AMUSEMENTS

Otago Daily Times, Issue 24415, 28 September 1940, Page 13

AMUSEMENTS

THE NEW PROGRAMMES OCTAGON THEATRE FOURTH WEEK OF “ REBECCA” Few pictures have captured the imagination and caught the attention of Dunedin theatre-goers so completely as the outstanding drama “Rebecca,” wihch yesterday entered upon its fourth week at the Octagon Theatre. This brilliantly-produced screen version of Daphne du Manner's great book, is a film that can be seen again and again and enjoyed more each time a fact that will be vouched for by numerous Dunedin people. The story of Daphne du Maurier’s enthralling book is a distinctly unusual one, and, except for minor changes due to the necessity for abbreviation, the original work is followed faithfully. It tells of a. wealthy Englishman who loses his wife under tragic circumstances. He goes to the south of France to forget, and there meets a shy but attractive girl, who suffers badly from an inferiority complex. He marries her and the couple return to Manderley. a magnificent country estate which terrifies the new bride in its hugeness and importance. But worse than the task of living up to the position as the new Mrs de Winter is the feeling that she cannot get away from the influence of the first wife, who was extremely beautiful and capable. The sense of oppression is heightened by the house, keeper, who is insanely in love with the memory of the first Mrs de Winter and resents the new bride. The story works up to a tense and powerful climax which is briliantly handled. Laurence Olivier and Joan Fontaine handle the major roles in masterly fashion, and they are well supported by George Sanders, Nigel Bruce, and Judith Anderson. The supporting programme consists of an interesting “March of Time.” The box plans are at the theatre and Begg’s. GRAND THEATRE BRITISH MYSTERY DRAMA “The Spider,” now screening at the Grand Theatre, is of special interest to film audiences these days. The action takes place in and around London, with well-known places forming the background for the story of murder and detection. As is usual with an English film, the actors, conscripted from the leading ranks of English professionals, have been very well cast. Diana Churchill, still remembered by many for her role in “The Dominant Sex,” plays the vivacious Sally, and Derrick de Marney, Sally’s husband. Jean Gillie, Cecil Parker. Allan Jeayes and Frank Cellier are prominent among the other players. The story deals with the efforts of a Scotland Yard detective and his wife to lay by the heels a daring jewel and bank robber known as the “Spider,” who commits one murder and makes two attempts to kill a beautiful stage star before he is caught. The second film is “Free, Blonde and 21," a drama of life in a girls’ hotel. Lynn Bari, Henry Wilcoxon and Mary Beth Hughes have the principal roles. The box plans are at the theatre and Begg's. REGENT THEATRE SENSITIVE, BRILLIANT PRODUCTION Sensitivity, intelligence, and brilliancy of production are the three major factors which make “Juarez,” the tragic historical drama which was offered to patrons at the Regent Theatre last night, one of the most compelling of its kind. “Juarez,” a tale of political unrest in Mexico in the 1860’s, might, with different treatment, have been merely a lusty tale of roaring adventure/ Such is not the case, however. With the cast that Warner Bros, chose, of course, this

Aim could hardly have plumbed the depths of mediocrity. Two of Hollywood’s greatest stars, Paul Muni and Bette Davis, head the list of players, but such names as Claude Rains. John Garfield, Donald Crisp, and Brian Aherne also appeal. And these actors give superb performances. The Mexican adventure of Napoleon 111, the bourgeois Emperor whose grandiose plans were equalled only by his incompetency and lack of courage, is a well-known tale. The story of his puppet Maximilian of Habsburg, who accepted the imperial throne of semi-conquered Mexico under what we would now call false pretences, is one of the great tragedies of the nineteenth century. The drama of the restoration of the Mexican Republic, with the Indian-born Juarez as hero and patriot, is in itself an epic. The material of these three stories, together, is ideally suited to the screen. It is gratifying that it should have been handled with such care, accuracy and sensibility. Jaurez intense, brooding, powerful central figure—is played by Paul Muni in what is probably the finest character interpretation of his career. Maximilian—unhappy misled, honest, well-intentioned puppet. with the desire to do good for his people inevitably offset by the conditions of his accession is played by Brian Aherne with a sincerity and polish that till now have been unsusnected in his manner. v-ar-lotta —pathetic, ambitious, unbalanced “ Empress ” —is played by Bette Davis, in a performance which only occasionally breaks into the exaggeration 01 the Hollywood tradition In the hands of these three, and those of a brilliant supporting cast the film is compelling and memorable. , Not the least of its many virtues is its close adherence to historical tact and the faithful make : up of its principal characters. Brian Aherne is Maximilian stepped out of a gallery portrait. The support!na programme is 'opical and entertaining. It includes The Immortal Brush.” presenting in technicolor some of the world’s most famous paintings. Box plans are at the theatre and the D.I.C. STATE THEATRE “ DRUMS ALONG THE MOHAWK ” In “Drums Along the Mohawk,” the Twentieth Century classic of colour photography, which began its Dunedin season at the State Theatre yesterday, Darryl F. Zanuck has turned to an era of American pioneering which is rarely exploited on the screen—the days of the War of Independence—and he interprets the trials, the bitter disappointments and the courage of the period through a young couple who face the wilds together and find, there a new and highly vivid life. It is this intimately personal approach to the subject which sets this film head and shoulders above most, other .pioneer films. It is not melodrama but pure drama of American frontier days, and the entrancing value of the picture is all the more enhanced because it has been photographed in natural colours. The title, the material and the background of this film and the performing personnel warrant its coming into the class of a first-class production. The colour scheme makes the outdoor scenery extremely beautiful. Ther. are some shots in it that awe those who love beautiful scenery. The story unfolds in the revolutionary days, and naturally there is fighting. The best part of the picture is in the last two reels, where there is action as a result of fighting and suspense. Even the Red Indians, tigerish demons m other films, seem to be not so mucn the villains of the piece as a condition of life which the pioneers have to fight spiritually as well as physically. The emphasis in “Drums Along the Mohawk ” is not on the actual troubles of the frontiersmen, but on the mental reaction of Gilbert Martin (Henry Fonda) and his wife, Magdalene (Claudette Colbert), to the difficulties confronting them. For all that, the actual troubles are plentiful enough to earn a recommendation for the film solely on the score of action. Reading about action always left the actual picture of excitement to the reader’s own imagination, while action % on the stage Is limited by space, props, and scope But on the screen the scope is limitless. Skilful photography has produced amazing scenes so vivid in their realism that audiences have thrilled to the marrow. Yet seldom has the heat and storm of hand-to-hand battle been filmed so excitingly and realistically as in this film. As the girl from a wealthy home who goes into the Mohawk Valley with her husband. Claudette Colbert follows her series of comedy successes with a keenly penetrating dramatic study. There is reality rather than story-book heroism in her determination to overcome her weakness for her husband’s sake and her development of pioneering fortitude. Tormented alwavs by the struggle

