ENTERTAINMENTS

Southland Times, Issue 21850, 29 October 1932, Page 10

ENTERTAINMENTS

MAJESTIC. JAMES CAGNEY AND JOAN BLONDELL IN “THE CROWD ROARS.” When “The Crowd Roars” starring James Cagney and Joan Blondell opens at the Majestic Theatre to-day movie audiences will see seven spills, a few of which were not in the original scenario. Fourteen racing cars were wrecked during the making of “The Crowd Roars.” Many of these are the real article, which took place while the cameras were grinding, and which were retained in the final print of the film. With Howard Hawks doubling as author and director, it was a more or less simple matter for him to change the script to allow the accidental spills to be incorporated into the story. Supporting James Cagney and Joan Blondell in “The Crowd Roars” are Eric Linden (who plays the part of Cagney’s kid brother) and Ann Dvorak (who is cast as Jimmy’s girl), Frank McHugh, Guy Kibbee, and other wellknown actors are in the cast, besides several professional racing drivers of international reputation. “The Crowd Roars” is said to be one of the most exciting productions that has been screened in years, surpassing the thrilling action of “The Dawn Patrol,” which Howard Hawks also wrote and directed. No superlative available in the dictionary quite describes the picture or the performances of its players. “Thrilling,” “electrifying,” “powerful,” “sensational” and kindred words most closely approximate “The Crowd Roars.” It is a picture featuring the fastest action seen on the screen in months. It is mile-a-minute drama, with autos plunging and thundering down the stretch, crashing - through fences and over embankments, bursting into flames, while the great crowd of spectators roars with a lust for action, spills—thrills—and blood! The story is made to order for Jimmy Cagney and Joan Blondell. Jimmy is the daredevil champ, whose recklessness carries through death and destruction to victory. Joan’s personality kindles the fires of romance. Both are at their best, the screen’s most capable young stars. Their support is excellent, including beautiful Ann Dvorak, Eric Linden, Frank McHugh, Guy Kibbee, and Charlotte Merriam, as well as a score or more of the race track’s champion drivers. “The Crowd Roars,” we repeat, beggars description. Such track scenes have never before been depicted. Filmed from a story by Seton I. Miller and Howard Hawks, who also directed it, “The Crowd Roars” concerns a reckless driver who leads a hectic life and tries to keep his younger brother from both wine and women. He breaks with the girl he loves and

finally with his brother. Half-crazed with anger after the break, Cagney drives in a race, wrecks the car of his best friend v.nd kills him. He declines to the point where he is unable to secure even a mechanic’s job. Drifting back to the Indianapolis Speedway, scene of his former triumphs, he meets the girl he loves. She reclaims him and fires him with new courage. When his brother is unable to drive in the big race, Jimmy takes his place and drives to victory. Supporting subjects are two Technicolour novelties “Happy Feet,” “Five minutes from the Station,” Australasian News and the Silent Partner. Detective Lloyd will be shown at to-day’s matinee.

THE REGENT. ALL-BRITISH PROGRAMME. TWO ENTERTAINING LONG , PICTURES. “The home of gangsters” is burlesqued with rare gusto in “The Innocentr of Chicago,” the uproarious British film directed by Lupino Lane, which seems assured of tremendous popularity at the Regent, where the season opens to-day. It deals with the adventures of a typical young Englishman who inherits a milk business in Chicago. He arrives to take charge of the business, sublimely ignorant that, with the advent of Prohibition, the organization of the company has been employed as a means of distributing illicit liquor. Then the fun starts. Henry Kendall, the comedian of “The Flying Fool,” makes a likeable, if somewhat innocuous, hero, and Bernard Nedell, an America who has made good in English films, is appropriately sinister as the villain. Other players are Betty Norton, a charming ingenue, and Ben Weldon. The feminine interest is in the capable hands of Margot Grahame, Binne Barnes and Little Betty Norton, who, plus a large size in machine guns, is instrumental in gently, but firmly, helping Henry from the clutches of the “racketeers” in her own adorable grasp. “Innocents of Chicago” has even met with hearty approval in America, for here is what Harrison’s Reports has to say: “It seems as if “Innocents of Chicago” is so far the best picture produced by British International Pictures, Ltd., or by any other British concern, for that matter. It is a burlesque on American gangsterism, handled in an extremely humorous manner. In the opening of the picture, the. producers have taken care to make it plain to American audiences that the “kidding” of American gangsterism is in no way

