ENTERTAINMENTS

Southland Times, Issue 22073, 21 July 1933, Page 4

ENTERTAINMENTS

CIVIC THEATRE. “RICH AND STRANGE.” This afternoon and evening at the Civic Theatre will witness the last two screenings of ‘‘Rich and Strange, ’ a picture which delighted a large audience last evening. In “Rich and Strange,” is an opportunity to enjoy a trip to the romantic East. The action and detail in this wonderful production are such that you can easily imagine yourself in the presence of Fred Hill (Henry. Kendall) and his wife, Emily (Joan Barry). They are just ordinary people living in a suburban atmosphere, and in his case he is harassed by. the petty aggravations which go to make “routine work” in a bank so monotonous. However, a stroke of unexpected good fortune finds this couple with enough means to realize their ambition . . . escape from uncongenial environment . . . From this point onwards you can . accompany them on a trip to the Magic East . . . life on board ship . . . going ashore at ports of call .... and all the glamour and attraction of foreign parts, with kindly weather and fascinating glimpses of strange places and people. Marseilles, Port Said, Suez, Colombo, all these places are visited. Fred becomes enamoured of a princess, and a rubber planter, Commander Gordon, falls deeply in love with Emily. He persuades her to leave the ship at Colombo, but on the way to his plantation she discovers that the princess is nothing more than an adventuress, and returns, too late, to save her husband. The "princess” and their fortune have vanished. It is a wiser and sadder pair who return to steak and kidney puddings. There is a splendid supporting programme of topical, scenic and vaudeville films. COMMENCING TO-MORROW. “42nd STREET.” A departure from the current type of talking picture, involving a wholesale return to the spectacular and lavishly. staged type of production such as “The Broadway Melody” and “Gold Diggers of Broadway,” is made in “42nd Street,” the colourful musical extravaganza commencing to-morrow. Like the earlier ones of this kind, the film is a story of the theatrical world presented in a back-stage setting, a theme which, carefully blended with reason and reality as in this production, gives ample scope for the incorporation into the story of much highclass music and dancing of the sort that captures the interest as much for its comparative novelty as for its general excellence. In “42nd Street” the building-up of a large-scale musical comedy is shown, from the moment of its conception in the minds of the promoters to the frenzied night of the premiere five weeks later. The story is very human, being centred on the play and work, the hopes and fears, the successes and rebuffs of all connected with the show, from the producer and principals to the 200 chorus girls engaged. The development of the story is intensely interesting, with balanced interludes of drama and comedy combined in admirable fashion. The sequence of events is handled in a particularly effective manner, and in this respect the picture is a masterpiece of production. Melodious theme songs, music spectacular chorus ensembles, ballets and attractive dances are introduced in such a way as to delight the audience to the point of enthusiasm without in any way offending its sense of the proper and logical order of things. The climax of the picture comes with the actual staging of the show on the first night. This is magnificent, a revelation in lavish pro due* tion and brilliant execution of inusical comedy. Warner Baxter gives a dominating performance as the producer, famous for the successes he inevitably procures, and equally notorious for the slave-driving methods by • which he gains them. Bebe Daniels makes a successful reappearance as the leading lady, but the feminine honours of the film go to Ruby Keeler, a newcomer of exceptional song and dance talent as well as undoubted acting ability. After a last-minute accident to the leading lady she is called on to take the lead, and her portrayal of the transition from timorous tyre to successful star is very well done. Other well-known players to appear are George Brent, Ned Sparks, Una Merkel and Dick Powell. THE MAJESTIC. “MONEY MEANS NOTHING.” Irene Richards, one of London’s most popular operatic singers, appears in the Paramount British picture, “Money Means Nothing,” which is now showing at the Majestic Theatre. “Money Means Nothing” is a light comedy adapted from an original story by Douglas Furber. Miss Richards plays the part of Livia; daughter of the old family butler of the 27th Earl of Massingham. She co-stars with John Loder and Gibb McLaughlin. They are supported by Kay Hammond, Clive Currie, Bromley Davenport and Dorothy Robinson. In the seventeenth century the 11th Earl of Massingham engages a new butler, whose name he changes from Blethersyde to Faringay, because the Massinghams have always been served by Faringays. In 1932 the 27th Earl of Massingham (John Loder) is still served by a Faringay (Gibb McLaughlin). The Earl, however, although a very charming young man, has come to the end of the family fortunes and is engaged through no fault of his own to a gold-digging actress (Irene Richards), who is unaware of his true position. An evening paper i reveals to Faringay that, as Blether--7 syde he is the lost heir to millions. Un- ‘ beknown to Massingham, he establishes his claim with Sir Percival Puttock, a lawyer. He insists that the matter be kept a secret and that he still remains in service in order to see his young I master out of a scrape. Faringay tells ’ his daughter, Livia (Irene Richards) who is terribly excited. She is indignant when she hears that he intends to help Massingham, whom she considers a waster. Puttock and Faringay arrange that Livia, in the role of a wealthy society girl, shall meet Massingham. When Livia and Massingham are out at supper they encounter Daysie, who creates a scene resulting in Livia going home practically in tears. The following day Massingham tells Faringay confidentially that he loves Livia, but that his family pride will not permit the breaking off of his engagement with Daysie. Faringay and Puttock get together and buy Daysie off. She writes to Massingham breaking their engagement. Delighted as such a stroke of good luck he goes straight to Livia and proposes. At the same time he admits he is practically penniless. Livia accepts him and tells him of her own money. He suddenly realizes she is the lost heiress and worth millions and decides that in the curcumstances he cannot possible go through the engagement. Back in his flat Massingham awaits an answer to his ring for Faringay. There is no reply, and, annoyed, he enters the kitchen to find the girl worth millions sitting on his butler’s knee. In the explanation that follows, Massingham learns that Livia is the daughter of his butler. He rounds on Faringay for deceiving him. Faringay then gives his notice to Massingham, and, in service no longer, gives the first order of his life to the earl—to take Livia out to dimmer, a instruction with which Massingham eagerly complies. As usual the main feature is supported by an attractive

programme of shorts, including the Empire Day radio broadcast and a clever comedy introducing the inimitable Bing Crosby.

