AMUSEMENTS

Otago Daily Times, Issue 24433, 19 October 1940, Page 15

AMUSEMENTS

THE NEW PROGRAMMES EMPIRE THEATRE •THE INVISIBLE MAN RETURNS ” v Those people who saw the screen version of H. G. Wells’s original fantasy. “ The Invisible Man,” will know what type of entertainment to expect in the new picture at the Empire Theatre, " The Invisible Man Returns,” but whereas the first film’s appeal lay chiefly in its excitement and novelty, the present picture has plenty of comedy in its fast-moving scenes. It is frightening, blood-chilling entertainment. but it is at the: same time amusing and extremely Interesting. A most entertaining supporting programme accompanies it. Although the new story does not come from the pen of H. G. Wells, its plot is well conceived and gripping throughout. A rich coal miner is sentenced to death for the murder of his brother, and the picture opens with a dramatic scene as his heir and fiancee wait for a reprieve to be received from the Home Secretary, while the clock relentlessly moves on to the appointed hour for the execution. The condemned man's scientist friend makes a last effort to save him. Desperate and &he goes to the prison, interviews his , and a few minutes after his departure fronj .the, prison it is discovered that the condemned- man has effected a miraculous escape. It was the scientist’s brother : who discovered the drug that made him invisible although the working of the drug'reduced him to insanity and resulted in his, death, after a series of crimes. And so In this film the drug is used to enable a man to escape from the gallows for a murder which he did not commit,

With the escape of the prisoner a terrible responsibility falls on the scientist to discover an antidote to restore his friend to normal before he loses his sanity. The escaped man, finds temporary sanctuary in. a--'lonely cottage where he meets his beautiful fiancee. Their time together is extremely short, however, for he is found by a policeman. By disrobing in ghastly style, he gradually, becomes invisible, first becoming headless, and then vanishing completely to the. horror of, his fiancee. Then he pays- a call, on the scientist, learns of a, worthless .rogue’s promotion by the new manager,- and manages to wring a confession out of him implicating his heir in the murder. The next step is for the invisible hero to pay a visit to the real murderer, a call that is both baffling to that man and diverting to the audience. But the police are on the tracks of the escaped man and they surround the house. Using gas which will make the man visible, they search every room in the house,, but the escaped prisoner changes clothes with a policeman and escapes. As he sits at dinner with his fiancee and the scientist it is apparent that he Is beginning to lose his sanity and he becomes truculent and boastful of his powers. When the sclen- . tist tries to drug him his friend attacks him and once more eludes the police, who, however, are becomlhg suspicious of the real murderer. Determined to wring a confession from the real culprit, the Invisible man again makes a frightening call on him, and, after a fight,' pursues him through the coalyards. He, captures him on . a line of moving trucks, he himself is wounded by the police, but the true murderer, mortally wounded,. confesses. Then the job is to save the invisible man’s life, a task that is made extremely difficult on account of his invisibility. Blood transfusions are given and they have a result that is too remarkable and interesting to reveal. Chief acting honours go to . Sir Cedric Hardwicke, but good performances are also given by Nan Grey, John Sutton, and Cecil Kellaway. The supporttime news reels, a ” Stranger- than Flcing programme includes up-to-date wartion ” film, and a good cartoon. The box •' plans are at the theatre and the D.I.C.

STRAND THEATRE i ' DRAMA AND HUMOUR i The new programme at the Strand Theatre caters, for all "tastes in motion picture entertainment, the first film..," The ' Farmer’s Daughter,” being bright comedy, while the second feature, “ Hot Steel, is thrilling drama throughout. ‘‘Hot Steel” is a tale of jealousy, greed and murder, and the eventual triumph of right over : wrong. It is the story of a young steel worker who discovers a way of making ' better steel, and the scheming of his un- ¥ scrupulous employer, who sees in the work;of the younger man only a chance to enhance- » his own fortunes.r;' He is prepared to throw to the winds his employee s chances of ; wealth and , happiness, and even to kill to gain his end, but his own. ii hi? downfdytt is " the murder of his paramour's husband which lays .the foundation stone; to dishb'ncJuf;-*- ' One killing;, leads" to another, and; then -the life; of a young, woman is endangered; but the killed before h«j cdh achieve his final ’ coup; Richard Arlen,.;as ' the young man who makes the discovery;”-and Andy‘Devine as the youth who provides the inspiration, are both excellent'as is Donald Briggs in the part ; of the" scheming plant, .manager., Anne Nagel and Peggy Moran, as the faithless •wife and the hero’s fiancee respectively, play difficult parts With distinction. "The Farmer’s Daughter” is Martha Raye, and Charlie Buggiesis; ra hardpressed Broadway producer. It is a story - of arf attempt to produce a play on a farm forisubsequent transference to Broadway, but the farmer’s daughter keeps; interrupting the work, by falling down a well and getting into all sorts of scrapes, and the author cannot write without/the inspiration of New York noises, which have to be specially imported to .help him along, and In the midst of it all Charlie Ruggles is trying to keep down expenses. It is funny in every foot of film. The box plans are at the theatre and the D.1.C., ■■ , ' v

