ENTERTAINMENTS

Southland Times, Issue 21820, 24 September 1932, Page 9

ENTERTAINMENTS

THE MAJESTIC.

TRIUMPH FOR ELISSA LANDI.

“THE WOMAN IN ROOM 13.”

A man’s political career is ruined because his wife divorces him to find happiness, and he determinedly seeks revenge, only to have it snatched from him when he has scarcely tasted it—such is the theme around which is woven the drama of “The Woman in Room 13,” which opens at the Majestic Theatre to-day. It is a fine production, and one well worth seeing. Elissa Landi heads the cast, and if there are any flaws in her performance they are certainly not obvious. Ralph Bellamy takes the honours opposite to her. Neil Hamilton comes next, but his part is not a very difficult one. Gilbert Roland and Myrna Loy complete the strong cast. In the beginning there is a lively election meeting with Ralph Bellamy seeking political honours and talking of high ideals. A man in the crowd asks him some pertinent questions about his own home life, and Bellamy goes home with vague forebodings which soon materialize when his wife tells him that his political career matters nothing as against her own happiness. She divorces him, and the people will not elect a divorced man. All that he can see left for him is the quest for revenge. In strong contrast to this opening are the succeeding scenes, when Elissa Landi marries her lover and gets the happiness she wants. Here she is light-hearted and carefree, and well does she act the part. Hamilton is playing the second husband, and does so naturally and convincingly, even though his personality is not a strong one. Then shadows fall on the happy scene, Elissa comes in contact with a singer, played by Roland, and spends much time composing and accompanying for him. But it is not until the seeds of suspicion are sown by his well-meaning father and uncle that the husband finds himself forced to question whether his trust in Elissa is justified. The services of a private detective are secured, and he is none other than the ex-husband, Bellamy, with the opportunity for revenge in his hands at last. At the same time the singer is doing his best to turn away another woman, Myrna Loy, so that he may freely give his attentions to Elissa. The detective secretes his dictaphones and contrives to have Hamilton on the spot to hear anything that happens. The singer is shot, and a woman flees down the fire escape. Hamilton has no doubt who fired the shot, and nobly. proclaims himself the slayer. In the ensuing scenes Miss Landi's dramatic capabilities are tested to the utmost, and she comes through with honours. The trial in court is powerfully conceived, and finally, when Bellamy is baulked of his vengeance, the drama reached an intense climax. It is a great picture in all respects, but Elissa Landi stands out all the time. The supports are of exceptional quality, and it is a long time since such a fine collection of gazettes has been shown. Pictures of the Davis Cup tennis match between Prance and America, the heavyweight boxing contest between Larry Gains (the British Empire champion) and the Italian giant (Primo Camera), Jack Sharkey (heavyweight boxing champion of the world) in training, aviation pageants, an address by the Prince of Wales, and a host of other interesting topics are depicted. “Bells of Bali” is an interesting travelogue, and an amusing car-, toon completes the programme. “DETECTIVE LLOYD OF SCOTLAND YARD.” To-day “Detective Lloyd” starts its twelfth week excitement with Chapter 1, “The Green Spot Murder,” at the Majestic Theatre. Here’s what you will see. Through an ill-advised tip on the races, Chester Dunn, nephew of Randall Hale, loses heavily to Giles Wade". Threatening exposure, Wade demands that Dunn reveal the hiding place of a jeweled armlet stolen from the tomb of King Tut, one of the prize possessions of Randall Hale. The robbery causes a sensation since the thief is killed by a mysterious poison while in the act of stealing the armlet which has disappeared. In an effort to catch the marauders, Mr Hale calls in Chief Inspector Lloyd of Scotland Yard. He explains that the stolen armlet is not the original. Giles Wade, frustrated in his efforts to obtain the armlet, manages to substitute a woman accomplice for Diana Brooks, who arrives from Canada to visit her uncle, Randall Hale. The situation is impossible since uncle and niece are strangers to each other. By this ruse, Wade hopes to locate the real jewel. A street accident brings Detective Lloyd in contact with the kidnappers of the real Diana Brooks, who has been drugged. Fearing

