ENTERTAINMENTS

Southland Times, Issue 21835, 12 October 1932, Page 5

ENTERTAINMENTS

THE MAJESTIC.

“THE WET PARADE.”

SEASON OPENS TO-NIGHT.

Something new in screen entertainment is provided in “The Wet Parade, which will be offered Majestic patrons this evening. This picture, which is a serious study of the prohibition question, is nerhaps something more than entertainment, in that both sides of the great Prohibition controversy are presented in a setting of drama and comedy that moves from the picturesque days of the old Southern States of America to modem times. The story is based on Upton Sinclair’s novel, and the moral, if any, is left for each to extract for himself. What does indisputably remain is that the producers have proved that a highly controversial subject can be successfully brought to the screen. The success of “The Wet Parade’’ is doubly assured by the fact that an outstanding team of stars has been assembled to take the numerous roles which a theme of such magnitude demands. Walter Huston, that peer among actors, gives a presentation that will further add to his enviable reputation. Indeed, if it were only to see him the picture would be worth while going a long way to see. For Walter Huston’s characterization alone the film should not be missed. High patches of drama which recur throughout will satisfy the demands of the most exacting, while the range of humour makes provision for every taste. Walter Huston’s role, to name but one, .alls for an astonishing range of acting that is so well fulfilled that it would be a problem to name his equal. Dorothy Jordan, as the daughter of a Southern aristocrat, and in turn the wife of a modern young American, fills a difficult role with conspicuous success, while Neil Hamilton, who plays opposite to her, is convincing throughout. Jimmy Durante, as a Prohibition a«ent, demands special mention for a characterization that calls for humour ana pathos, and his masterful handling of the part is one that will long be remembered. Spectacular and picturesoue settings are a feature of the film. The charm of the South is conjured up in remarkable manner in the opening parts of the story, in which Lewis Stone is seen as a lovable if weak character who meets a tragic end. Tragedy does not leave the story here, but recurs at a later stage, and although an emotional unrest runs as an undercurrent from beginning to end, it is relieved with a delightful humour, and the story ends on a satisfactory note. Students of the Prohibition question will find in this picture much that will refresh the mind on the historical side of the movement as it affects the United States, while all will find in it a most satisfying entertainment that will be remembered when many other pictures are forgotten. Supporting pictures

will include an International and Australasian News Reel. THE REGENT. FINAL SCREENING OF “ARROWSMITH.” RONALD COLMAN AND HELEN HAYES. Of all screen combinations, none is quite as ideal as the combination of Ronald Colman and Helen Hayes. Colman, one of the few male players of the screen whose popularity has never waned and Helen Hayes, a leading Broadway star for years, and an established picture personality by her remarkable acting in “The Sin of Madelon Claudet,” team beautifully in Arrowsmith.” “Arrowsmith” is a credit to those responsible for its making. It is a picture that is a tribute to polished acting and production brains, and because of its great appeal one that has been by box office returns. It follows the career of Martin Arrowsmith, the fine character created by Lewis, from his early days as a child, when he aspires to become a famous scientist, during his student days, then as an ambulance officer, later, after he has married Leora Tozer, as a country doctor, later still, as the research worker at the great McQuirk Institute, and finally as a fighter against the plague that ravishes the West Indies, winning, where others have failed, by the use of a serum on which he has stumbled while experimenting. Right from the start of his medical career, he has nourished a desire to escape the pill-giving, pulse-taking practise of the ordinary practitioner, and to get at the bottom of things. So that the urge to work in his laboratory, forgetful of all else, is a force he cannot subdue, and a force that has an important bearing on the story. His companion throughout all this toil is his wife. Theirs is a wonderful relationship, the wife gaining tremendous sympathy for her devotion to work and Martin gaining it for his devotion to his job and to Leora. as well. There is tragedy when Sondelius, the scientist who accompanies Martin to the Indies, goes down to the plague, and when Leora herself falls victim. Yet in neither case will the audience be moved to actual tears. Like the whole picture itself, these situations produce more of a stirring rather than overpowering, emotional effect. Tonight will see the final screening at the Regent.