ENTERTAINMENTS

Southland Times, Issue 22042, 15 June 1933, Page 4

ENTERTAINMENTS

CIVIC THEATRE. “TIGER SHARK.” In “Tiger Shark,” which opens tonight at the Civic Theatre, First National and Edward G. Robinson have combined to give audiences not only the most thrilling, but also the most convincing drama of the deep sea that has been seen since the memorable “Sea Hawk,” with the late Milton Sills as the hero. Incidentally, that classic came from this same studio, which has been giving the motion picture fans the finest pictures of the year. Whole schools of shark are seen. Murderous, lightning-fast killers who devour everything in sight, including each other. “Tiger Shark," aside from its thrilling and dangerous moments in the deep sea sequences, is one of the most intriguing stories of the screen year. It was adapted from “Tuna,” an original story by Houston Branch, and translated into screen terms by Well Root. It is notable for the fact that the cast is really three persons—Edward G. Robinson, Richard Arlen and Zita Johann. It present a new version of the triangle when a man, his wife and his best friend are involved; and the evolution of the drama, against a background of ever-present menace from the sea and its creatures, is one of the most gripping things this reviewer has ever seen. In “Tiger Shark,” Robinson is seen as a Portuguese fishing boat captain who is elemental and childlike in the tempestuous love, hate and other emotions he displays. Running the gamut of human emotions, Robinson sums up in “Tiger Shark” all of his great talents. The supporting programme is one of exceptional interest, and includes “Berlin To-day” a Newman travelogue, also “Then Came the Yawn” comedy. Universal News Topical and “Red Headed Baby” comedy. Intending patrons are advised to reserve at Beggs or ’phone 1744. .______ i THE REGENT. EDNA FERBER’S “THE EXPERT.” LITTLE DICKIE MOORE, CHIC SALE, LOIS WILSON. A comedy-drama with a clever mingling of hearty laughter and human interest, is to be presented at the Regent to-night when Chic Sale and little Dickie MSore will appear in “The Expert,” together with several other sterling artists including Lois Wilson and Earle Foxe. The idiosyncracies and peculiarities of age and childhood could not have better interpreters than Chic Sale and Dickie Moore. Sale, in reality a young man without either whiskers or rheumatism, made one of the first short subjects for the talking screen when that medium was first finding its voice. It was called “The Man Who Knew Lincoln,” and brought Vitaphone favourable attention from the public. For a long time after that Sale devoted most of his time to stage work. His occasional appearances in pictures were made only in “short subjects.” These presented on the screen the same skits he had made famous on the vaudeville circuits. Warner Brothers featured Sale in a full length picture, “The Star Witness.” Its release made Sale a potential screen star immediately. As a result of his portrayal in “The Expert,” he was placed under a starring contract to Warner Brothers-First National Pictures. Dickie Moore is one of the cleverest, if he is not entitled to rank as really the cleverest, of all screen children. He has been in several recent pictures notably with Marlene Dietrich in “The Blonde Venus,” and always gives a splendid showing. Writing of “The Expert” an Australian reviewer says:—“Picturegoers who enjoyed the clever characterization of ‘Chic’ Sale in his previous talkie are bound to get a lot of enjoyment out of “The Expert.” Although in reality a comparatively young man, he makes up so well as to fool you as a lovable old scamp. Old Chic comes down from the country to live with his son—Earle Foxe—and daughter-in-law, Lois Wilson, where he creates a deal of confusion and anxiety by his persistent youthfulness and misdirected energy. He is adopted as a “Grandpa” by /he little waif, Dickie Moore, who lives with a “coupla” crooks opposite, the latter teaching him to steal and lie, while “Grandpa” leads him in the way of righteousness. They become the closest pals, and the scenes between them are both humorous and appealing. Dickie inadvertently advises the crooks of a wad the old man has put away in his trunk, and which they promptly purloin, and when the theft is discovered they blame it on/he child. However, Grandpa is one too many for them, and we see him—amid a storm of applause and laughter—throw the younger man by a wrestling trick which he remembered from the days of his youthful championship, and recover his wad. This is one of those fresh, clean, human films which make glad the heart of man, woman, and child. It makes us feel we would like to see a series with old Grandpa and little Dickie.—Grade One.” THE MAJESTIC. “PLAY GIRL.” LORETTA YOUNG’S PERFORMANCE. Theatre-goers who have admired Loretta Young as a beautiful and capable young leading lady were enthusiastic in their applause for her as a great emotional actress, when “Play Girl,” her latest Warner Bros’ production, came to the Majestic Theatre last evening. Always popular because of her personal charm and thorough technique, Miss Young reaches the climax of her enviable career in this picture. Her emotional understanding and sincerity proved her dramatically qualified in the greatest acting opportunity that she has had. In “Play Girl” she plays the part of Buster, a modern young girl who carefully lays her plans for a brilliant business career and financial independence, without including marriage or motherhood. She forgets them all when she meets Wallie, a handsome young Lothario who promptly steals her heart. They marry, and for a time Buster revels in the renunciation of her own hopes and submerges her former ambitions in her love for her husband. But Wallie turns out to be a ne’er-do-well, lovable yet undependable, earning his precarious living by gambling. Hardly is the honeymoon over when Buster discovers his nefarious occupation. Her great trust in him gradually lessens as he makes and breaks promises to work and to, refrain from gambling. A bitter quarrel sends Wallie to a distant city without Buster. Alone, with dwindling funds and expecting a baby, she resorts to his own practices by placing her last cent on an unknown horse because its name was “Baby Mine.” The climax would spoil an enjoyable evening for many theatre-goers if related here. Suffice it to say that it is an imaginative and unusual ending to a consistently strong story. Mingled with the adventures of Buster and Wallie is another romance, the hilarious wooing of another amorous couple, who, in the persons of Winnie Lightner and Guy Kibbee, furnish some of the rarest comedy of the season. Redheaded Winnie wise-cracks through scenes in her old sparkling manner. Kibbee, a comparative newcomer, is already established as a capable comedian. Norman Foster, as. the young husband, is excellent. His work in “Play Giri” opens the doors of a new fame to him. Noel Madison, Dorothy Burgess, James Ellison, Polly Walters