intended to be a slur on America, and that the subject has been undertaken from an entirely humorous angle. This was altogether unnecessary, for the subject has been handled, with a delicacy that will amuse the most patriotic Americans. But even if it had not been so handled, Americans had no cause for complaint in view of the fact that for years they have been presenting the British noblemen as fops and silly asses; it would be merely getting back at us. Though the picture is full of comedy, thrills are not lacking. These occur particularly in the end, where there is conflict between rival gangsters, who both are afterwards attacked by the police.” Also on the programme will be another British feature entiled “Strictly Business.” In thic picture filmgoers will have an opportunity of seeing London through the eyes of an American. It is exhausting work and it does not require a great deal of imagination to picture the distress of a young business man who is entrusted with the doubtful pleasure of acting as guide and escort* to an enthusiastic American girl who wishes to “do” London at whirlwind pace. Furthermore, owing to his unkind description of her, which was just a wild guess, and which she happened to overhear, the lady from “across the pond” decides to teach this young man a sound lesson, so, before he gets a chance to see her, she disguises herself as a perfectly poisonous specimen of “Globe trotter.” To add to his misery she commits a faux pas at every possible opportunity and seems to take a delight in being utterly reckless and foolish, much to her escort’s embarrassment. However when complications set in, in which she really does get into serious trouble with a gang of crooks an.’, which necessitates a gallant rescue by her “victim,” she decides that he is not such a bad young man after all, so discards her awful disguise and proves herself to be a most attractive and charming young lady. Directed by Mary Field and Jacqueline Logan from the latter’s original story “Strictly Business” has a strong cast headed by Betty Amann, as the American tom-boy and Carl Harhord as the unfortunate man about town.

A UNIQUE VOICE. LEX MACDONALD. Hear this wonder boy soprano, a boy with a perfect voice production and with cameo clarity, a voice with exquisite purity and dazzling flexibility, added to which there are the virtues of diction and quality which only happen to one in a generation. Present indications are that the theatre will be packed to-night when Lex will make his

first appearance in Invercargill since his wonderful successes in Australia. He is assured of an enthusiastic reception. He will be ably assisted by Miss Mary Pratt who is considered New Zealand’s leading contralto, Mr Maitland McCutcheon, the brilliant young violinist and Mrs Ernest Drake, pianiste. A feature of the concert will be Lex Macdonald singing that glorious excerpt from Mendelssohn’s “Hear My Prayer,” in conjunction with Dr Brown’s choir. To the very large audience which attended the concert given in the Town Hall, Dunedin, on Thursday evening in honour of Lex Macdonald, Dunedin’s gifted boy soprano, the privilege was granted of hearing an aggregation of musical talent which must place this entertainment in the forefront of the locally-organized events of the season, for although the boy soprano was naturally the chief centre of interest, the remarkably high standard of artistic effort achieved by the other performers, who comprise some of Dunedin’s most prominent soloists, resulted in a concert which was outstanding for the attractive quality of the items presented, says the Otago Daily Times. Of Lex Macdonald himself it can only be said that during his absence from Dunedin he has succeeded in improving on his originally high qualifications, his voice having gained in power and in quality, while his artistic interpretations are worthy of a singer .of many years’ experience. As usual, his mature artistry and the lovely quality of his voice completely captivated his audience, which accorded him a thrilling reception. His first number was Cyril Scott’s “Blackbird’s song,” in which the technical and interpretative difficulties were overcome with delightful ease, and in response to enthusiastic applause he sang Arne’s lovely piece “The Lass With a Delicate Air” with appealing charm and great executive skill. Mendelssohn’s “Hear My Prayer,” in the presentation of which Lex was associated with Mr Ernest Drake’s Student Choir, was a splendid effort, the young soloist singing with fine devotional spirit and interpretative artistry throughout the whole of this lengthy and exacting composition. Two further solos, Schubert’s “Ave Maria” and “The Kite,” composed by Mr C. R. Allen, of Dunedin, were sung in faultless style, after which the glorious duet, “O Lovely Peace” (Handel), was sung by Lex Macdonald and Miss Mary Pratt, the excellent combination of the singers’ voices and the sympathy of their interpretations resulting in a strikingly artistic presentation.

THE MAROTTA CONCERT. In a critique of the concert given b£. the Marottas in the Wellington Town Hall the Evening Post says: “Signor and Signora Marotta, visiting operatic artists, sang to an appreciative audience at the Town Hall on Saturday a number of selections from grand opera, and some old and beautiful Italian songs. The programme had evidently, been compiled with care, and was generous in numbers and varied in character. A wide field of operatic solos was covered by both artists, and if some of the selections were not so familiar to average concert audiences as were certain of them from Gounod’s “Faust,” “Mignon,” “La Boheme,” and “Cavalleria Rusticana,” all were sung with the style and finish to be expected from operatic principals of culture and experience. Signor Marotta is an outstanding artist with a voice of great natural beauty and highly trained, with a wide range, and used with sound judgment. He was recalled again and again. Signora Marotta, a New Zea-land-born artist, received a most flattering welcome. Her principal numbers were “Si Mi chiamano Mimi” (“La Boheme”) and “The King of Thule,” and the “Jewel Song” from “Faust.” Her voice was revealed in these numbers as one of crystalline purity, of rare flexibility, and perfectly suited and trained for severe tests imposed by the art of successful coloratura singing.” The Invercargill concert will be given in the Civic Theatre on Monday, November 7.

REGENT THEATRE, MATAURA. TO-NIGHT’S PROGRAMME. Something new in the way of screen characterizations will be seen at the Regent Theatre, Mataura, this evening when the absorbingly interesting production “Almost Married,” will form the chief centre of attraction. This picture has several unusual features and has been described as the wierdest and strangest love story of the year. It is full of intensely dramatic situations and interest is never allowed to wane. An excellent series of shorts will also be screened and the programme as a whole is one that should meet with the unstinted approval of patrons.