ST. JAMES THEATRE TRIUMPH FOR YOUNG STAR Much has been made of Juvenile stars —or so-called stars—in recent pictures. .Two'.who, have, thus far escaped, deserved vpfominence are Virginia Weidler and Gene Reynolds, who are brought together in the "appealing; drama Bad Little Angel, ■Which commenced a," season- at the St. '.James Theatre yesterday. ... -Young Miss 1-Weidler has been playing prominently , in ; varlotwfilms, for- a long time: in Tact, she Tuvende char-acter-actors. ;>.Jn .this production .sjh«»Kiyes -that would turn many ,an -adult star green with envy." Gene Reynolds is also brilliantly cast, and together they make a charming pair. They art supported by a very good cast of adult players, which includes lan Hunter. Guy Kibbee, Reginald Owen. Henry Hull, and Lois Wilson (making an impressive comeback), who are all admirably cast. The story tells in simple form the tale of an orphan who runs away from an orphanage, taking a dog along with her, and finding refuge in a small-town family, arid solves .each of her own and her adopted family’s problems by the simplest means—the Bible, in which she has implicit faith. It is a film with an emotional appeal that cannot fail to strike home its message. And into the bargain ’it is a notable screen drama and a perfect example of dramatic presentation. The second film on the programme is "Fast Company,” an hilarious comedv mystery featuring the Sloanes. a pair of amateur detectives whose exploits rival those of the- Charles’s of “ Thin Man ” fame. The' plot moves -at a breakneck -speed from start to finish, and is brim- . ful .’of comedy as well as mystery and thrills of, the most dramatic kind. Melvyn Douglas and Florence Rice cavort gaily through the story as the Sloanes and make an admirable pair of very-much-in-love but full-of-auarpel people. Between them they unravel a baffling murder mystery, come near to death themselves several times, and altogether keep the film going along brilliantly. The box plans are at ' the theatre, the D.1.C., and Jacobs'

V OCTAGON THEATRE A GREAT SCHOOL STORY Once again a book which has pleased generations of readers has been ' transformed into a motion picture entertainment which preserves' the essence of the original ty a faithful and sincere treatment of the original and in the new medium affords all the pleasure of the old, “ Tom Brown's School Days,” which was yesterday presented at the Octagon Theatre for the first time, is a film which can be recommended as something more than a passing treat, for it has a solidity in its basic purpose which cannot fail to make a profound impression. In these days, when the thoughts turn again and again to England and the dualities which have made England what it is, the part played by the English public school system must stand, in the mind. It Is just this idea which is inherent in this film, production. "Tom, Brown’s School Days ”, is more than the firmest favourite among school stories; it is a recreation of the atmosphere of youth growing up to manhood, and it is also a tribute to a great man and a great teacher —Arnold of Rugby. The director, Robert Stevenson, has undoubtedly done a fine piece of work in maintaining the balance between these aspects of the novel. While "the younger patrons will delight in the ■rough and tumble of the old style of school days, the older people will appreciate to the full the finely dignified portrayal by Sir Cedric Hardwlcke as Dr Arnold. It is an unforgettable performance - and it would not be surprising to