his wife is enduring, the husband, as played by Henry Fonda, also makes a singularly real character. His early enthusiasm and the high hopes built on his first successful crops arc alike blasted by his first experience of Indians on the warpath. But his wife now a determined pioneer, leads him to fresh endeavour, and then Edna May Oliver comes into the story. She plays the part of the pioneer’s widow whe hides the warmest of hearts with a very terse tongue indeed, and the home that she gives to the homeless voung couple proves a Godsend. As far as individual honours are concerned. Edna May Oliver steals the picture. Her’s is a typically masterly oerformance. A parson, who uses the pulpit for advertising as well as supplication. and the women, who rush hither and thither in helpful haste just before a birth, are amusing studies. But, despite the emphasis on character. this film is alive with incidents, whose vividness is heightened by the accuracy of historical detail and brilliant colour photogranhy. The ravaging of lonely cabins by the burning brands or Red Indians, the storming of a fort by another horde, and Gilbert Martin’s marathon by night to seek the assistance of American troops, are arresting and exciting. An excellent array of supporting fealurettes includes a highly diverting Terry Toon cartoon. Box plans are at the theatre and at Begg’s. STRAND THEATRE TROPICAL ADVENTURE A programme of exceptional merit was presented at the Strand Theatx;e yesterday with “ Zanzibar,” a dramatic and thrilling adventure story with a tropical setting at the head of the bill. “ Zanzibar,” is notable not only for the excellence of the story and the fine cast it boasts, but also for the extreme realism of the settings generally and the many parts dealing with the natives of the country The story tells of Jan Browning, a woman explorer and big game hunter, who is requested to head an expedition to recover from its captors a sacred skull, possession of which, in the superstitious minds of the natives, is the symbol of power in the land. With several companions, Jan goes to Zanzibar and reaches the village of a chief to whom she is known. Jan and her friends are captured by the forces of a rival seeker of the skull, and are freed by the friendly chief in time to put up a fight for the skull. Their cause is first endangered. but subsequently helped by a volcanic eruption and there is an exciting flight down a river on a raft. Lola Lane gives a convincing performance in the leading role, and she has strong support from James Craig, Edward Ciannelli. Tom Fadden and Robert C. Fischer The other picture is “ Blondie,” one of the series based on the famous comic strip. It is a homely story of family life, Bab} Dumpling and the dog Daisy providing plenty of laughs. The box plans are at the theatre and the D.I.C. EMPIRE THEATRE •• sherlock " McCarthy in ACTION Displaying a wit as brittle as glass, Charlie McCarthy, the most famous ventriloquist’s doll of the present age, wisecracks his way through several thousand feet of hilarious film in “ Charlie McCarthy, Detective.” This bright picture commenced a season at the Empire Theatre vesterday. and delighted patrons at both sessions. Mr McCarthy carries off his sleuthing with considerable insouciance and flippancy One often wonders during the film that the ventriloquist. Edgar Bergen, has not developed an immense “ inferiority complex.” Charlie’s scornful tongue would certainly do away with any conceit his associates might have. In direct contrast is another “ wooden wonder ” —none other than the bucolic Mortimer Snerd. who incurs his urban cousin’s deepest scorn. The manner in which Bergen manipulates his dolls is little short of amazing, and this, despite the fact that there are several instances of the use of camera technique. McCarthy’s flow of repartee is almost continuous, and credit must go to his owner for the extensive repertoire of quips he has built up. Edgar Kennedy, as a police officer who reaches the point of exasperation when harried by McCarthy’s wordy sallies, lives up to his name as “ Slowburn ” Kennedy. His demeanour is akin to that of a volcano on the point of erupting and, while he has one “ in fits ” the whole time, it is very easy to sympathise with him. In fact, it is extremely easy. A famous publisher and newspaper proprietor has got himself so entangled with a notorious gangster and racketeer that he finds it imperative for

