ENTERTAINMENTS

Southland Times, Issue 21420, 15 June 1931, Page 4

ENTERTAINMENTS

THE REGENT, "CIMARRON”—EDNA FERBER’S IMMORTAL STORY. * •> A GRIPPING, HUMAN DRAMA. Edna Ferber’s novels are all characterized by a strength of character and boldness of conception, but the story she has placed before the world in her epic novel "Cimarron” (the widely-heralded screen version of which was screened before crowded and enthusiastic audiences at the Regent Theatre on Saturday) has few (if any) peers, for in the narrative is unfolded an engrossing and stirring drama of empire building—a story human, tense, dramatic and thrilling, remarkable in its sheer rugged strength. In its picturization, the story loses nothing in the telling—its human appeal, tender pathos and bright humour combining to grip the attention of the audience from the first scene to the last, and the production of the immortal work marks a distinct achievement in the talkie sphere. The whole performance is a veritable triumph—absolutely outstanding by reason of its strong dramatic power, the coherence and consistency of its plot (which faithfully records, with a wealth of detail, the early riotous days of the oil boohi in the prairie wilderness of the State of Oklahoma and the vicissitudes which befall tw-o courageous and industrious pioneers—Yancey Cravat and his beautiful wife, Sabra) and by the remarkable performances of the principals who bring the main characters to the screen in a fashion which makes them live with a truth and force particularly convincing. The story of Cravat and his wife is the historical record of the growth along the years of the city of Osage —that lawless, restless mushroom town which sprung up in a night. Cravat, who, with his cultured wife, Sabra, is in the first, mad rush of the pioneers to the new land is an editor and lawyer, who loads himself with the task of purging the "boomer’' town of its lawless element, and many an exciting scene is depicted with him gradually forcing law and order uppermost. Rich ard Dix, in the role of Cravat, wins the admiration of the audience through his courage in defending the weak and oppressed at the risk of his own life and one ot the most breathless scenes of many exciting moments is that in w-hich Cravat, single-, handed, fights and vanquishes a gang ot outlaws, who raid the town, intent on robbing the bank. Dix gives a masterful portrayal of his part and despite the fact that, owing to his restless spirit of wanderlust, he deserts his wife and children on several occasions, he always commands the respect and sympathy of the audience. Hi» influence in the town is all for the good, but the triumph is reaped by his wife, who fights against many obstacles, and in the end she wins through with the paper she edited to a place of prominence and power. In the final stages of the picture she is honoured by her fellow-citizens on being elected to Congress. The final triumph, however, rests with Cravat, wdio is lost sight of and rediscovered on g the oilfields. The reunion of wife and husband for a brief second is under tragic yet heroic circumstances, and makes a poignant fado out. Irene Dunne, as Sabra, scores a distinct success in the characterization of the refined and loving young wife who, in spite of the vigorous objection of her parents braves the arduous journey to Osage and faces the hardship with her husband, only to find it difficult to reconcile herself to the ruthless though just methods employed by Cravat to maintain his dictatorship. The principals are loyally supported by a strong supporting cast and perhaps one of the most refreshing features of the film rests in the fact that, although the graphic portrayals of these empire builders undoubtedly lend themselves to over-dramatization, all the players are particularly convincing yet entirely natural in their work. The whole production breaks new ground in its forcefulness, appeal and sweeping immensity and. moreover, adheres with strict fidelity, to Miss Ferber’s very human story. In every direction it must be acclaimed on all sides that the film is a distinct triumph and one that will create a furore wherever it is shown. Owing to the length of the masterpiece (it takes two and a half hours in screening) the supporting programme is lim. ited to two entertaining news reeks.