exposure, the crooks flood the room, to which Lloyd has carried their victim, with “white smoke,” a deadly gas, as the first chapter fades out on the screen of the Majestic Theatre. REGENT' THEATRE. “AREN’T WE ALL?” With the emprimatur of British Paramount and with a cast including such artists as Gertrude Lawrence, Owen Nares and Hugh Wakefield, “Aren’t We All?” which opened at the Regent last evening, could not fail to be attractive. This brilliant comedy of Frederick Lonsdale’s had great success as a stage play, but it is no exaggeration to say that it has gained through being presented as a talkie. There are charming settings in England and in the south of France; the dialogue is always vivacious and witty; and the acting is superb. “Great Fosters,” Egham, once the home of Queen Elizabeth, and steeped in memories of Shakespeare’s day, was the romantic house chosen as a location for a number of the scenes. The famous old house, dating from 1550, and now a twentieth century hotel, is ideal for the purpose and the photographers have used it to the greatest advantage. The story is not unconventional, but it is treated in a delightfully refreshing way. Margot (Margaret Lawrence) recently married to the Hon. Willie Tatham, who while the two are spending an idyllic honeymoon in France, is recalled to London, his philandering father, Lord Gresham, having neglected to attend to the call of business. Alone in a strange country, Margot becomes a little wearied with her lot, and drifts into an innocent flirtation with an Austrian, Karl Von der Heyde. Meanwhile, in London, Willie becomes involved with one of his father’s girl friends, and is allotted the task of entertaining her for the evening, In the midst of his half-hearted and spirituously inspired attempts to give the girl some enjoyment Margot returns to find her kissing him; thus are the strained relations between husband and wife established. Then follows much brilliant comedy, not to mention one or two unexpected twists in the story which concludes with the two being happily reconciled. While all the stars deserve the highest commendation for their acting it is questionable if the palm should not be awarded to Hugh Wakefield, who is the gayest Lothario yet seen on the screen. Outstanding among the supports is the comedy “Twenty Horses.” The fun starts when a typist asks this conundrum: If a man has 20 horses and three stalls and wishes to put only an odd number of horses in the stalls how would he do it? The efforts made to find out the answer provide scope for humour which is exploited to the full by the ingenious producers.

EARTHQUAKE RELIEF CONCERT.

CIVIC THEATRE, SUNDAY EVENING. By unanimous vote at the rehearsal on Thursday evening, the Battalion Band decided that half the proceeds of its concert to be held on Sunday evening would be handed to the Mayor’s Earthquake Relief Fund. This should provide an excellent opportunity for those who cannot afford a large sum, and yet would like to contribute to a worthy cause. An attractive programme has been arranged with numbers and a galaxy of assisting artists. The band numbers will include the overture “Golden Star,” specially arranged for a brass band, “Fighting Mac,” march composed by the late Alex Lithgow, of Invercargill, and the soprano cornet solo “Silver Threads Among the Gold” with Mr Nelson Unwin as soloist. The vocal section is in the hands of such well-known performers as the Misses E. and M. Davin and. Messrs Farley and J. McConnell. Variety has been provided for by the inclusion of the “Melody Wreckers’ Band,” and the Jordan family with their favourite wee tots will be heard in new numbers. The programme will also introduce a new artist to Invercargill audiences, Mr W. A. Rowe, in a series of lightning musical sketches. The accompaniments will be played by Mr R. Henry. Admission is by silver coin. REGENT THEATRE, MATAURA. “TRIAL OF VIVIENNE WARE.” An outstanding picture of its kind, “The Trial of Vivienne Ware,” which will be screened at the Regent Theatre, Mataura, this evening, has a remarkably strong cast including Joan Bennett, Herbert Mundin, Zasu Pitts, Lilian Bond, Donald Cook and Noel Madison. Those who may be feeling a little tired of murder mystery stories, should not let this prejudice them against this great production. As the title suggests, the main action and tensest drama of the story lie in the law courts, and amazing technique is disclosed as the story unfolds. It is a picture that should not be missed. An interesting programme of shorts will also be screened. THEATRE ROYAL, WINTON. “WAY FOR A SAILOR.” “Men who go down to the sea in ships” are glorified in “Way for a Sailor,” John Gilbert’s new Metro-Goldwyn-Mayer British Mercantile Marine talkie which screens at the Theatre Royal, Winton, to-night, with Wallace Beery in a featured character role. The film is a picturization of the sea novel by Albert Richard Wetjen and shows the traditions of the sea in heroic episodes. Leila Hyams plays opposite Gilbert and the supporting cast includes Jim Tully, Polly Moran and Doris Lloyd. The supports are excellent. i