and Mae Madison are splendid in supporting roles. OUTSTANDING SPECTACLE. “THE SIGN OF THE CROSS.” “The Sign of the Cross” is certain to attract large houses to the Majestic Theatre on Saturday and next week. It is a convincing and realistic film of the first merit, produced on the most lavish and extravagant scale, but at no time exaggerated or tedious. It deals a high and lofty atmosphere from which with great issues in a great way, creates it never descends and marks a milestone in sound picture production. It cannot be said that it sets a standard, since the sound film studios could not regard it as an example and model every other film on it. It is too big in idea, in execution and in reproduction. It will appeal to eye, ear and heart, and will leave an impression that will not be easily lost. “The Sign of the Cross” may be regarded as one of the most outstanding works the films have yet produced. It simply breathes the sure deft hand of Cecil de Mille, it characterizes his width of vision and strength of imagination, and offers the audience entertainment of a kind that cannot be taken too lightly. “The Sign of the Cross” is a film of contrasts, unconventional to a degree and full of the most exciting incident. It deals chiefly with the persecution of the early Christians in the Rome of Nero, and the life, manners and customs of the period, together with its debaucheries, excesses and curious tastes in sport and entertainment, which are interpolated in the most pleasing way. At no time is good taste offended. All manner of susceptibilities will be immune from any upset, and all classes of audience will enjoy its remarkable favour and its surprising fullness of content. Here are seen the indolent Emperor, the amoral Empress, the court in its glory and all its emptiness, the soldiers, the citizens and the arenas. They all make a marvellous canvas, and they should certainly be seen. The cast is an excellent one, and Elissa Landi scores new triumphs in the role of the Christian girl, leader of her people and spectacular martyr. She draws a remarkably fine portrait and excells all her previous performances. Fredric March as Marcus Superbus, the picturesque and romantic figure who fights tooth and nail against hatred and jealousy for the girl to whom he has lost his heart and finally dies with her a martyr’s death, gives a new idea of the power of screen acting. He has a difficult role, and one that is brimful of pitfalls, but he negotiates all traps successfully, and succeeds in giving a vigorously lifelike and entirely convincing characterization. Claudette Colbert, as the Roman Empress, reaches new heights also, just as she tries an entirely new medium. Charles Laughton’s Nero is a particularly fine study. It is distinguished by finish of acting and imaginative conception. He plays the part of the indolent and callous tyrant to perfection, and adds a touch of genius to the film. lan Keith in the role of Tigellinus also does very fine work, presenting a realistic picture of a man absolutely consumed by hate for one of his fellow leaders. “The Sign of the Cross” is a film that must not be missed during its coming season. It equals any film that has yet been made in the magnitude of its execution and reproduction and from that point of view alone is well worth seeing. The box plans will be found at the Bristol.