THE CIVIC TALKIES. “THE GAMBLERS.” H. B. WARNER AND LOIS WILSON. “The Gamblers,” which commenced a season at the Civic Theatre on Saturday, is the story of prominent gamblers on the New York Stock Exchange, and as such it might be regarded as a story for men, but the producers of this excellent screen story have built it around a pleasing love story and it is packed full of appeal for all picture lovers. The picture is very well produced, with lavish scepes of rich homes in New York, and the acting, which is in the hands of H. B. Warner, Lois Wilson, Jason Robards, George Fawcett and a host of other well known actors, is of a very high order. Carvel Emerson, onlyson of the head of the great Emerson Trust, meets a young lady while travelling on the Continent and they fall in love with one another. The young lady learns that he is descended from a line of gamblers and decides not to trust her future in his hands, and marries James Darwin. Carvel Emerson decides to try a big gamble on the stock exchange and secures the written consent of the directors of his father’s business to use five million dollars in speculation. The market crashes and he hears that a Government inspector is going to examine the bank’s accounts. He later learns that the Government agent is Darwin, who is jealous of his wife’s love for Carvel and is determined to destroy him. Carvel secures the papers bearing the signatures of the directors and thus places them out of the reach of the law, but he discovers later that the real papers have been stolen and handed over to Darwin, who intends to use them to send Carvel to prison. Carvel goes to Darwin’s house to steal the papers back and is discovered by Catherine Darwin and then by Darwin, who hands him over to the police. Darwin prepares his case and Carvel is brought before the court to answer the charge of having defrauded the investors in the trust. Catherine goes to her husband and threatens to cause a scandie unless he withdraws the charge. He does So, not because he is afraid of a scandal but because he wishes to make his wife happy with the man he believes she loves, and his unselfish action straightens out all the tangles in their lives and the story ends, not as might be expected, but t as it should. The supports are all very good and the whole programme makes an unusually pleasing one.

THE MAJESTIC. “PASSJON FLOWER.” AN OUTSTANDING PERFORMANCE. Dealing with the eternal triangle problem in a manner different from the majority of pictures “Passion Flower” (which opened its Invercargill season at the Majestic Theatre on Saturday evening) treats sympathetically the trials of the woman who is unhappily married. On the other hand it glorifies the heroism and self-sacrifice of the woman who marries for happiness and' love and who is prepared to fight poverty to gain those two goals. The many tense situations in the picture are handled delicately and it is somewhat unique in the fact that none of the characters are diametrically opposed to one another in standards of honour and morality. Although the inevitable happy ending is reached the audience is left with pity and not disdain for the second woman. “Passion Flower,’ - which is taken from Kathleen Norris’ wellknown novel, tells the story of Gassy Pringle, daughter of a rich man, who, against her father’s wishes, marries his chauffeur, and, after some opposition, is aided' in her act of parental disobedience by her cousin, Dulcie Morado. With

Charles Bickford, Kay Francis, Kay Johnson and Lewis Stone taking the leading roles, the cast of the picture in itself is a sufficient recommendation but each one of these players gives a performance indubitably superior to any previous attempt by him or her. The most difficult role in “Passion Flower” is taken by Kay Francis, who, as the unhappy wife of Tony Morado (Lewis Stone) is called upon to play a mighty emotional part. Charles Bickford is Dan Wallace, the chauffeur, and Kay Johnson is Cassy Pringle, and both these players give a performance of sustained merit. A lighter touch is added by Zazu Pitts as the pessimistic housekeeper and through her intervention the production is not dev.oid of humour. Apart from the splendid story of “Passion Flower” and the moral it contains the settings of the picture are worthy of special mention. Sumptuous drawing-rooms, miserable garrets and lodgings where poverty holds sway, magnificent outdoor scenes and the hurrying life of a great city succeed one another in bewildering rapidity. Of interest to the feminine portion of the audience are the gowns worn by seteral of the players in the feminine roles. “Passion Flower” opens in the home of the Pringles, where Cassy’s father, in the presence of Cassy and Dulce Morado, denounces Dan Wallace for his attentions to his daughter. Dulce flys to the side of the young couple and the following day they are married at her home. Dulce’s wedding present, is a farm but Dan insisting on “standing on his own feet” as he terms it, spurns all offers of assistance. After the young couple have secured lodgings he finds a job as a stevedore and their married life commences. Five years pass away and. two children are born of the marriage, but it is then that adversity sets in. Losing his position and with his wife and children suffering through their confinement to the city, Dan is forced to accept Dulce’s offer and the family settle in the country, near the Morado’s. This proximity proves to be another danger to the little family for Dan and Dulce fall in love. After Cassy has sent Dan away he and Dulce go to Paris and life seems to hold nothing but despair for Cassy but after several tensely emotional sceens the climax of the* story is reached with a very satisfactory . ending. An outstanding feature of the programme is the excellence of the supports, which include a travelogue called “Barcelona” and “Big Dog House,” a film player entirely by extremely intelligent, dogs.