ENTERTAINMENTS

Southland Times, Issue 21851, 31 October 1932, Page 3

ENTERTAINMENTS

THE REGENT. “INNOCENTS OF CHICAGO”— RIOTOUS BRITISH BURLESQUE. PERFECT SATIRE ON GUN-PLAY FILMS. At last! With a good humour entirely free from anything that can offend American susceptibilities the British picture industry, with “The Innocents of Chicago,” which was screened before a large audience at the Regent on Saturday night, retaliates for some of the misrepresentation of things British on the American screen. It is all nonsensical and hilarious farce and the average American will probably enjoy the exquisite satire of the film perhaps more than the Briton. This is an occasion for loud cheers and flag wagging for the British producer has not only made an excellent picture, but in doing so lias, in the friendliest spirit, playfully slapped Hollywood where it should hurt most, while the offering should, at the same time, force America’s filmdom to bring out its sense of humour for an airing. Not one detail of gangster pictures has been overlooked in this delightful burlesque. Taciturn gentlemen with Italian names stalk menacingly through the farcical story; vague blondes wise-crack in the background and remake up their lips; people are bumped off right and left; machine guns are polished and fondled lovingly; a genial man with a ready razor lurks in corridors waiting for business to pick up; and through it all, most gloriously innocent, strolls Henry Kendall as Percy Lloyd, a bright young Englishman who has arrived in Chicago under the impression that he has inherited the Universal Milk Company. The impression is right but the company is wrong. In reality he is heir to a powerful bootleg racket, and through incredible dangers the breezy soul fights his way to hilarious victory. The dialogue is splendidly written, apparently by a group of humorists who have witnessed every gangster film produced. Every word is familiar. We have heard it a score of times, and it is this very familiarity that makes the satire so effective. And all the old types, too, have been faithfully reproduced. There are the soft-minded and naive “killer,” the “Big Boy,” the usual saturnine henchmen in heavy yellow coats, the inevitable district attorney getting steadily inebriated in a speakeasy, the well-known women covered with furs and speaking through clenched teeth, and, of course, the conscientious police. The picture is enriched by the intrusion into some of its more fantastic episodes of an English girl, who is a crime reporter on a Chicago daily, and of two typically flamboyant gangster “ladies.” Though it is of “The Innocents of Chicago” that patrons chiefly speak as they leave the theatre, “Strictly Business,” the other lengthy British production on the same programme, is also of sound entertainment value, and thoroughly enjoyable throughout. This comedy drama tells, in a refreshing way and with splendidly sustained interest, the story of a beautiful American heiress visiting London. With a protector in the person of a young business man, who is not _ at all enamoured of the task of escorting around the metropolis the girl—mischievously disguised as a very plain specimen of the species. She indulges in an orgy of sightseeing, the producers here taking the opportunity to introduce delightful scenes of Old London, such as Windsor Castle, the Changing of the Guard and the aristocracy riding in Rotten Row. The story then takes unusual twists and steadily mounts, through some thrilling scenes, to end on a note satisfactory to all concerned. The whole programme is excellent throughout and one well worth seeing.

THE MAJESTIC. “THE CROWD ROARS”—THRILLING AUTO RACING. AN EXCITING DRAMA. A succession of thrills, one tumbling upon the other, had the large audience at the Majestic Theatre on Saturday evening again and again almost on its toes with breathless excitement, for there have been few, if any, more sensational films than “The Crowd Roars,” which was being screened for the first time of its short season hei’e. With the motor racing track as its background, the picture includes scenes which are breath-taking in their danger and excitement. Under the direction of Mr Howard Hawks, who was responsible for “The Dawn Patrol,” the races, all of which were carried out by noted American drivers on some of the most famous tracks in the United States, give an amazing insight into the death-defying risks run by the drivers. The camera, operated from the very cars themselves in many of the scenes, gives to the spectators the illusion of actually taking part in the wild race itself, and the result is a tension and excitement which has never been excelled. The picture, however, does not depend for its interest entirely on the thrills of the racetrack. A very human and powerful romance is woven around the weakness and eventual regeneration of a young driver, Joe Greer, a part which introduces James Cagney, a virile and likeable young principal, who has already made a great name for himself in America. As the ambitious, but too self-confident young idol of the crowd, Greer has already begun to wreck his career, and he determines that his young brother shall not enter the dangerous profession. Joe Greer, in his pugnacious way, attempts to rule not only his brother, but also his fiancee, Lee, a part invested with great sympathy by Ann Dvorak. Finally, in a definite break with both his closest friends, Joe says he will wreck his brother’s car if ever he tries to race again. His challenge is accepted and in the race which follows there is a gruelling struggle between the two brothers for supremacy. Their rivalry leads them to take incredible risks and a crash appears inevitable. When the disaster does come, it is not the younger brother’s car, but that of his best friend, which is wrecked. With his nerve shattered Joe Greer gradually drifts lower and lower, all his earlier weaknesses coming to the fore again. The way in which his young brother and his fiancee join together to effect his regeneration forms a telling emotional climax to an excellent film based on the keynote of suspense and excitement throughout. In the role of the young brother’s sweetheart, Joan Biondell gives a charming portrayal investing her role with both humour and pathos. The supporting programme, too, is most enjoyable and well balanced, and includes an Australian News Reel, two delightful Technicolour novelties, “Happy Feet,” and other interesting “shorts.” The entertainment is sound from start to finish.

THE MAROTTA CONCERT. A northern newspaper commenting on a concert given by Signor Nino and Signora Yvonne Marotta, says:—“Signora Marotta, the New Zealand vocalist who has recently returned from Italy, delighted the large audience with several of the finest numbers from the grand operas, numbers which are not only bristling with technical difficulties but which also call for high intellectual appreciation of their meaning and setting. It is in no way extravagant praise to say of the signora that she has reached the highest standard

as a lyrical operatic soprano and that she has in her voice those qualities which Dame Melba possessed. The voice is powerful and of even register, capable of expressing every mood of human feeling, while there is a brilliance rarely acquired. The choice of numbers was excellent, and Signora Marotta presented those moods with great artistic ability, especially in the famous “Jewel” song from “Faust” and “I am called Mimi,” the latter being perhaps her finest rendering. Signor Nino Marotta is the possessor of a bass voice of rare quality. This singer’s name is well known in every European city of note, and he has taken the principal bass roles with such artists as Caruso, Ruffo, Zanatello and others in many famous grand operas. Scarcely less interesting will be the appearance of the young New Zealand violinist, Mr Richard Maunder, whose technique and tone have caused the critics to predict great things for him. Mrs S. Cunningham is the pianist of the company. Invercargill will have the opportunity of hearing these artists at a concert to be given in the Civic Theatre on Monday, November 7.