ENTERTAINMENTS

Southland Times, Issue 21855, 4 November 1932, Page 12

ENTERTAINMENTS

THE MAJESTIC. “LOCAL BOY MAKES GOOD.” JOE BROWN SCORES AGAIN. The nerve tonics in the medicine chests at home will not be touched during the short season that Joe E. Brown is starring in “Local Boy Makes Good” at the Majestic Theatre, for it is impossible for the picture patrons not to take a brighter outlook on life after enjoying to the full this gay com-edy-drama. Again last night a large audience indulged in an orgy of merriment and such was the din of laughter at the extremely humorous scenes that abound in the production that a good part of the clever dialogue was almost drowned. But it is this very fact that indicates the ability of this wide-mouthed comedian and his able supporting cast and the result is a film that is most enjoyable from start to finish. Brown plays the part of John Miller, painfully bashful and outwardly interested only in his botanical experiments and his work in the college bookstore, who is secretly in love with Julia Winters, a co-ed at another university. Though he has never met her, he writes her letters—but never mails them. However, a particularly glowing letter gets mailed by accident without John’s knowledge. Majorie Blake starts to work at the same bookstore with John, and vainly tries to distract his attention. In answer to John’s letter, Julia writes that she is coming to the track meet between his and her schools and expects to see him perform—John having written that he is a great athlete. In order to live up to his boast, John tries to make the track team. Attempting to throw the javelin, he almost hits Wally Pierce, the team’s fastest runner. Wally chases John, who runs so fast that both Wally and the coach deem him the man to help win the track games the following day. At the book store, Julia Winters arrives and sees Marge, her old chum. She asks to meet John, who is hiding from Wally and the coach. In spite of all he can do to prevent it, Julia finds John and learns of his false claims to greatness. Wally and the coach also enter and urge him to run in the track meet. Though John is bashful, Julia extracts a promise from him that he will run. She then introduces him to Spike Hoyt, his competitor from the rival college and her lover. Hoyt threatens to “cut John to ribbons” if he gets in his way. This so frightens John that he throws away an easy victory in the 440 yard race and refuses to run against Spike in the relay race. Marge gets desperate and using a combination of rubbing alcohol in his drinking water and an experimental kiss, sends John, none too sober, into the race. He wins in a dizzy but spectacular fashion to the dismay of his rival, Spike. The following day Julia confides in Marge, telling her that she cannot manage John any longer. Seeing him approaching, Julia hides. She hears him tell Marge that Julia is too dull for him now and that he is going to announce his engagement at once—not to Julia, but to Marjorie! In such a story, Brown, as can well be imagined, is in his element and he scores heavily all the time. Variety is the keynote of the supporting programme which includes interesting Newsreels and novel shorts.

THE REGENT. “BACHELOR’S AFFAIRS”—GOOD FUN! ADOLPHE MENJOU’S BRIGHT COMEDY. “Bachelor’s Affairs,” regarded by Adolphe Menjou, the screen’s suavest leading man, as the best of his comedies since Chaplin’s “A Woman of Paris,” will be at the Regent for the final screenings this afternoon and evening. Centring upon a millionaire bachelor’s gullibility under the combined spell of moonlight, champagne, an ocean voyage and a flapper’s inviting eyes, the deftly composed plot gets away to a furious start under the fast managership of the flapper’s financi-ally-minded sister. There have been many fine comedies during the year, and “’Bachelor’s Affairs” is as good as the best of them—both English and American. The humour—and not a little pathos—of the film depends on a “gold digger’s” efforts to teach a gay old dog (Adolphe Menjou) new tricks, ft is a whimstical story, and there is just a sufficient leavening of the serious to suit Menjou’s acting abilities. For, though the comedy role is perhaps a departure from his usual parts, his success is immediate. Of course, his success, and consequently that of the picture, is assured by a cast including that dyed-in-the-wool English comedian, Herbert Mundin, and the proven artists, Minna Gombell and Allan Dinehart. Menjou is a lovable old rascal, and as he slips deeper into the net, his wistful appeal is irresistible. During the hectic days of his honeymoon, when his days and nights are reversed, and life belomes a maze of frivolities, dancing teachers, and debt collectors, his bewildered, hopeless expression is a constant delight. There are numerous complications to an hilarious plot, and his gradual realization of the incongruity of his marriage, following a nightmare of recurring football injuries and reactions of middle-age, is delightful humour. Then there follows the hilarious conspiracy of the old fellow and his partner (Allan Dinehart) to allow a young friend to “steal” the affections of Menjou’s wife. It is very dlicate foolery, and the witty repartee is delightful.

