when even the prejudice against U-boat attacks was not strong enough altogether to drown feelings of admiration for those who in the prosecution of a campaign were willing to descend into the depths of the sea. but Warner Brothers in “ Submarine D-l ” have given a demonstration of safety devices in this sphere of naval combat which reduce the risk to an enormous degree. It is easy tc imagine that under active service conditions some of the safeguards would not apply, but af the same time the death like rats ai a trap which for so long has been commonly regarded as the prouaDle fate of submarine crews is no longei. an actuality. Jt'roni the very bed ui the ocean the whole crew of an under-water craft can, to all intents and purposes, rescue themselves by the proper application of the life-saving devices tnal science has provided. L.argeiy, .he film is an exposition of these advances in suomanne warfare, but through the whole production there runs a mm vein of romance, which, like all weaves of Bollywood spuming, ends happily Added to this there, .s some genuine comeuy, whief seems to be ail the more engagingly real and acceptable because it appears to nave nothing whatever to do with the sub ject in hand. Pat O'Brien, that rugged and convincing example of American infantry, artillery, aviation and naval technique, has the leading role, and he carries his part with his customary debonair swagger and nonchalance not forgetting to add that irresistible touch of the lover who renounces iiis devotion for some more suitable swam who may or may not make the object of his affections happier than he could ever hope to do. George Brent appears as a very serious naval commander, consumed entirely and utterly by the traditions of the service, and he does it fairly well. Frank McHugh makes fui of everything, not excluding American naval traditions, subordinating everything from naval regulations to personal convenience to the possibility of a win in a problematical ottery. In fact, there is so little ongh' humour in “ Submarine D-l ' that every time this player appears on the screen there is an anticipatory laugh. Wayne Morris has a part that suits him well, and he makes the most of it He develops from the devil-may-care gob * into the most hide-bound upholder of the great traditions of the United States Navy, and gives point to ms conversion by some really effective heroics at the end The supporting programme includes a colourtone film, “The Long Bright Land," depicting certain aspects of New Zealand life and scenery all of which are exhibited with a musical background based on the New Zealand National Anthem. The box plans for the season will be found, as usual, at the theatre and at the D.I.C. GRAND THEATRE For some months, the Mr Moto of Peter Lorre has been more or !ess deputising for the Charlie Chan of Warner Gland at the studios of Twentieth Century-Fox. With the death of Gland in Sweden recently, it now looks as if Mr Moto will step formally into Chan’s shoes as the screen’s most übiquitous private sleuth. The main difference is that whereas Chan was Chinese, Mr Moto hails from Japan. Otherwise, their technique of crime

detection is much the same, and so is the blandness of their manner. Mr Moto, however, is showing the effects of his association with Americans; while his speech is still slightly ironical, it is losing its delicate Oriental innuendoes and its flowery aphorisms. This is to be noted in Peter Lorre’s latest picture, “Mr Moto’s Gamble,” now at the Grand Theatre. “Mr Moto’s Gamble ” is a worth-while film in the series, with plenty of exciting incidents and vigorous direction. The imperturbable little Japanese sleuth is given an assignment as a lecturer in criminology at an American college. He has the opportunity to put his precepts into practice following a murder that is committed in the presence of an audience of 20,000 people. The victim is a prize-fighter, who does not recover from the winning blow administered by Dick Baldwin, his opponent. Mr Moto proves that the death was not an accident, but murder. Smith Ballew. the singing cowboy, is featured in “Panamint’s Brdman.” the second attraction. Box plans are atthe theatre and at Begg’s. STATE THEATRE For those who like the Ritz Brothers, and their number is by no means small, the best show in town this week will be “ Kentucky Moonshine,” at the State Theatre; in which the irresponsible trio play the leading part. Adjectives are wasted, or, rather, are insufficient to describe from the point of fun that the production provides. As one northern writer has phrased it, “ Don Bradman can score runs quickly