Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image
Article image

AMUSEMENTS

KING’S THEATRE

FILM ROMANCE BASED ON SCHUBERT’S LIFE

Ono of tlio most sparkling and delightful screen romsmocs over lo emerge from Hollywood is attracting largo audiences to the King’s Theatre. Its name is “Love Time,” and it is the creation of Fox Film. Groat good taste and .foresight wore required to discover that, a fascinating picture could be derived from certain romantic incidents in the life, of Franz Schubert, one of the world’s greatest composers. Actual situations in the career of this colorful figure have been employed in the screen story, which tells au idyllic tale of love lost and won again. Its. .setting is the Austrian countryside and Vienna, with the fields and woods of the former interchanging swiftly with the pomp and circumstance of the Emperor’s court. The exquisite young “Pat” Paterson, a recent “discovery,” is seen as ttie sweetheart of the youthful Schubert. The composer is played by Nils Asther. For both these young players, “Love Time” affords the finest acting opportunities of their career; and both respond to the high promise of their roles with performances of true stellar calibre. Many of the gorgeous melodies written by Schubert in his brief, romantic life are woven into the, very texture of the film. Among these are “Abschicd,” “Who Is Sylvia?”, “Moment Musical” and the haunting “Serenade,”. Costumes and settings are lavish. It is apparent that producing company and director have spared no cost to make “Love Time” one of the outstanding idylls among screen “musicals.” At the same time, tlie lilm does- not really classify as a “musical”—for it carries a more real and gripping story than is ordinarily the case in this medium. In addition to the two principals, such noteworthy players as Harry Green, Herbert Munclin, Lucien Littlefield, Henry B. Walthall, Georgia Caine and Henry Kolker offer line performances in strong roles-. On Saturday there will be a particularly attractive double-feature programme, with El Brendel in “Olsen’s Big Moment” and .Tames Dunn and Claire Trevor in “Jimmy and Sally.”

OPERA HOUSE

“WHERE SINNERS MEET”

“Where Sinners Meet,” a delightful modern comedy, is now showing at the Opera House. Comedy of the most scintillating sort is dumped into the laps of those versatile stars, Diana Wynyard and Clive Brook, to toss back and forth between them in the picture. iTiiis time, instead of drama, they find exercise for. their genius in some of the most humorous situations ever devised by that master of whimsicality, A. A. Milne. “Where Sinners Meet” is the production, based upon the British author’s play, “The Dover Road,” which persists as a touring and stoclc company success in every English-speaking country after a decade of popularity. The work of Miss Wynyard and her co-star is a distinct contrast to their serious .roles in “Cavalcade,” their former “hit,” and it is said to provide a revelation in their flair for tighter, more spirited characterisations. Billie Burke is one. of the principals of this entertaining comedy.

MAJESTIC THEATEE

ZASU PITTS IN" “PRIVATE SCANDALS'’: COMEDY AND MYSTERY

Comedy is well combined with some unusually thrilling incidents iri the mystery drama, “Private. Scandals,” now at the Majestic. The chief figure in the film is a- broker who loses his money on the Stock Exchange. He decides to commit suicide, but attempts to make it appear as murder, so that his insurance policies may repay the investors. The solution ot this complicated plot provides good entertainment. A ifine performance is given by Ned Sparks in tho role of a stolid detective who is called in to solve the mystery. Other competent members of the .cast are Zasu Pitts, Phillips Holmes, and Lew Cody. —Saturday:. “Death on the Diamond’’ and “What Price Innocence’’— Two outstanding attractions .will be screened next Saturday. Met-ro-Goldwyn-Alayer will present Madge Evans and Robert Young in a sporting mystery story, “Death oil the. Diamond.” The second feature will be “What Price Innocence,” starring Jean Parker and Willard Mack. The seventh chapter of “Perils of Pauline” also will lie screened.

EEGENT THEATEE

GLORIOUS “BLOSSOM TIME’’ There is beauty, there is melody, and there is romance—and there is also the great .Richard Tauber —in “Blossom Time,” a story dealing with the love of the famous Franz Schubert for Vicki, daughter of a dancing master, Which serves to introduce Richard Tauber ill his lirst English picture. He reveals himself not only as a remarkably line actor, but also as one who has thoroughly mastered the English language. “Blossom Time” is truly a masterpiece of British iiJmcraft. Perfectly photographed, it contains some wonderful settings. Tho sound is amazing in its clarity and wealth of tone. Of course, the personality of the great Tauber dominate;; tin* producticin: His glorious tenor is given full scope in a number of Sohubert.’s best known melodies, which include “Thine fs My, .Heart.” “Love Lost for Evermore,” ‘■Faith in Spring,” ‘Tied Roses." the famous “Serenade,” “Hark. Hark, the Lark,” "Marche Militairc,” and "Once There Was a Lady Fair.” An added attraction on the stage is the charming singing and dancing of little Miss Jacqueline iDurio, New Zealand's cwn Shirley Temple. This talented juvenile performer had to- respond to a vociferous eticore last night. “Those Were tlie Days”: Saturday Sir Arthur Pinero’s famous comedy.

“The Magistrate," has been made into a rollicking r.nd laughter-laden, musical farce, “Those Were the Days,” anti commences next Saturday. The plot hangs together so well that, interest never for a moment flags, and there is not a moment when something to laugh at is not presented to the audience. Many of the old songs of the time are revived with great success. “The Man Who Broke the Bank at Monte Carlo,” “Champagne, Charlie,” and “A Little Bit Off the lop” are but three of them. Will Hay has the part of the magistrate, and handles it with tremendous humor and understanding. Claude Allist-er is a crystallisation o? the popinjay military officer of the time'

This article text was automatically generated and may include errors. View the full page to see article in its original form.
Permanent link to this item

https://paperspast.natlib.govt.nz/newspapers/PBH19350103.2.32

Bibliographic details

Poverty Bay Herald, Volume LXII, Issue 18594, 3 January 1935, Page 5

Word Count
985

AMUSEMENTS Poverty Bay Herald, Volume LXII, Issue 18594, 3 January 1935, Page 5

AMUSEMENTS Poverty Bay Herald, Volume LXII, Issue 18594, 3 January 1935, Page 5