ENTERTAINMENTS

Southland Times, Issue 22067, 14 July 1933, Page 3

ENTERTAINMENTS

CIVIC THEATRE. “THE MAN THEY COULDN’T ARREST.” Excellent entertainment is to be had at the Civic Theatre to-night, the principle feature on the programme being “The Man They Couldn’t Arrest,” from the mystery novel by Seamark. It is a thrilling and most unusual type of melodrama, moving swiftly through an amazing series of incidents and action to a most unexpected climax. The plot has been very well reproduced on the screen, and the principal parts are all excellently handled. The story deals with the adventures of an experimental scientist who invents a remarkable means of spying on the activities of wrong-doers. By this means he is enabled to warn the police of impending raids and burglaries. His operations are discovered, however, and his is made the subject of unwelcome attention on the part of a dangerous gang. His rooms are visited by a member of the gang, who is finally found dead there. Complications follow, and he next finds himself pursued by the police for whom he had done so much. Finally everything turns out for the best, and there is a delightful romantic conclusion to a most exciting tale. The principle role is taken by Hugh Wakefield, who appears as “Tire Ghost,” the man who finally brings about the

breaking up of a dangerous gang. Garry Marsh is a police inspector, and Gordon Harker finds a great deal to do as one of the principal thugs of the gang. The only feminine character of any importance in the production is that of the daughter of the murdered man, a role which is taken by Renee Clama very effectively. There is a good supporting programme of sound shorts, included among which is a song and dance fantasy entitled “Toyland,” in which an extraordinarily competent ballet, known as the Gainsborough Girls, gives a remarkably fine display of dancing. The programme from beginning to end is well balanced and enjoyable, and should not be missed. “THE HOUSE OPPOSITE.” “The House Opposite,” a British International Picture, starring Henry Kendall, which Metro-Goldwyn-Mayer Pictures Ltd., will present at the Civic Theatre to-morrow, is a thrilling drama of a detective and his lady assistant, who foil a gang of scoundrelly blackmailers led by a sinister Egyptian and mysterious occupant of a London house. Henry Kendall, as Hobart, the detective, plays in his usual debonair and attractive style; Celia Glyn is an attractive lady detective; Wallace Geoffrey is an outstanding figure as the blackmailer, whilst the comedy is in the hands of the extremely capable Frank Stanmore, who plays the tramp. “The House Opposite” was written by that master of mystery fiction, Jefferson Farjeon, author of “No. 17,” and was directed by Walter Summers, one of the ablest of the British directors. Thrills, humour and romance abound in this story, which culminates in the thrilling rescue on the roof of a blazing house, set on fire by a madman, whilst a charming romance between Henry Kendall and Celia Glyn is a welcome contrast to their dramatic adventures. An entire street was erected in the studios for the exterior scenes, and especially in the thrilling fire scene in which Celia Glyn makes a spectacular jump for safety into the outspread net of the London Fire Brigade. The house where Frank Stanmore is the caretaker was another typical feat of technical studio engineering, as the impression had to be given that the house had not been occupied for many years. Also on the same programme is “Bad Companions,” a comedy with the English actor Wallace Lupino as the chief fun-maker. Other films of world interest show. Harry Vardon golfing, Tex McLeod in a novelty act and the dog show at Crystal Palace. THE REGENT. CLARA BOW’S LATEST SUCCESS. “CALL HER SAVAGE.” Flinging aside every restraint, disregarding all previous performances, Clara Bow strikes out to establish herself as a fully-matured and emotional actress in “Call Her Savage,” her first Fox starring picture now at the Regent. As the impulsive heroine of Tiffany Thayer’s provoking novel, she fights sincerely and passionately for the ageold, primitive rights of love in this study of a woman’s soul. Well over a year has elapsed since the famous Bow personality has been seen on the screen, a year of refreshing rest and study during which time the famous star stored up the needed energy and vital forces which she releases in fullblood during the unfolding of this stirring romantic drama. In the main, the loveliness of features and expressions that has endeared Miss Bow to the public remains, but to replace the hoydenisms and mad-cap flapper ways that marked her earlier screen portrayals she is reported to possess a new self-control, a poise and dignity that marks that picture as the first triumph of her maturing art. The plot of the picture relates, briefly, the dramatic struggle of an impulsive girl to control the half-savage temper which is her fiery birthright, and thereby find the one true love she craves. From a Texas ranch, where she grew up in the wild ways of the open, Clara is sent to a Chicago finishing school by her wealthy but exasperated father. Her growing intimacy with a handsome half-breed, portrayed by Gilbert Rolland, is given as the reason by her stem parent, but in reality his action comes as an admission of weakness on his part to control his headstrong daughter. In Chicago, she enters adventure after adventure, until an unwise marriage leads her to the brink of complete wreckage. The desperation following her dissillusionment leads her, for nearly a year, in a mad gamble with money and men. This period of her stormy career is rudely broken into by the shock of a wire from Texas informing her that her mother, played by Estelle Taylor, is dying. Back on the ranch, amid the familiar surroundings of her girlhood, is revealed her mother’s indiscretion responsible for the fiery temperament which causes men and women to “Call Her Savage.” Others featured in important supporting roles are Thelma Todd, as Clara’s blonde rival; Willard Robertson, as her stem father; Anthony Jowitt, Monroe Owsley and Gilbert Roland as her suitors, and Weldon Heyburn, as the Crow youth whom her mother had admired. THE MAJESTIC. “MADAME BUTTERFLY.” DELIGHTFUL ROMANCE. That treasured romance, “Madame Butterfly,” modernized and made into a motion picture by Paramount, with a cast headed by Sylvia Sidney, Cary Grant, and Charlie Ruggles, is attacting good houses to the Majestic. The story by John Luther Long and the play by David Belasco have both been brought up to date in the process of filming. B. P. Schulberg, who produced the picture for Paramount, and Marion Gering, who directed, nevertheless took pains to retain the spirit of the original. Miss Sidney, her dark eyes and eyebrows slanted, her hair lacquered, her figure draped in colourful Oriental costumes, plays the role of Cho-Cho-San, the demure Japanese maiden wooed by the young American

