AMUSEMENTS

Poverty Bay Herald, Volume LXV, Issue 19532, 14 January 1938, Page 3

AMUSEMENTS

MAJESTIC THEATRE “HOPALONG RIDES AGAIN” AND “PARTNERS IN CRIME" Thundering hooves roar down the street and the sharp clatter of guns is heard when “Hopalong Cassidy” sets out to bring a gang of cattle-rustlers to justice. It. all happens in Paramount’s “Hopalong Rides Again,” now screening at the Majestic Theatre, with William Boyd again cast as “Hopalong.” George Hayes as “Windy,” his old saddlemate, and Russell Hayden again playing the part of “Hoppy’s” young pal, "Lucky." Nora Lane and Lois Wilde carry the female romantic leads, in this thrill-packed tale of a 'buckaroo who single-handed exposes the hidden brains behind the rustler gang, and 'brings the thieves to justice. “Partners in Crime” is an airy, light-hearted bit of mystery that draws a lot of entertainment from the antics of Roscoe Karns and Lynne Overman, two of the funniest players in Hollywood to-day. Two young women, Muriel Hutchison and Inez Courtney contribute beauty and talent to the general merriment. REGENT THEATRE “MOON LIGIIT SONATA”: PADEREWSKI Rounds of applause greeted the great Paderewski yesterday at the initial screenings of “Moonlight Sonata” at the Regent Theatre. There lias seldom been u more beautiful or more satisfying film than Lothar Mendes’ masterpiece, in which the greatest pianist of all time makes his screen debut. Yesterday the Regent Theatre presented the ‘ one and only Paderewski. Apart from the maestro’s playing, which will hold one enthralled, the story is a most absorbing one ana enacted by such brilliant performers as Dame Marie Tempest, Charles ‘ Farrell, Barbara Green and the four-year-old child wonder, Binkie Stuart. It is a revelation to see Marie Tempest dealing with dialogue worthy of her mettle. This is the admirable Miss Tempest’s first appearance on the talking screen. Her part in 1 “Moonlight Sonata” gives this English production another claim to rank as historic. Miss Tempest is frankly an old woman now—she celebrated her stage jubilee last year—but she retains a potent and aristocratic charm. Her speaking of English is unalloyed delight. The scenes between Miss Tempest and Paderewski, both so wise, so experienced, and so full of human understanding, bring to the screen something really aristocratic. In addition to several Liszt and , Chopin studies. Paderewski plays his own "Minuet” and Beethoven's “Moonlight Sonata.” There is a great treat in store for those who have never heard the great maestro. An exceptional array of featurettes include "Woodland Cafe,” a Silly Symphony in colour, "Hot and Happy,” “Marienbad," “Schubert’s Serenade,” a special music romance in colour, and the Regent News Service. To avoid disappointment early reservation is advised. KING’S THEATRE WARNER OLAND IN “CHARLIE CIIAN” MYSTERY

Called into action on New York’s Great White Way, Charlie Chan invades the night clubs to seek the killer whose double murder casts a shadow of terror over Manhattan’s gayest spots in the newest of his Twentieth Century-Fox screen adventures, “Charlie Chan On Broadway,” which opened to-day at-the King’s Theatre. It is “candid-camera night” in a midtown cabaret, and as the flashlights _of a hundred enthusiastic “minicam” fans boom, death strikes, then strikes again, bringing Chan, fresh from his detective triumphs in distant lands, to confront' the most baffling adventure of his career. Warner Olancl is featuied in his familiar outstanding characterisation of the Chinese detective, and prominent roles in the cast are played by Keye Luke, as Chan’s “number one son,” .J.'Edward Bromberg, Joan Marsh, Louise Henry, Joan Woodbury, Donald Woods, Douglas Fowley and Harold Huber. The blundering curiosity of Chan’s “number one son is the opening wedge of Chan’s entrance into a mystery concerning a night-club singer’s secret diary, supposed to contain sensational information that, once published, will “mow the lid off the town.” Before the diary is brought to light, however, the singcr is killed in Broadway’s gayest nignl spot, a murder, soon followed by a second, that serves to baffle the police even more. In the attempt to imitate the wily sleuthing of his father, Lee Chan manages to place himself in a highly suspicious position, from wnic.i he has to be ignominiously extricated by the Oriental detective. From the confusion of circumstances Chan manages, in his quiet, philosophical fashion, to piece together an amazing solution that is thrillingly proved in a surprising climax.