him to get rid of a couple of his too inquisitive reporters so that he can keep his reputation intact. The plot is elaborately designed, but remains vague and improbable. But Universal has given It good production polish, and some gay moments to which Edgar Kennedy contributes delightfully. Charlie McCarthy pays so little attention to solving the crime which he and his master decide to investigate for no particular reason, that it is difficult to discover at most times where he links up with the investigations. But he captivates his audience with an irresistible appeal. His rival, Mortimer Snerd, could probably give an equally irresistible an account of himself, but Charlie’s immense popularity apparently keeps the hilariously goofy Snerd restricted to a few. all too brief, appearances. Constance Moore furnishes the attractive romantic interest and Robert Cummings the unexpected surprise of the murder mystery. An excellent first halt includes a musical novelty entitled “ Rhumbuland,” “ Stranger Than Fiction,” “ The Stop-Press of the Screen ” and the twelfth episode of 11 The Green Hornet.” Box plans are at the theatre and at the D.I.C. ST. JAMES THEATRE ENTERTAINING FARE Entertainment of a diversified and attractive nature served up in a most enjoyable way is provided in “Talking Feet,” the new picture which started a season at the St. James Theatre yesterday. It introduces half a dozen world-famous performers, two at least of whom have appeared in Dunedin, and, in addition, has an appealing story in which many spectacular incidents are woven. The whole thing revolves about the efforts of a little girl to raise funds to keep the local hospital from closing down, and the way in which she manages to do this makes an entertaining picture produced in a novel manner. Chief attraction of “ Talking Feet" will no doubt prove to many to be the appearance of the world-famous pianist Mark Hambourg, who was in Dunedin not so many years ago, and is well known fqr the quality and the vigour with which he interprets the classics. On this occasion he appears in company with an unusual minipiano ensemble of 14 boys and girls playing the “ William Tell ” Overture and, in addition, plays a Chopin solo of appealing beauty in his wellremembered style. The other member of the cast who is know personally to the people of Dunedin is William Heughan, the eminent Scottish baritone, who is famous for his character songs and the effectiveness with which he presents numbers of a dramatic nature. Although it is about 10 years since he appeared here, it is evident from his performance in “Talking Feet” that he has lost none of his power to charm and thrill with his interpretations of the works of the great masters. But these are only two in a galaxy of stars. One of the most popular members of the cast is bound to be Hazel Ascot, who takes a leading part and is well known as “ Little Sunbeam.” England’s champion dancer at nine years of age, this remarkable child acts her way through the film like a veteran and shows herself also to be a singer of no little ability She is the little girl who i s trying to save the hospital, and the way m which she manages to do so makes a picture of more than usual attraction. That she is assisted by a cast of great ability is shown by the fact that, in addition to those already mentioned, there also appear in the film the band of the famous Seaforth Highlanders and the Dagenham Girl Pipers to thrill the hearts of those whose fancy lies in the direction of Scottish music. Whatever the Sassenach may say about the pipes, it cannot be denied that they have a way of their own in providing music that is as stirring as anything that could be heard, and in this case they lend a touch of colour to the story that will be very much appreciated by Dunedin people. But the attractions do not end here, for a fine symphony orchestra appears in a scene entitled “The Meeting of the Clan.” and in an imposing climax there is an impressive appearance of the Band of the Royal Marines. Much Cockney humour is introduced throughout the film —the sort of humour that must be found a great comfort during the present days in London—and, taking it all in all, the programme is one that must appeal to all tastes. The supporting cast includes such well-known players as Enid Stamp-Taylor, David Burnaby, John Stuart, Jack Barty. and Kenneth Cove. The supporting programme is well up to the standard of the principaloffering, containing, as it does, up-to-date news and other interesting shorts, a? well as an hilarious comedy, with the Three Stooges. The box plans are at the D.1.C.. Jacobs’, and the theatre. MAYFAIR THEATRE "BEAU GESTE” “Beau Geste.” P. C. Wren’s gripping novel concerning the adventures of three brothers after the theft of “ Blue Water,” a in the Foreign Legion, has been transferred graphically to the screen. It will be screened to-day at the Mayfair Theatre with Gary Cooper, Ray Milland and Robert Preston in the leading roles. Another of the thrilling Clarence E, Mulford Westerns, “Pride of the West," will star those three favourites, “ Hoppy,” “Windy” and “Lucky,” in support. Box plans are at the theatre and the D.I.C.