ENTERTAINMENTS

Southland Times, Issue 22011, 10 May 1933, Page 8

ENTERTAINMENTS

CIVIC THEATRE. RUTH CHATTERTON TO-NIGHT. '• The personality of an actress of the first quality makes “Frisco Jenny,” the new film to be screened to-night at the Civic Theatre a picture to be remembered. The performance of Ruth Chatterton is such that it will linger in the memory of those who witness it for a long time after the actual production is forgotten in the rush of succeeding attractions. “Frisco Jenny” is a triumph of personality, a striking instance of the degree to which art and talent can dominate a whole story, flavour a whole production, and give to a picture a flavour of convincing and moving realism. Ruth Chatterton registers a signal success in “Frisco Jenny,” discovers for her audience new dramatic and emotional qualities, and sets a standard of straight acting which only players of the first importance can hope to equal. The story around which the film has been built, the picturesque atmosphere in which it is set and the host of emotions and excitements which it contains—all these combine to make entertainment of unusual interest and appeal, but without the all-pervading genius of the star it must fail to catch and hold the absorbed, almost fascinated, interest which the film caught last evening. Ruth Chatterton has mannerisms of speech, gesture, and facial expression all her own. Some of her contemporaries have tried to follow her, some even to ape her, but none can quite catch the spirit and sympathy of her delineations. She stands to-day an actress of her own particular school, and in such films as “Charming Sinners” she showed her public a genuine and effective flair for comedy. In succeeding productions she immersed herself in straight drama, on occasions even sophisticated pathos but never before has she plumbed such emotional depths as are left to her portrayal in “Frisco Jenny.” She is faced with a formidable task in the title role of this film, but she acquits herself always with quiet and arresting distinction, avoiding the pitfalls of exaggeration in which the story abounds, drawing out the full dramatic and tragic possibilities of the film, working slowly and effectively from a striking opening to the height of the climax, weaving the tangled skein of the plot deftly and firmly and gradually extricating herself and the story until the tale fades out on a highly appropriate and in every way satisfying conclusion. Donald Cook, Louis Calhern, and James Murray have prominent parts in the film, but they all appear merely as incidentals to the central figure of the film, the woman who perferred any penalty and suffering to the exposure of her son’s shameful origin. The supporting roles are more than effectively handled but the discriminating audience will agree that there can be no laurels to spare from the more than deserving brow of the actress who surpasses in striking fashion the performance which she gave in what was regarded by manv as her finest film—- “ Madame X.” There are many remarkable examples of clever filmcraft in “Frisco Jenny,” but nothing more realistic nor more graphic is offered than the picturization of the great San Francisco earthquake. The supporting films included comedy, scenic, sporting and the latest Universal News. THE REGENT. FINAL PRESENTATIONS OF “HELL’S ANGELS.” STAGGERING AIR DRAMA. One of the most ambitiously produced films which have been seen in Invercargill since the introduction of the “talkies” is “Hell’s Angels,” which is drawing huge audiences to the Regent Theatre where it will be shown for the last time this afternoon and evening. It is a film that compels admiration, a film which once it has caught the attention, fires the imagination more and more with its amazingly realistic and spectacular sequences, until the entire audience is sitting forward in its seats, hands feverishly gripping knees and eyes glued to the screen where aeroplanes dive and swoop, roll and slide, rise and fall in a series of incredible feats, the filming of which.must have taxed to the uttermost the ingenuity and film craft of the most resourceful Americans. As an exhibition of flying it is tremendous, and as a demonstration of the uses of aircraft in warfare it is a revelation that cannot fail to leave an indelible impression on the mind. There is something majestically impressive about the slow relentless approach of a giant Zeppelin through the night clouds that hang over London, and it is impossible not to thrill to the air-raid alarm and the frenzied scenes in the great power house of the metropolis when the alarm is answered by the instant extinction of every light in the vast city. It is such touches as these, fragments in themselves that make the film something better than a mere thriller. It is a producer’s triumph, and any laurels that may be spared from the deserving brow of Howard Hughes must go to his camera and sound men, even before the admirable cast in which Ben Lyon, James Hall, John Darrow, Lucien Prival and Jean Harlow acquit themselves so well. “THE MILLIONAIRE.” TO-MORROW AND FRIDAY. The opportunity of again seeing George Arliss in what has proved to bo his most popular picture will, through the operation of Revival Week at the Regent, be made available to theatre patrons on Thursday and Friday of this week, when “The Millionaire” will play a further short season. The story of “The Millionaire” is delightful in its originality, and the unexpectedness of its dozens of amusing situations. Of course, George Arliss is the dominating figure, but the supporting cast which has been chosen is one of quite unusual excellence, its members showing artistic ability and restraint. The story is based on “Idle Hands,” a novel by Earl Derr Biggers, and the witty and quite adequate dialogue was writeen by Booth Tarkington. Arliss is allowed to dominate in a picture which in itself is first-class and which fulfils all the requirements of the great majority who regard the moving picture purely as an entertainment and a relaxation while satisfying those who, in addition, demand true artistry and general soundness of plot and dialogue. Arliss’s superlative and delightfully natural acting provides a treat for everyone. Arliss has the part of James Alden, a motor manufacturer, whose health breaks down and who is sent to the west to rest. As a patient he is delightfully humorous, but when he decides to rebel the fun is even merrier, and until a very happily conceived climax is reached the audience is treated to an entertainment which keeps it both highly amused and expectant. Arliss is assisted in this picture by his wife, and the performances of all of the other principals will be found exceedingly enjoyable. MAJESTIC THEATRE. “LORD CAMBER’S LADIES.” SIR GERALD DU MAURIER AND GERTRUDE LAWRENCE. Sir Gerald du Maurier, the idol of the British theatre-going public, may be seen at the Majestic Theatre to-day, where his first starring picture for 8.1. P., “Lord Camber’s Ladies” is show-