in cricket; but he would have to hit boundaries all the time to keep up with the laughs every minute of the hour and a-half the three Ritz Brothers hold the audience in what is, without doubt, one of the greatest farcical comedies to be screened in Auckland.” The Ritz Brothers’ humour is clean, clever, and fast. They are not, however. the only attraction in the picture. Popular Tony Martin and a new leading lady. Marjorie Weaver, provide the not-inconsiderable romantic interest, and the story is more than sufficient to act as a frame for the frantic fooleries of the comedians. The supporting cast includes those splendid character players John Carradine, Slim Summerville, and Berton Churchill. The story deals with the failure of the Ritz Brothers to get an audition with the sponsor of a radio programme, and they are m despair since their landlady is about to commandeer their belongings and those of a girl singer (Marjorie Weaver) for overdue rents. Hearing that a radio talent scout is on his way to Kentucky for some genuine hill-billy artists to replace the synthetic specimens supplied by Broadway, the girl encourages one of the boarders to advance them the money to go to Kentucky. In the hill country the Ritzes emerge as hirsute eccentrics, taking up residence in a shack left vacant by a family which has been cleaned out by a local feud. Very shortly after their arrival they are given a thorough scare by the arrival of some genuine mountaineers who are just making sure that the family is extinct. With the arrival of the radio scout, however, they sing, dance, and clown to such purpose that a broadcast is arranged, and is followed by a New York engagement. Tony Martin has fallen in love with the charming, unspoiled “mountain girl,” and his admiration causes her such qualms of conscience about the deception that she runs away. Immediately after, the deception is uncovered when the hairy adornment of one of the brothers becomes misplaced. A panic ensues and the ! empo of the fun becomes positively fast and furious with the Ritzes running riot in the studio, locking up sponsors and officials until they put over their broadcast, which is of course such a hit that all indignation is waived by the sponsor in his eagerness to get their signatures on the dotted line, and all ends well. Nothing more •.lever or more laughable have the brothers presented than their burlesque of “ Snow White and the Seven Dwarfs.” The caricature of the Wicked Queen is a brilliant piece of buffoonery and the film is worth seeing for this alone. Other delightful numbers are the songs “ Moonshine Over Kentucky ” “ Reuben, Reuben, I’ve Been Swingin’ ” and “ Sing a Song of Harvest.” Marjorie Weaver does some fine singing and Tony Martin does good work, but the picture is definitely the Ritzes’ triumph. The supporting programme is an excellent one. It includes a delightful Terry-toon, “ The Devil of the Deep”; a comedy, “Getting an Eyeful ”; a further issue of “ Popular Science.” and newsreels. The box plans are at the theatre and Begg's.

REGENT THEATRE In the spate of comedies of the " crazy ” type that has been released on the film market recently there is an odd feature which stands head and shoulders, if the terms is permissible, above its fellows. Such a one is “ Romance for Three," which opened its Dunedin season at the Regent Theatre yesterday, and gave its firstnight audience a laugh the like of which has not been achieved by a film for some time. The story is “crazy,” the cast is not spattered with headliners, but the acting Is brilliant, and the whole production is an egregiously laughable one. Its path is a ridiculously gay and sprightly one, although the nonsense is not allowed to run away with the show. “ Romance for Three ” is perhaps described better as an irresponsible comedy rather than a crazy one. The situations and characters are incredible but they have a human quality and a spontaneous gaiety that disarms criticism and merely leaves one to laugh. Frank Morgan’s presence can always be taken as a guarantee of something clever in the typical Morgan way. and in this film he has Edna May Oliver, Reginald Owen, and Herman Bing, three other famous comedians, along with him. Then there are Robert Young. Mary Astor, and Florence Rice, so that when one looks at the cast that way it does appear a rather outstanding one. But this is not a film of individual triumphs as much as one of team work of the highest degree. It starts off by introducing a Viennese soap millionaire, one Tobler, winning the second prize in a slogan competition conducted by his own firm and trying to embrace the