EMPIRE THEATRE, RIVERTON. “PALMY DAYS.” Promised as an innovation, in screen musical comedy, Eddie Cantor’s newest picture, “Palmy Days,” will be presented by Samuel Goldwyn at the Empire Theatre, Riverton, to day and Saturday, as successor to the goggleeyed comic’s inaugural “Whoopee” at last season. An uproarious musical extravaganza that spins along at a furious pace. Caught in the toils of a fake fortune telling business, Cantor _ escapes, behind the bushy beard of spiritualism to assume the regal robes of an efficiency expert and what an expert. He cuts everyone’s salary and raises his own. He pursues the one and only girl and in turn is savagely hunted by Charlotte Greenwood, his madwag sparring partner. “Whoopee” is definitely out-whooped by “Palmy Days.” On Saturday afternoon a special matinee will be held. The programme is a most suitable one for children. Buck Jones will be presented in “Men Without Law,” an excellent Western. A Mickey Mouse Cartoon, Gazettes and a Comedy are the supports. REGENT THEATRE, GORE. SATURDAY’S FEATURES. “GOODNIGHT VIENNA.” Patrons who attend Saturday night’s programme at the Regent' Theatre, Gore, will again be extremely well catered for as it will include two productions of outstanding merit. “Goodnight Vienna,” wldch takes pride of place in the programme, features Jack Buchanan and Anna Neagle in a delightful musical comedy which is entertaining to a degree. In this picture Buchanan is said to make his finest contribution to the sound screen to date, while Miss Neagle’s extremely wonderful stage personality and magnetic voice, coupled with her beauty makes her the ideal heroine. The sec-

ond big feature will be “Dancers in the Dark,” in which Miriam Hopkins, Jack Oakie, William Collier jnr., and Eugene Pallette have the principal roles. THEATRE ROYAL, WINTON. “MY WIFE’S FAMILY.” Commencing to-night at the Theatre Royal, Winton, is the big British comedy, “My Wife’s Family,” starring Gene Gerrard. The story is centred around Jack Gay, a happily married man who is presented with a baby grand piano which he conceals in a summer house ni order to give it to his wife as a birthday present. The sudden arrival of his mother-in-law for a visit dispels his joy, and ere long she has sown the seeds of suspicion in her daughter’s mind concerning Jack’s fidelity. Comedy then runs riot, and patrons are assured of the heartiest laugh of a lifetime. The supports are of exceptional merit and altogether make a wonderful programme. THE MAROTTA CONCERT. GREAT INTEREST AROUSED. Considerable interest is being aroused in the appearance at the Civic Theatre on Monday next of the famous Kalian opera singers Signor and Signora Marotta. As the Wellington Dominion said: “Rarely is New Zealand visited by artists of such capacity.” The reputation of these vocalists is of the very highest in Italy and throughout Europe and South America —in fact, wherever grand opera is performed. Signor Nino Marotta is regarded as the leading basso—the Chaliapin of Italy—his voice strongly resembling that of the great Russian, and his presentation on the concert platform of some of the famous numbers he has sung in the great theatres of the old world never fails to arouse the utmost enthusiasm. Signora Yvonne Marotta has early achieved a fame that well might be envied. Every appearance in grand opera in Italy has received the most enthusiastic praise. The Italia, of Milan, said of her recent appearance in that city: “Signora Yvonne Marotta moved and enthused the large audience with her beautiful and true lyrical soprano voice and wonderful interpretation.” The Corriere della Sera said: “Vocally and artistically a magnificent success was attained by the soprano Yvonne Marotta.” The critics nearer home have also highly praised her for the crystalline purity and beauty of her voice. Included in the signora’s selections will be the famous “Jewel” song, from “Faust,” “I am Called Mimi,” from “La Boheme,” and other noted operatic numbers, as well as many delightful songs in English'. The vocalists have been happy in their supporting _ artists. Mr Richard Maunder is a violin, ist of great technical skill and warmth of tone, while Mrs S. Cunningham is an accomplished accompanist and also pianist. The box plan is at the Bristol.