ing until Friday. Playing opposite Gertrude Lawrence, beloved of English audiences, in the role of the stern and relentless Dr Napier, he gives an excellent performance of a man who is forced to accuse the woman he loves of poisoning one of his patients. Janet King, a nurse in the doctor’s Nursing Home, succeeds in breaking down his reserve and is beginning to forget a. past affair in her deeper and truer love for him when under her care is placed the wife of her past lover, who is dangerously ill. The two women become attracted to each other, despite the fact that Janet has to suffer Lord Camber’s now unwelcome attentions, but a tragedy ensues when Lady Camber, discovering her husband’s infatuation, denounces both him and her nurse and under the subsequent strain collapses and dies. Napier is faced with almost undeniable proof that Lady Camber was poisoned but refuses to doubt Janet who will give no explanation of her peculiar actions. How Napier succeeds in extorting a confession from the real criminal and the eventual unravelling of the threads, of this real-life drama provides stirring entertainment for all as well as providing an excellent opportunity . for filmgoers to see lu Maurier’s histrionic ability, which is exploited to the full. Benita Hume as Janet King, and Gertrude Lawrence as Lady Camber, give equally meritorious performances and a supporting cast includes Nigel Bruce, Clare Greet, A. Bromley Davenport and Harold Meade. There will be a matinee this afternoon at 2 o’clock. EMPIRE THEATRE, RIVERTON. “SLEEPLESS NIGHTS.” A bright and happy programme is listed for screening at the Empire Theatre, Riverton, to-night. This .is headed by “Sleepless Nights,’’ which will rank as the most pleasing and enjoyable of English musical comedies yet presented on the talking picture screen. Stanley Lupino and Polly Walker head the excellent English cast. The piquant adventures of a young couple forced to pose as married provides the irresistibly hilarious plot ot “Sleepless Nights.” Musical numbers, catchy and haunting, abound throughout. The most popular and easiest remembered, “I Don’t Want To Go To Bed” will be sung and danced everywhere shortly. Owing to Dunedin dates following so closely on Riverton, the season will unfortunately be a very short one (one night only). Intending patrons should particularly note this fact.