ENTERTAINMENTS

Southland Times, Issue 22074, 22 July 1933, Page 9

ENTERTAINMENTS

MAJESTIC THEATRE. GEORGE WALLACE IN “HARMONY ROW.”

More than any other living comedian, George Wallace has the faculty for making his face express varying'emotions—and express them so that they are exaggerated just to the right degree and no more. The lift of an eyebrow, the downward or upward twist of the mouth. These, as practised by George Wallace, are sufficient to convulse an audience. Yet behind it all there is just the touch of the pathetic which plays upon the sympathies of the audience, and makes it individually and collectively like George as well as laugh at and with him. Every really great comedian the world has known has had this faculty for winning sympathy as well as mirth. Charles Chaplin had it to the ’nth degree. So had Harry Lauder, Wilkie Bard, in fact every great Lion Comique of his day. The director, F. W. Thring, realized this quality, when little over a year ago he predicted that in George Wallace he had found a comedian of world-wide significance. “Harmony Row,” the latest of the Efftee talking productions, starring George Wallace and commencing at the Majestic today, is made for laughing purposes only. From the first moment George appears on the screen, which is practically at the opening of the film, the laughter never ceases, and the audience follows his ludicrously comical adventures as a police recruit, as a novice constable in a very bad neighbourhood, and in some truly hairraising adventures in a suburban residence in a neighbourhood of impeccable respectability, to the accompaniment of perpetual roars of mirth. The final sequence depicting a boxing match between the diminutive Constable Dreadnought (George Wallace) and “Slogger” Lee, the terror of the underworld (John Dobbie) is the funniest episode of its kind ever shown on the screen. This was staged in a specially constructed ring at the studio, which is a close replica of the gymnasium at the Russell Street Police Station, Melbourne, and the crowd was picked to represent all types likely to be interested in a contest of this kind. The production of the comedy fight has been brilliantly carried out, and it is safe to say that this sequence alone will ensure the success of the film. The supporting cast includes Marshall Crosby, John Dobbie, Thelma Scott, Phyllis Baker, Edwin Brett and little Willie Kerr. Supporting varieties will include a series of special Australian subjects. The Williamson Royal Grand Opera Orchestra will play the overture “Carmen.” Kathleen Goudall presents songs at the piano, a violin solo by the noted concert star, Peter Bomstein, is very good indeed, and Beryl Walkley sings. Noel Monkman gives a running commentary to a delightful scenic film, “Corals of the Barrier Reef,” whilst the Australasian News and Graham McNamara news reels are all excellent. “Harmony Row” will be shown at to-day’s matinee and each boy and girl will be given a special school blotter. THE REGENT. W. W. JACOBS’ “THE MONKEY’S PAW.” CHARLES CHAPLIN IN “EASY STREET.” The Regent management offers a varied and attractive programme for the entertainment of patrons this afternoon and evening. Charlie Chaplin’s comedy “Easy Street,” one of his biggest successes, with music and sound introduced, is outstanding on the first portion of the programme, which will also include one of the laughable Walt Disney Silly Symphony series; a travelogue of India “The Land of Gandhi”; Pathe British News; and an Audio Review which introduces Tom Burke, famous tenor and conductor of a particularly fine male choir. No stranger story, no more unique achievement in screen drama has come to the Regent Theatre than “The Monkey’s Paw,” which during its spell-binding way across the screen causes audiences to gasp and wonder. “The Monkey’s Paw” is an audacious blasting of our belief that we have risen above superstition. It proves that the civilized man is savage in his belief of the power of good luck pieces. RKO Radio Pictures is to be complimented on producing so curious a tale, and Director Wesley Ruggles on preserving all the whimsy and haunting heartbreak of the classic story by W. Wymark Jacobs. “The Monkey’s Paw” is not a mystery tale. It contains no dark dungeons, clanking chains, spectres or groans. There is, nothing to solve—but decidedly there Is something to think about in this story laid in a pretty English cottage. A stalwart and one-armed British soldier, a glorious liar and yam-spinner, visits the home of his old friend John White, a meek little clerk well on in years. He tells 'White and his wife and