simple life by enjoying his prize, a vacation at an alpine resort, as a humble prizewinner would. At least that was his Idea, and it worked out better than he could have imagined. The winner, of the first prize (Robert Young) actually is poor, but through a misund°rstanding caused by the mil-, lionaire’s relentless housekeeper (Edna May Oliver) everything gets mixed up and the poor young prize-winner is mistaken for the wealthy manufacturer of soap and the millionaire is so shamefully treated that at one stage he is nut to washing dishes in the kitchen By the time an adventuress (Mary Astor) has begun to set her nets, the housekeeper and the daughter of the millionaire arrive, and romance is born between the rich young woman and the poor voung prize-winner, the whole thing has become a hearty masquerade. It would not do to outline all of the amusing situations. They crowd one on top of the other, until Tobler finds that it was his money and not himself that was attracting the vamp, is disgusted with the attitude of the hotel toward him. and (lings out of it in high dudgeon. There are still ways and means of settling the awkward position that has arisen between the two young 'overs and the evening up of the score against the hotel manager and head porter, and the climax to it all is worthy of the context of the film and the portrayal of it Morgan is at his very bright best, and his team of comedians is a grand one. Young and Florence Rice are a natural pair of lovers, and there is not a dull minute from beginning to end. The highlights of the more boisterous humour are perhaps Edna May Oliver’s unpremeditated ski run and her unhappy landing and Morgan’s encounter with a washing machine: but there is much more subtle humour that is extremely well done “ Romance for Three ” should not be ecommended for those who want a quiet evening, but for those who want a real laugh it can be graded at the lop of the class. The supporting programme includes an Our Gang comedy m which a wrestling “ racket ” is exposed, a fine historical mystery, “The Face Behind the Mask.” a bright musi-

cal, a travelogue, and newsreels—altogether an attractive combination. The box plans are at the theatre and the D.I.C. ST. JAMES THEATRE "You’re Only Young Once,” the attraction heading the new programme at the St. James Theatre, is a production rich with the warmth of human understanding. Though the problems besetting an American father when his young son and daughter become involved in romances not to the liking of their parents might seem tame enough fare for the making of a film, when handled by an excellent cast and in the hands of a director who knows his business, they can provide excellent entertainment for the whole family, and it is this which makes the film such an ideal holiday programme. The presence in. the cast alone of Lewis Stone, the veteran actor, would be sufficient to indicate the film’s worth, but his name is also coupled with those of Cecilia Parker and Mickey Rooney, and all give performances very much above the average. Stone always a tower of strength in himself, is responsible for a sincere portrayal of Judge Hardy, and it is a role invested with the polished ease characteristic of the actor. He takes his family to Catalina Island in the hope of getting in a little sword fishing. He has not taken into account, however, the callow spring fever of his son (Mickey Rooney) or the adolescent yearnings of his daughter (Cecilia Parker). Both children play with romantic fire, and have to be rescued by their father. Hard-boiled little Andrew chooses the shallow spendthrift daughter of a Reno divorcee, and Cecilia a goodlooking lifeguard. Trouble naturally ensues, but the tactful judge, not willing to estrange his children, gradually makes them realise their bad bargains. The film is not devoid of ludicrously-funny situations; Andrew’s adolescent attempts at love being chiefly responsible. Dramatic relief is offered by the judge cleverly outwitting a criminal who attempts to ruin him. Every performance in the film adds something worthwhile to the refreshing ' pattern, and although the enormous vitality and strong sense of humour of Mickey Rooney dominate the picture and prove again what a brilliant young artist he is, it does not do so at the expense of any other player. Murder, blackmail, and romance combine in “Non Stop —New York,” the associate feature, to make one of the most sensational films ever issued from a British studio. Exciting and unusual enough ip its opening phases, the film reaches its gripping climax in a transoceanic airliner speeding across the Atlantic at 300 