hear of It again when the year’s best acting is considered by the Motion Picture Academy. A century ago, when Dr Arnold was called to become headmaster of the famous Rugby school, education was still far from being a science, or even a very skilled profession, for those days were not so far from those of Squeers of Dotheboys Hall. Bullying to a point of cruelty and other vices were rampant even in the old-established halls of learning, and it was to remedy this state of affairs that the trustees of Rugby school called in Dr Arnold, a private tutor whose success in his own modest sphere was widely known and whose ideals were held to be dangerously radical. It was a case of the man meeting the need, and Rugby in a few years became greater than ever before. Such is the background of the film, but the actual drama of these events is told through the experiences of young Tom Brown when he came to the school as a somewhat fearful small boy, with only his staunch yeoman .upbringing to bear him through the rough-and-tumble life of a lonely boy in a big school. The outline of the story is familiar and it is all these familiar scenes that the film deals with—Tom’s first day at school, the tussle of the celebrated School House match (the original Rugby football game), his battle with the bullying Flashman, his friendship and quarrel with young East, and his growth to an honoured place in the lordly Sixth Form. All are excellently done. As Tom Brown, Jimmy Lydon gives a performance which is equal to the best traditions of child acting on the screen. Freddie Bartholomew, as East, has a part which is well suited to his development, and Billy Halop, better known in the company of the Dead End Kids, ably creates the role of Flashman. A really lovely little study is given by Josephine Hutchinson as Dr Arnold’s wife. There is a good supporting programme. A Donald Duck cartoon holds pride of place, but there are also a Leon Errol comedy, a Sportscope which should appeal to patrons of the show ring, and news glimpses. The box plans are at the theatre and Begg’s.

REGENT THEATRE A FRENCH MASTERPIECE At last Dunedin audiences have an opportunity to appreciate the contributions that Continental films have made to the kinematic .art. The production “ Mayerling,” which was presented yesterday at the Regent Theatre for the first time, is not a new one. It was made several years ago before its principal actors were lured across the Atlantic to Hollywood, but It is a piece of work so artistically handled in all its parts that this time lapse is of no importance. It has a quality which rises above the language barrier, for real acting dispenses with words; its language is universal. That is why '* Mayerling ” has had such a notable success wherever it has been shown, and that Is why it was so warmly received at last night’s session.

It is hard to know where to make the first acknowledgments of the film’s qualities—director or actors. Perhaps the honours ' should be evenly divided, for neither one nor the other could have made ** Mayerling ” what it is without the complete competence and confidence of the other. Certainly Anatole Litvak’s direction is masterly and imaginative. The treatment of the development of the action is different from that to which Hollywood and even the English studios, with, their closer contacts, have accustomed us; but it is as effective as it is refreshing. His quality is revealed here more than it has been in any of the productions he made in America. But this, too, is true as fully of the stars—Charles Boyer and Danielle ‘Darrieux. 1 Charles- Boyer has some notable triumphs to his record 1« Hollywood, where he ranks among the first of the male stars, but he gives of his ability in this film to a greater measure than ever before. He completely submerges himself in his portrayal of the tragic Archduke—a man doomed by destiny to a place he did not wish for and from which there’ was no escape. It is a study in disillusion and degeneration which Is uncompromising, even though it is his idealism which rises again and carries him to the terrible climax of jus life. Every scene is 3 telling one, and every gesture is eloquent. Danielle Darneux won her name in this film, and as a result was snapped'Up by the eager American market.' The character she creates here has the quality of a cameo in its still beauty. She is the mirror in which the tragedy of the Royal loyer is played out, but static though it is in its quality because of this, it is really moving in its effect. The other names In the cast are unknown, but the parts are. all filled by character actors of an unmistakable quality. s “ Mayerling ” is adapted from a novel, " Idyll’s End.” by Claude Anet, which was a version of the love affair of the Archduke Rudolph of Austria, son of that Emperor Franz Josef, who saw the downfall of the Austrian Empire, and of the Baroness Marie Vetsera. Rudolph, a young man of remarkable promise, was forced for reasons of State into a loveless marriage. His idealism, thwarted, alike in public and private life, was dulled, and he found a restless expression of himself in dissipation. A chance meeting with the young Marie awoke again in him his better nature, but the power of the court was unrelenting. Police spies haunted his steps, and his, father set a veto upon his desire for an' annulment of his marriage in order to make the girl his wife. One last meeting was allowed by the Emperor, and it took place in the hunting chateau of Mayerling. Life together was impossible, life apart, was hopeless, so they died together. . The story follows fact closely in its outline, and the closing sequences are /Memorable for their terrible poignancy. The supporting programme includes a symphonic feature. “ Tannhauser," a Barb'adoes travelogue, an issue of the "Stranger Than Fiction” series, and a newsreel. The box plans are at the theatre and the D.I.C.

