ENTERTAINMENTS

Southland Times, Issue 21823, 28 September 1932, Page 4

ENTERTAINMENTS

THE MAJESTIC. “THE GREAT LOVER.” ADOLPHE MENJOU AND IRENE DUNN. There can be no doubt that the suave and sophisticated Adolphe Menjou is among the very greatest actors that grace the talking screen. Nor will there be any doubt in the minds of Majestic patrons this evening that his latest Metro-Goldwyn-Mayer picture, “The Great Lover” is among the very best films of the year. Menjou gives the finest performances of his distinguished career, and stands out clearly in the present film as an artist in speech and poise, down to the last and smallest gesture, not only at the big moments, but whenever the camera gets the slightest glimpse of him. Immensely publicised stars seem almost amateurs compared with Menjou the virtuoso. “The Great Lover” gives him a part that might have been, and probably very largely was, made for him. He dominates the picture from beginning to end, as the great Paurel, marvellous baritone and the idol of the opera. His treatment of the role has the compelling, irresistible effect that true art always achieves, and no one who sees the present extremely worthwhile film will escape falling under his spell. He acts with inimitable grace and finesse the very satisfactory central part of the story. It is a tale of opera life in New York, and it gams a great deal from what seems to be an authentic handling of off-stage life. ( Paurel is seen first on board the ship which has brought him from Europe to America and which is just proceeding to berth. The opening sequence of the film is inimitable. Paurel and his miraculous valet are taking things lightly. Then come the reporters and the official representative from the opera. Paurel’s delightful way with women is brought out once or twice and the film is set on its feet. This first succession of incidents is a triumph for the director, Harry Beaumont, and for Menjou and his wonderful supporting cast. From that point onward Paurel is shown as the supreme artist and the supreme philanderer, polished and urbane, smooth and sophisticated. It is an intoxicating entertainment. The theme in essence is that Paurel falls once too often and finds that instead of pretending to give his heart away it has actually for once escaped him. The careers of three other singers, played by Iren Dunne, Baclanova and Neil Hamilton, are all woven more or less integrally into the story. But apart from the excellence and splendid handling of the main thread of the plot, the action is made to include some remarkably entertaining incidents and short scenes in which the opera and its people are concerned. Others in the cast are Cliff Edwards and Hale Hamilton, both in good form. To put it briefly, “The Great Lover” is a picture that makes most other feature films look newsreels. Further attractions will comprise a Flip the Frog cartoon, our Boy Friends in a hilarious comedy, the Metrotone News and Fox Australasian News.

“TARZAN THE APE MAN.”

EDGAR RICE BURROUGHS’ FAMOUS NOVEL. An old and very familiar friend (more especially to the young generation) in the realms of fiction is “Tarzan of the Apes,” from the fluent pen of Edgar Rice Burroughs. It speaks i well for the perennial popularity of Burrough’s work that M.G.M. have now accorded it the honour of a feature attraction under the title “Tarzan, the Ape Man,” which commences an extended season at the Majestic Theatre on Friday. Johnny Weissmuller’s name will already be pretty well known to all as the Olympic Games and American swimming champion. He now adds film fame to his wide reputation. He is splendidly equipped for the part by his athletic figure and good looks. He must often have been in danger of his life durnig the terrific trapeze swings he takes through the jungle on vines, his climbing and jumping and thrilling fights with lions and jaguars, not to mention a ride on the back of a rhinocerous. Nothing the advance agents could say about this picture could possibly exaggerate its entertainment value, for it is simply a marvellous production. To hear Johnny give his queer, half-yodelling call which brings all manner of wild aniwals to his aid will thrill you tc the marrow. C. Aubrey Smith is Maureen O’Sullivan’s father and an African trader, with Neil Hamilton for an assistant, and when on an expedition inland Maureen is stolen by the ape man who carries her to the top of a high tree. Her escape and recapture form the central theme of the story, but many other incidents crowd the huge canvas. Weismuller does some high dives into a river and is seen doing his famous stroke which won him the swimming championship. The picture is a great spectacle and proof of the astonishing lengths to which movie production has gone.

THE REGENT.

“HUSBAND’S HOLIDAY.”

CLIVE BROOK, CHARLES RUGGLES, VIVIENNE OSBORNE.

In “Husband’s Holiday,” the new Paramount picture at the Regent tonight, Clive Brook adds another to his list of well-balanced performances, in a role that presents him not as the unimpeachable hero of former productions, but as a man grown tired of domesticity, and leaving his wife and children in order to take up life with another woman. It requires a good actor to command audience sympathy for such a character, yet Brook manages to do it. Clive Brook, Vivienne Osborne, Charlie Ruggles, and Juliette Compton are the principal players in “Husband’s Holiday,” an intelligent, provocative, entertaining story of a husband who becomes infatuated with another woman and plans to divorce his wife. But the wife, a courageous woman who has helped her husband in his climb to success, refuses to take his “wanderings” too seriously. She believes he is merely infatuated and hopes that he will eventually return to her and their two children. Her surprising attitude and her desperate struggle to hold her happiness, family, and love, as if nothing had happened, makes for thoughtful drama to strike deep into the hearts of men and women. The direction of Robert Milton is swift-paced and dramatic, making the most of situations that are always interesting and off the beaten track. And the dialogue of Viola Brothers Shore catches completely the human qualities of the story. Clive Brook as the erring husband who finds himself in love with two women is excellently cast in one of his best roles. Vivienne Osborne is the loyal wife, and Juliette Compton the “other” woman who has had the misfortune to fall in love with a married man. The story carries strong punch scenes and very effective dialogue. Charlie Ruggles injects humour as a hen-pecked husband, and there are deft delineations by the subordinate players. The supporting programme includes a Secrets of Nature film entitled “Love In Plant Life,” a comedy, Paramount Pictorial and Paramount World News.

THE “ROOKERY NOOK” CAST. COMING AGAIN TO THE REGENT. “A NIGHT LIKE THIS.” Good news for theatre-goers is contained in the announcement that the new British Dominions production coming to the Regent on Friday, “A Night Like This,” brings together for the first time since “Rookery Nook” the entire Aldwych Theatre cast, which includes Tom Walls, Ralph Lynn, Winifred Shotter, Mary Brough and Robertson Hare. Tom Walls also handled the direction of the production. The story is one of Ben Trevors’s most hilarious efforts, and was specially written for adaptation to the sound screen. Tom Walls, who occupies one of the stellar roles, is cast in a role, the portrayal of which will no doubt recall many happy recollections, for Tom Walls was a custodian of the law before he betook himself to the making of films, so he certainly knows his criminals. Special note should be taken of the opening day—Friday next.