miles an hour. Anna Lee and John Loder (who appeared together in “ King Solomon s Mines”) have the principal roles, A chorus girl in New York, Anna Lee witnesses a brutal gang killing, and. virtually kidnapped by the guilty party is hurried off to England. So as to make quite sure of her being unable to give evidence, they get her arrested on a trumped-up charge, her story being ignored by the police as a ruse to obtain the publicity so dear to a chorus girl’s heart. The girl finds that she must play a lone game against the criminals. In New York an innocent man is being tried for the kill-' ing and. on being found guilty, is about to be sent to the electric chair. In desperation, Anna Lee stows away on board the transatlantic plane which carries as passengers the chief of the gangsters, a Scotland Yard inspector, the blackmailer, and, last but pot least, a boy prodigy of the violin who provides the humorous relief to the events which follow. After a series of dramatic incidents, the killer is unmasked, and the climax is reached when he leaps from the plane as.it is plunging to its doom, the pilot murdered at the controls. How the situation resolves itself is for the theatregoer to find out for himself. The box plans will be found at the theataa. Jacobs s and the D.I.C. STRAND THEATRE Some of the more vigorous aspects of the life of a fireman are unfurled in the romantic drama “ she Loved a Fireman, which commenced screening in association with “ Boots and Saddles, a Western musical, at the Strand Theatre yesterday. Fast and exciting action is cleverly combined with some spectacular photography in the former film, which features Dick Foran, Bob Armstrong, Ann Sheridan and May Beatty. Traversing a long-standing fond between a captain of the Fire Brigade and an ex-bookmaker, the story relates how the latter joins the force in an endeavour to pay off old scores. He falls in love with the captains sister, and the ill-feeling between the two becomes even moie pronounced- A thrilling climax is reached when the exbookmaker, at -a great personal risk, saves his captain from certain death when both are engaged in fighting a fire which broke out in a warehouse stored with explosives. One of the most popular Western stars of the screen, Gene Autry, heads the cast of “Boots and Saddles.” In traditional manner, Autry rides hard, sings cowboy melodies, fights in the approved style, and courts his fair lady with true Western fervour. The picture is of additional interest to local audiences as included in the cast is Ra Hould, the Dunedin boy, who is rapidly making a name for himself in Hollywood productions. The plot is built up round the efforts of rival factions to gam control of a ranch owned by the Earl of Granville (Ra Hould) and managed by Autry. Prominent in the supporting cast are “Smiley” Burnette and Judith Allen. The box plans are at the theatre and the D.I.C.

MAYFAIR THEATRE Superlatives, as a rule, are a risky business. iNevertheless, “The Awxul Truth,” now at the Mayfair Theatre, is said to justify them. The film is based on tne famous stage success of the same name. The story is as intelligent as it is funny, and happily stays on this side of the “madcap sort of screen fare. Coming to the screen from the pen of Vina Delmar,author of “ Bad Girl,” “ The Awful Truth” depicts the marital mishaps of the Warriners, played by Miss Dunne and Cary Grant. Wealthy and very much in love with each other, they nevertheless come to grief in the divorce courts when misunderstandings are amplified with disastrous results. At this point in the story Mr Smith makes his entrance. Mr Smith is their wire-haired terrier, played by Skippy, seen as Asta in “After the Thin Man.” Irene wants him but so does Cary. By a ruse Irene wins custody of the animal, but the court permits Cary to visit him once a month. On one of these visits to Mr Smith Cary meets Ralph Bellamy, an oil baron who is courting Irene. Cary, himself, is running around with a cabaret entertainer, but wants a reconciliation with his wife. Film detective enthusiasts who pride themselves on solving screen mysteries before the kinema detective have a difficult task in “The Lady in the Morgue,” another one of the famous Universal Crime Club mysteries, which is also screening. The audience is left in doubt until the end regarding the identity of the real killer, inasmuch as the plot has been woven so carefully as to practically defy solution of the mystery in advance. Preston Foster heads the cast, and is supported by Frank Jenks, Tom Jackson. Morgan Wallace, and Patricia Ellis. The box plans are at the theatre and the D.I.C.