PLEASURE FOR EVERYBODY.

GEORGE WALLACE IN “HARMONY ROW.”

When the Majestic management introduced George Wallace to the public in the cinema attraction “His Royal Highness,” it was stated that this young Australian was the greatest comedian that had ever appeared on the talking screen. It was said of him:—“He is the supreme master of pantomime—he will make you roar with laughter—yet you will feel sorry for his apparent shortcomings. He is a rare screen personality and undoubtedly will prove to be the world’s genius in the high art of combining just that little bit of tragedy with his comedy that makes him so sincere.” How true that summing up was has since been shown by the manner in which his first film, “His Royal Highness,” has not only swept through Australia like a veritable laughing tornado, but has won a degree of recognition in Great Britain such as has never previously been accorded to an Australian film. “His Royal Highness” was the first of the Efftee films taken to London by Mr F. W. Thring, founder, manager, director and producer of the Australian studio, to be trade shown. It was screened before a select audience representative of all the leading figures in the moving picture industry of England at the great new Cambridge Theatre in London, and London’s leading critics were unanimous in their praise of Wallace’s art. He was hailed as “the greatest comedy genius of a decade,” thus bearing out in full the claims which we had originally made for him. In “Harmony Row,” the second George Wallace feature from the Efftee Studio, new phases of his versatile genius will be revealed, in what we unhesitatingly claim to be the funniest talking film in screen history. In this burlesque of a policeman’s lot with George Wallace are such well-known players as Marshall Crosbie, John Dobbie, Phyllis Baker, Edwin Brett and Leonard Stephens. The main attraction will be accompanied by a special series of Australian vaudeville varieties that will form an entertainment in themselves. “Harmony Row” will be shown for the first time here at the matinee on Saturday afternoon, when each boy and girl will be given a school blotter as they leave the theatre.

THE REGENT.

ANN DVORAK AND DAVID MANNERS IN “THE CROONER.”

Gay parties and thrilling action in city night clubs will be seen to-day in “The Crooner,” which is to have its final screenings at The Regent Theatre this afternoon and evening. David Manners and Ann Dvorak, who made such an excellent team as the lovers in “Stranger In Town,” are again seen as the leading players in the picture. Manners, who plays the title role, gives an excellent performance as the crooner who leaps to fame over night and becomes so impressed with his accidental success that he imagines he is a genius. Miss Dvorak gives a fascinating performance as his college sweetheart. Ken Murray, famous as a radio entertainer, proves to be just as entertaining on the screen, as a high pressure publicity manager, while Claire Dodd, a Broadway favourite, sets the heart aflutter as a society vamp. Guy Kibbee contributes barrels of fun as a jovial drunk in a night club. The theme is said to be the composite story of the lives of famous crooners and takes a satirical jab at the vanities of professional entertainers. It is gay and jazzy, a revelation of the wild hysteria of night club life, although it carries a serious vein of delightful romance. It abounds with humorous sequences and exciting action, interspersed with sparkling dialogue from the pen of the well-known author and columnist, Rian James. There is an unusually strong cast. The supporting featurettes include an Australian Cinesound Review, another of those interesting “Believe It oi- Not” series, comedies, etc.

CHARLIE CHAPLIN.

ALSO A W. W. JACOBS’ STORY.

THE REGENT TO-MORROW.

In addition to the W. W. Jacobs story “The Monkey’s Paw,” which has been produced with an all-English cast, the Regent management will screen to-morrow (matinee and night) a brand new copy of “Easy Street,” one of the famous Chaplin’s most laughable comedies, which, with sound and music introduced is said to be more laughable than ever. The feature picture “The Monkey’s Paw,” by W. W. Jacobs is a strange story and makes a thrilling picture. It tells in an exciting way of the talismanic powers vested in a mummified monkey’s paw, granting to the possessor of the paw three wishes. Betty Lawford and Bramwell Fletcher have the romantic leads in. this unusual film and prominent in the cast are C. Aubrey Smith, Louise Carter, and Ivan Simpson. These two features with an excellent array of supporting films will make a great show at the Regent on Saturday.

REGENT THEATRE, GORE.

“SECRETS OF THE FRENCH . POLICE.”

The true stories of French police adventures as revealed by H. AshtonWolfe in his many stories have been found to be more gripping than the fiction winch, has been turned out in tremendous volume by modem writers. One of the most baffling of these mysteries has now been transferred to the screen under the title of “Secrets of the French Police.” Crime detection in France has become uncannily successful as the Surete has built up its organization to frustrate the crimes of its evildoers. It is a fascinating tale that is presented in this picture. Gwili Andre is featured in a tremendous role and others include Gregory Ratoff and Frank Morgan. The supporting programme is up to the usual high standard.