AMUSEMENTS

Poverty Bay Herald, Volume LX, Issue 18257, 28 November 1933, Page 3

AMUSEMENTS

REGENT THEATRE. For cleverness and novelty. “Melody Cruise,” now at the Regent Theatre, is one of the most notable picture-comedies seen lately. It is “something different” —a comedy full of rhyme, some of which is sung; and all the various operations of the luxury liner on which the cruise is made are brought into the rhythm. As a husband with a wife at home in America, Charlie Ruggles on the liner gets into a heap of suspicion that he never intended to get into, and spends his time trying to prevent news reaching liis wife of his relationship with some girl stowaways (who were too drowsy to get off the ship after a cocktail party in port). Phil Harris is the handsome young man whom Ruggles tries to chaperone, but all the girls get at Harris, and the final is fought between Greta Nissen and Helen Mack. Helen lands the handsome brute. A lot of praise is due to the comedy of Ruggles, and there is probably no film actor who could have done his part better and cleaner. Chick Chandler’s steward (a magician with a tray) is also a bright spot. The film finishes with a real gem —the skaters’ ballet. To-morrow a notable dramatic production will be presented. “The Cabin in the Cotton,” featuring Richard Barthelmess, is a romantic tale full of sentiment, a tense, vivid, colorful drama lightened by many touches of humor and plantation scenes. MAJESTIC THEATRE “The Stranger's Return,” which concludes to-night at the Majestic, is a picture far removed from the sophisticated films of modern life. It is a simple tale of siniplo people, which goes straight to the heart because of its simplicity. The story centres around an ancestral farm in America, to which the prodigal granddaughter returns from New York. She is welcomed by her grandfather, but is resented by his relations-in-law, and around those circumstances the whole story is delicately woven. Lionel Barrymore rises to great heights in his characterisation of Grandpa Storr, who prefers, against doctor’s orders, bacon and eggs for breakfast rather than “them carboard foods,’’ and who conceals a sympathetic and understanding heart beneath a mask of irascibility. Miriam Hopkins handles the difficult part with credit, and forms an attractive background for the routino life on the farm. To-morrow a strong double bill will be screened—“ Lord Babs,” a romantic farce starring Bobby Howes, the delightful comedian of “For the Love of Mike,” and “White Face,” a mystery drama by Edgar Wallace, featuring Norman McKinnell and Gordon Harker, the Cockney comedian of “The Calendar.”