ENTERTAINMENTS

Southland Times, Issue 21834, 11 October 1932, Page 5

ENTERTAINMENTS

THE REGENT.

RONALD COLMAN IN “ARROWSMITH.”

OUTSTANDING PRODUCTION.

Superb in every detail is the United Artists’ production of “Arrowsmith,’* featuring Ronald Colman and Helen Hayes, which is at present engaged in a record-breaking run at the Regent At every screening the audiences—which have been unusually large—have been held spellbound by the magnificence of the film which can lay every claim to being a work of extremely high artistic standard. “Arrowsmith” is based on Sinclair Lewis’s famous novel which is acknowledged to be his greatest effort. Its theme is a very attractive one, being concerned with the passion for pure science which grips the men of medical research and the inhuman and tragic experiments surrounding discoveries of momentous import to humanity in the combating of plagues and diseases. But it is also a very personal theme, throwing the searchlight of detail on the intimate lives of one of a group of scientists and his wife, and its poignant incidents fascinate and move the audience as the story is developed in a completely satisfying and artistic manner. “Arrowsmith” is the year’s most striking example of the remarkable progress made in the film world since the addition of sound and makes the earlier efforts appear crude and dull. It is a film which is entitled to rank with the half-dozen great spectacles which are called to mind in the history of the film industry, but it is liable to be dwarfed slightly in the popular imagination by comparison owing to the fact that a mighty theme is treated more from the personal than the general viewpoint. It achieves its objects in revealing the terrible ravages of bubonic plague not from harrowing scenes of plague victims, but from the personal cases in characters of whom the audience has been made fond. There are few actors whose work and personality have made greater impression on the screen than has Ronald Colman. In “Arrowsmith,” he reaches to greater heights of histrionics than in any previous film and his portrayal of the doctor and scientist bearing the title of the production is a complete joy. Helen Hayes is very satisfying as the wife of the principal star suffering from the disadvantages of her husband’s exacting career. There are also in the film several striking characters whose work is extremely powerful. A. E. Anson as the scientist Gattlieb and Richard Bennett as the medical missionary Sondelius are both as interesting and pleasing as their flamboyant character names suggest, Gottlieb with his devotion to pure science and inspiration to the young Arrowsmith being one of the essential requirements to the success of the production. “Arrowsmith” is an unusually long film and permits only of the showing a very brief supporting programme. Keen film patrons will naturally not miss “Arrowsmith,” but they should be sure of their seats and they should be early. The plan is at the Bristol.

THE MAJESTIC.

“MYSTERY RANCH.”

A THRILLING WESTERN DRAMA.

Romance, drama, adventure and suspense are the elements combining to make “Mystery Ranch,” which again was screened before a large audience at the Majestic Theatre last night, an outdoor drama of sound entertainment value. With the virile romance always associated with the old-time “Western” are combined the thrills which come from exceptionally clever photography enhancing a story of mystery. Every detail of the production serves to increase the interest which grips audiences from the very opening of the film, and there is no slackening until the telling climax. The production, based on Stewart Edward White’s virile story “The Killer,” depicts the adventures of Bob Sandborn, dauntless and dashing young member of the Arizona Rangers, who stumbles upon sinister doings at a ranch house in an Arizona valley, and in a series of wild happenings, in which daring rides are undertaken, he reconstructs the old but ever romantic story of rescuir a maiden in distress. The owner of “Mystery Ranch” is Henry Steels, a grasping and callous individual, who seeks to clear this particular valley of all who do not bow to his will. However, the worst part of his villainy concerns his attitude towards Jane Emory, the daughter of. his deceased partner. Steele lures Jane to the ranch by telling her that he wishes ;o make over his share of the property in her name, but after being there some time she learns that she is being held against her will. In trying to escape she falls from her horse and is picked up by Bob Sandborn (George O’Brien), who carries her to the house. Out of courtesy he is asked by Steele to spend the night. That the two young people are attracted to each other is immediately sensed by Steele and next day Sandborn is escorted off the place and ordered never to return, his send-off being enlivened by shots from two Mexican employees of Steele. However, Bob is by this time fully seized with the necessity to rescue Jane from the peril that threatens her, and, after making arrangements with a friend for reinforcements to be sent later, he sets out alone back to the ranch. He is aided by a Cockney ex-jockey, another of Steele’s men, in the herculean task of breaking into the ranchhouse. A thrilling escape and a spectacular ride, not to mention a good deal of gun play and fist-fighting, bring a most enjoyable picture to a close. The supporting programme is a strong one, including an English comedy drama “Brown Sugar,” an interesting scenic, “The Heart of Australia” and popular newsreels. MAJESTIC WEDNESDAY. “THE WET PARADE.” A DRAMA OF TO-DAY. There’s plenty of entertainment for the entire family in “The Wet Parade,” which opens at the Majestic Theatre on Wednesday, for here is a picture which not only reveals an intimate, tender romance, but unwinds a plot which carries a punch in every episode. Based on an essentially modern theme, it depicts the turmoil of modern living, contrasting the fast, hectic life of to-day with the period before the World War, when such things as night life, sophistication and political corruption did not occupy quite so much space on the

front pages of the daily newspapers. There are sensational exposes with dramatic incidents which will keep audiences on the edge of their seats. The picture also has its gayer side, but through it all is an engrossing insight into American life of to-day. Southern plantation life before the World War is dramatically shown in the first episode which is in a measure a prologue. It is here that Lewis Stone in a brilliant performance depicts an aristocratic landowner who is brought to ruin by drink, leaving his daughter, Dorothy Jordan, and son, Neil Hamilton, practically penniless. The story then moves to New York and introduces Walter Huston as a drunken ward politician whose son, Robert Young, tries in vain to keep his father respectable. Circumstances bring Miss Jordan and Hamilton into contact with the politician, and the natural hatred of liquor shared by the Southern girl and the soapbox orator’s son gives them a point in common which ultimately develops into romance. The coming of the war, the enactment of prohibition and the sensational second Wilson campaign are all vividly echoed in this sequence. The third angle occurs after the war, showing the rise of bootlegging to a prosperous industry, financed and entrenched in politics. It is here that Huston offers one of the most effective performances of his career as he sinks lower and lower in the grip of drink until he finally murders his wife in a half-crazed moment. The various threads of the narrative are now brought together and the story closes with a smashing climax. The riotous Jimmy “Schnozzle” Durante is also seen in this picture, whose cast Skids like a “who’s who” of Hollywood.

THEATRE ROYAL, WINTON.

“CAUGHT PLASTERED.”

Wheeler and Woolsey make a popular return to the Theatre Royal, Winton, to-night in “Caught Plastered.” Dorothy Lee is also in the cast and will b e heard in her new popular song “I’m That Way About You.” Patrons are assured of a rare night’s fun.