naval officer stationed in the city in which she lives. Cary Grant, virile young Englishman who is treading Hollywood’s path to stardom, plays the latter role. The two fall in love; they are married in accordance with Japanese law, after' the officer discovers that the law provides for automatic divorce when husband leaves wife, and decides that he can go through with the ceremony under such circumstances. Their married life is blissful but brief. For soon Grant is transferred back to the United States. But when the time comes for him to say good-bye, and to tell Cho-Cho-San that she is no longer his wife, he lacks the courage. Instead he promises to return when “the robins nest again.” He does return, but it is under entirely different circumstances—circumstances which bring the picture to a touching, wistful climax. The supporting programme is an excellent one.

CLAUDE ALLISTER IN “DIAMOND CUT DIAMOND.”

If you want to know just how you can be “done brown” by a confidence man, or how your pockets are picked, and any other little effort of crime, make a visit to the Majestic Theatre and see “Diamond Cut Diamond,” the new British feature released by. Metro which begins on Saturday. Claude Allister, famous British “haw-haw” comedian with the monocle, will have you laughing heartily with his dialogue and hilarious facial expressions. He is cast as Joe Fragson, a super-crook. Benita Hume, one of the most talented of England’s screen stars, again gives an excellent performance. Her role as a girl-crook, Marda Blackett, who makes her fellow lawbreakers of the male sex look like amateurs, is very cleverly done. Kenneth Kove, who will be remembered for his inimitable comedy work in “Mischief,” is again up to all his tricks, and is extremely funny. The remainder of the-cast is adequately filled by Desmond Jeans, G. B. Manetta, Phillip Strange and Toni Bruce. The story deals with two super-crooks, who, stranded in the South Seas without a penny, are “forced” to steal a valuable pearl from a native to get their passage money to England. On arrival in London, they continue their . life of crime, and have several hilarious and exciting moments escaping from the arm of the law. During one of . their escapades, they are forced to hide a diamond necklace in a young woman’s handbag—and later discover that the young lady is also of their profession. However, she hoodwinks them properly, and, in a very funny climax she has them arrested and sent to gaol, while she takes a “well-earned” holiday to another country with the spoils of her own work and those of the two men!