ENTERTAINMENTS

Southland Times, Issue 21337, 7 March 1931, Page 10

ENTERTAINMENTS

THE CIVIC- TALKIES.ZANE GREY’S "THE BORDER LEGION” (JACK HOLT, RICHARD ARLEN, FAY WRAY). Taken from one of Zane Grey’s most famous books, “The Border Legion,” the film of the same name now screening at the Civic is undoubtedly one of the finest of its kind ever shown in Invercargill. It is a Western story as one might expect from Zane Grey, but it has none of the impossible feats that the early stories—and pictures, too —called upon its characters to perform. Its action is as virile as one would naturally expect it to be, and the voices are well in keeping with the vigorous men who take the leading parts, and their followers. There is plenty of hard riding, which incidentally displays some very fine horsemanship, swift shooting and dramatic incidents of a kind so unique in the "talkies” as to provide really excellent entertainment. The leading part, that of the notorious outlaw Kells, is taken by Jack Holt, a player who has had a great deal of experience in depicting Zane Grey characters on the silent screen and whose voice is far from being any disappointment, as has often been the case with popular stars on the silent screen. Supporting Holt are Richard Arlen and Eugene Pallette, both of whom, in a widely different manner, take their part in the general story to perfection, Pallette especially adding many a touch of excellent humour. The romance in the story is provided by Fay Wray and Arlen. The final “mob” scene is an exceptionally fine piece of wor k—the whole Border Legion descending on a town prepared for its coming, and ending with indiscriminate shooting and an odd plug or two of dynamite. There is a splendid supporting programme, including a song subject, a singing cartoon, “My Gal Sal,” and other interesting and amusing subjects.

MAJESTIC. TWO BRITISH FEATURES. AND REDUCED ADMISSION PRICES COMMENCE TO-DAY. “Loose Ends” and “Not So Quiet on the Western Front” which are claimed to make the finest entertainment yet presented on the screen, will make the premiere showing at the Majestic Theatre to-day, commencing with a matinee performance at 2 p.m. A most welcome announcement by the mangement to Invercargill picture-goers is a reduction which comes in force from to-day of admission prices to the Majestic, which will suit everybody’s finances for present day conditions. These two full, length all-talking feature pictures should please the most critical. The first is “Loose Ends,” and so true to the stage in this adaptation of the stage play that one can sense the fall of the curtain on each of the three acts. It is this fidelity of translation which makes the film additionally interesting, and it is a further notable instance of how entertaining material may be drawn from the stage, elaborated, polished and presented as screen entertainment without losing its stage identity. There is a piquant story throughout this film. Owen Nares and Edna Best are the featured players and they are supported by an all-British cast. Edna Best will be remembered for her fine characterization in another excellent British talkie, “Sleeping Partners,” in which she played with Seymour Hicks. After the thrilling drama, “All Quiet on the Western Front,” it may be expected that “Not So Quiet on the Western Front” will be another smashing war film with bloodsheds and bombshelling. But no. “Not So Quiet—” is a humorous burlesque of war-time —full of dancing and singing, jokes and comedians. The story opens in the kitchen of a fashionable London restaurant where the chiefs are all ex-soldiers of a certain company who fought together at the front. The proprietor enters and talks in reminiscent vein of the days spent during the war and a flash back takes the audience to a little cafe at the front where the men are being entertained. The members of' the company contribute items and, of course, this is where the humour comes in. Leslie Fuller, said to be one of England’s greatest comedians, is the star. An added attraction for the matinee to-day will be the first episode of the all-talking serial “The Indians are Coming” which will be screened at the matinee performance only.

THE REGENT. “HELL’S ANGELS”—SENSATIONAL AERIAL DRAMA. MATINEE AND NIGHT. One of the most glorious picture entertainments it has ever been this reviewer’s privilege to see is to open at the Regent to-day. It is called “Hell’s Angels,” and it’s the film that Producer-Director Howard Hughes took three years to make at a cost of 4,000,000 dollars. But the magnitude, the spectacle, the grandeur of this breathtaking air drama, with its countless droning planes, mighty Zeppelins and stirring sky conflicts more than justifies everything that has been put into it. It has audiences gasping for breath when it is all over. As an achievement it is doubtful whether it will ever have an equal; as a dramatic account of the aviators' part in the war it tells the story on such a grandiose scale that all future pictures of this sort can be but feeble anti-climaxes. Never have there been such, thrills as those provided by the sensational stunts of the flying circus. There is no question but that the aviators were risking life continually as were the cameramen who, besides catching remarkable long shots and close-ups, of the amazing air encounters have contributed a magnificent piece of photography as well. The Zeppelin raid, the daring dog-fights, the crack-ups, the head-on collisions and the 10,000-foot plunges to earth are reproduced so vividly as to make you forget it is a picture. There were no miniature or fake shots used in these sequences. Everything is genuine. Many of the best known war aces piloted the different planes. Three men were killed and a cameraman expired as a result of the terrific nerve tension under which he was working. There will not be another picture like “Hell’s Angels” for a long time, if ever. No matter what you’ve seen before, you’ll be electrified by its three terrific highlights—the raid on London, the bombing of the German munitions factory and the free-for-all dog-fight high in the clouds. Night has fallen over London. Suddenly a Zeppelin noses its way out of the clouds. -The crew is testing the bombing apparatus. Crisply, orders are barked out. The British sound-detectors pick up the sounds of the monster’s motors. And defending planes zoom off to disperse the enemy. A terrific battle is waged, in which all planes but one is forced down. The machine-gun of the last one has jammed. A steady stream of lead belches forth from the angry mouth of the sky whale. In desperation, the helpless pilot points his plane toward the big ship and rams into her at top skeed. Thunderous noises, sizzling, leaping flames, and down go the entangled masses of steel and matter with the crew caught like rats in a trap. What a thrill! What drama! The blowing up of the munitions plant and the terrific dog-fight between 50 planes or more, zooming, plunging, crashing, somersaulting down to destruction provide the most astounding thrills that have ever captivated an audience. There is a colourful story running through the film about two brothers of totally different natures, one fine and noble, the other bon vivant who loves himself and his good times. They join the Royal Air Corps and become major factors in the aerial adventures that make “Hell's Angels” the astounding air spectacle it is. Ben Lyon, James Hall and Jean Harlow, a striking blonde beauty who makes her first screen appearance in this picture, head a splendid cast of well-known actors and aviators. “Hell’s Angels” is comparable to nothing you’ve eVer seen before. Unsurpassed in its quality to entertain and amaze, it is one picture you will want to see at feast once;

if not two and three times. Plans for the season are now at the Bristol. REGENT THEATRE, GORE. “THE CUCKOO.” Anyone who saw “Rio Rita” will have a happy remembrance of the clever comedy supplied by Bert Wheeler and Robert Woolsey and'the fact that they are appearing as the principals in “The Cuckoo,” which will be screened at the Regent Theatre, Gore, this afternoon and evening will be welcome news to most picture fans. “The Cuckoo” is described as the year’s merriest Girl and Song Show, surpassing “Rio Rita” in technique and technicolour. It has the added reputation of being the greatest comedy -ever produced and has attracted record audiences in every centre in which it has been screened. 1