GRAND THEATRE MOVING PRISON DRAMA A dramatic and gripping story of life within the walls of a great penitentiary is told in "Men Without Souls,” which is the principal feature at the Grand Theatre. John Lite] gives a convincing portrayal as the new prison chaplain, who endeavours to bring back the selfrespect of desperate men who have become callous and disheartened under the brutal treatment and petty trickery of the prison guards. His courageous stand prevents an armed gaol-break without bloodshed, but he is not able to stop an organised boiler explosion and a seconci attempt by a group • of men to escape from the prison. Jhe most unregenerate inmate cf the- prison, however, finds that an unsuspected spark of humanity still exists within him. and, inspired by the chaplain, redeems himself In dramatic fashion. The second picture is "Hollywood Round Up,” featuring Buck Jones, who transfers his activities from the wild west to a Hollywood studio with engrossing results. The box plans are at the theatre and at Befig’s. STATE THEATRE DRAMA OF FIRST STEAMSHIP A stirring drama of the turbulent days in the early life of American cities which made a strong popular appeal in such films as “Old Chicago” and "Jesse James,” “Little Old New York.” which commenced its Dunedin season at the State Theatre yesterday, is a production which will appeal to a variety of tastes. Starting in 1807 the story shows America In the days when New York harbour was a little port ringed round by sailing ships, with wooden taverns at its wharves, when Manhattan knew no skyscrapers and when Wall street was a quiet residential district where trees grew undisturbed and iron railings guarded prim gardens. Not only has the film got ..the red-blooded action of strong men fighting their way with fist and brain to achieve their ambitions, but it also possesses that fascinating “ Dickens ” appeal in the portrayal of the many strongly-defined characters and types that appeared to be Inevitably present at the building of big towns in America. , „ . , Based on the episode of the first steam ship to operate successfully in the New World, the story has a background that interprets much of the waterfront life of New York and tisais with the nMebina-

tions of the vested interests opposed to an upstart competitor. The star of “Little Old New York” is Alice Faye, who creates a surprise by the depth and understanding of her fiery Irish-Amencan tavern-keeper. Those used to seeing Miss Faye in musical comedy roles will appreciate her performance In this stirring tale. Supporting Miss Faye are Fred McMurray and Richard Greene. The former is cast as Miss Faye’s rough, honest ” steady ” and Ills characterisation is an excellent one, while Greene Is cast as the ambitious young man who believes in ships without sails. Pat O’Day (Alice Faye) is the vivacious proprietor of a wharfside tavern, with the ambition to become a *' lady,” but Charlie (McMurray) is much less pretentious. To the tavern comes Robert Fulton (Greene), who is considered a crank because of his enthusiasm for steam ships. The Impressionable Pat falls in love with his courteous manners and striking form and follows his fortunes with an energy that at first threatens to wreck all his plans. He manages after some trouble to obtain a sponsor, and instructs Charlie to start building the ship. Rival factions, suspicious and jealous of the new venture, try to fire the hull, and it is only saved by a premature launching, which prevents the irreplaceable boiler from exploding. All this time Pat is mistakenly led to believe that Robert is only waiting for the success of his Plans to marry her, whereas he is in love with the niece of his sponsor. After many hardships the ship is launched, but at first it looks as though the whole thing is doomed, for trie helmsman, terrified by the belching smoke and fire from the funnel, steers the ship into a warehouse. But in the long run Fulton's faith in his Invention is justified, and the ship goes literally under her own steam. Brenda Joyce, Andy Devine and Henry Stephenson have the chief subsidiary roles. . The short supporting programme Is headed by an interesting newsreel entitled “The Battle of Britain.” Here one sees the brilliant exploits of the Royal Air Force in thrilling detail as Hurricanes and Spitfires break up enemy attacks on convoys and harbours. The defences of England are also shown in some detail. A coloured cartoon is also a feature or the supports. The box plans are at the theatre and Begg's. MAYFAIR THEATRE LAUGHTON FOLLOWS CHANEY Charles Laughton has the support of Maureen O’Hara, Sir Cedric Hardwicke and many other players in ” The Hunchback of Notre Dame.” which will head the new bill at the Mayfair Theatre today. It is the film adaptation of Victor Hiigo’s immortal classic of mediaeval Paris which was made famous in the ” silent ” days by Lon Chaney. ” So, This Is London,” which will support, tells of the riotous comedy Involved when Robertson Hare and Alfred Drayton set out to show the contrasts between English and United States methods of business.