son a preposterous story out of India about a monkey’s paw that has only to be held while one makes three wishes in order for all three to come true. There is a catch, however. For, while all three wishes will come true to the very letter, their fulfilment will bring unexpected horror and disaster. Poor, gentle, futile John White would like to possess £2OO to buy a little home for nis son and prospective daughter-in-law. Ho and the old soldier drink a little more grog than they should as the evening wears on. When, the old soldier goes home, White purloins the talikman from his pocket and makes the first of three wishes for £2OO. Strange things begin to happen. John White gets his money from a direction he never expected. But what he gets in addition is more than any human being might care to bargain for. Terrors explode in all directions, right up _ to an ending which is at once astonishing and unexpected. Five lives are bound up in the extraordinary hanoenings. C. Aubrey Smith as the one-armed ser-geant-major; Ivan Simpson as John White; Louise Carter as Mrs Jenny White; Bramwell Fletcher as Herbert White; and Betty Lawford as Rose, his sweetheart, all give performances that are very human and very appealing. CIVIC THEATRE. “42nd STREET.” COMMENCES TO-DAY. Commencing at the Civic to-day at the matinee, Warner Bros, present the latest musical comedy success “42nd Street." This is musical comedy loaded with the stuff that gave this form of entertainment its standing; marvellous dance ensembles with precision routines; spectacular sets, catchy songs, pretty girls of high aphrodisiac quotient, and racy, earthy comedy. For the great majority of picture audiences, and particularly in the smaller towns where the natives never get a peep at real flesh and blood stuff in musiccomedy, this one is a revelation. When the picture gets into high gear in its last half-hour, it' reels off some dance numbers and some trick sets that alone are worth anybody’s admission price. As constructed, the piece is really a musical comedy within a mild melodrama. It takes you behind the scenes in a musical comedy factory and shows you just how much perspiration, nervous breakdowns and youth and beauty have to go into the making of one of these dramatic confections. Ruby Keeler is the little understudy who becomes a star over-night when the star, played by Bebe Daniels, breaks an ankle during a “faw-down” session. Bebe has one song, “You’re Getting To Be a Habit,” that sounds very hittish and she does very well indeed with it. The other numbers sound good in the telling: “Shuffle Off to Buffalo” and “Young and Healthy ” Warner Baxter plays the over-burden-ed stage director and makes the proximity of his breakdown very plausible. Ginger Rogers overshadows most of the women of the cast with some clever nonsense, and Una Merkel, in her dependable fashion, contributes laughs Dick Powell is teamed with Ruby Keeler in carrying the juvenile romance and clicks very nicely. Guy Kibbee, who plays the angel of the production, is his usual competent self, but his lines are nothing to write home about. Others contributing noteworthy efforts are George Brent as Bebe Daniels’ sweetheart; Ned Sparks, Edward J. Nugent, George E. Stone and Allen Jenkins. Lloyd Bacon’s direction kept things moving briskly, and Sol Polito’s photography is of first order throughout. The supporting programme maintains the standard of the main feature. Specially interesting is “Sea Devils,” which shows fishing operations off the Californian coast. Expert photography here gives some excellent under-water and close-up views of whales, porpoises, sting-rays and tiger sharks in their natural surroundings, together with the methods employed in fighting the sharks. A clever demonstration of ventriloquism is contained in the comedy “Africa Speaks English,” while a sports featurette of elk and moose hunting, and a Universal News complete a highly entertaining programme. 1716 box plan is rapidly filling at Eegg’s.

PIANOFORTE AND DANCING. SPLENDID RECITAL PROGRAMME. A recital of musical interest is to be presented in the Civic Theatre next Wednesday evening by the pianoforte and dancing pupils of Miss Verna Grindlay, L.T.C.L., L.A.B. (teacher’s cert.). The programme is a most attractive one, including items by Mr L. E. Dailey, a concert tenor whose fame is not limited to Southland and Otago. The other vocal soloist is Leonard Jones, an exceptional boy soprano, whose voice Mr John Brownlee, on his recent visit to Invercargill, declared was perfectly produced. The pianoforte section of the programme comprises solos, ducts, trios, duos and double duos by talented young performers. A double duo, played by

Sheila Stuck, Joyce Lee, Zena Bryce and Ina. Home, and a solo, “Rhapsodic in D minor," by Desmond Stone, will be followed by a series of solos and duets by the Tiny Tots—Joan Menzies, Margaret McCallum, Nancy Palkinghorne, Ruth Holland, Brian Dalton. Bobbie Anderson, Alan Warburton and lan Martin. Then Audrey Stone, Willis Brown and Betty Patterson will play a trio, “In Merry Society,” Hilda Anderson and Ina Horne will play a duo, “In the Ballroom,” and Sheila Stuck will play a solo, “Sv/allows.” These will be interspersed with dance scenas, solos and duos, the “Woodland Revel,” which opens the programme, being a lavish depiction of fairies, pixies, buttercups, bluebells, glow-worms, butterflies, Puck, Cupid, and the many other dainty inhabitants of a child’s conception of Woodlands all playing together joyfully. The weird and awesome “Dance Macabre” (Saint-Saens) duo will be played by Miss Grindlay and Mr Gordon Lindsay, L.T.C.L. In the second half there will be a gorgeous “Christmas Tree” scene, a Military Dance by Louis Congreve, a sparkling and original “Sunshine Ballet,” and a Russian dance by Margaret Grindlay in addition to a demonstration of the reaL American tap by Miss Grindlay, ballot work and pianoforte numbers. Mr W. W. Millar, L.A.8., will conduct a bright and full orchestra, and Mr Alex Sutherland, the stage manager, will ensure that the programme is put through without a hitch. The costuming and scene decorations are elaborate and original. EMPIRE PICTURES, RIVERTON. “TESS OF THE STORM COUNTRY.” The Empire Theatre, Riverton, will be the rendezvous of all discriminating film fans to-day when that delightful romantic pair, Charles Farrell and Janet Gaynor, make their successful reappearance on the screen in “Tess of the Storm Country.” Miss Gaynor appears as the daughter of a sea captain, who has spent all her life on her father’s ship, and comes to live in a cottage on the shore, and her unconventional and tempestuous character is soon the subject of scandalous discussion in the adjoining village, with the result that the girl is ejected by the crusty old millionaire who owns the property. A bitter feud between the families begins end events reach a climax when Tess rescues the millionaire’s son (Charles Farrell) from drowning. Tragedy enters the girl’s life when her father is involved in a shooting affray and is accused ot murder of which he is innocent. Charles Farrell, who is in love with Tess, determines to bring the real culprit to book and incurs the enmity of his father, who disowns him. The-power-ful story is cleverly worked out to a happy ending.