ENTERTAINMENTS

Southland Times, Issue 22075, 24 July 1933, Page 3

ENTERTAINMENTS

THE REGENT.

W. W. JACOBS’ “THE MONKEY’S PAW.”

THE 1933 CHARLIE CHAPLIN.

Variety was the keynote of Saturday night’s change of programme at the Regent, and certainly it proved first-class entertainment for the large audience present. For a start, the “shorts” themselves were well above the average standard —each was an excellent contribution to a thoroughly enjoyable evening. A Vagabond Travelogue to India gave many intimate glimpses of the land of Ghandi; there was an interesting Pathe British. News, a Pictorial Review and an Audio Review starring Tom Burke, the famous tenor and conductor of a well-known and outstanding male choir. And of course the programme would not have been a programme without a cartoon, and what better cartoonist could there be than the clever Walt Disney, who reduces to celluloid form those laughable inspirations of his fertile brain? “Bees and Bears” was the cartoon entitled, and didn’t the audience enjoy it! Then followed “Easy Street,” one of Charlie Chaplin’s most successful comedies of bygone days, brought right up to 1933 by the addition of sound effects. Small wonder, thought everyone, why Charlie was hailed as the King of Comedians. Even to-day the humour of the picture is refreshingly clever and the film proved one long scream almost throughout. In characteristic fashion, Charlie garners in a laugh in almost every 10 feet, and what could be more side-splitting than to see him elevated from a mere “hobo” to a leading light in a Mission of Hope? Later he joins the police force and converts a street, in which crime holds sway among its disreputable inhabitants, into a most law-abiding thoroughfare. Typically Chaplinesque, the comedy work, subtle and broad in turns, is a real joy. In distinct counterrelief to this picture is “The Monkey’s Paw,” an arresting drama based on man’s fear of the supernatural. Adapted from W. W. Jacobs’ well-known story of fear psychology, the film challenges in no uncertain manner, the view held by so many that the age of superstition has long past. Unique in its conception and interpreted by an outstanding cast, this unusual drama has as its plot the consequences which dog every possessor in turn of a certain monkey’s paw stolen from India. Each of three wishes is always granted to the owner of the paw—then follows Nemesis in the form of disaster. The talisman finds its way to England where a meek, old clerk cannot resist the temptation—despite many warnings—to “wish three times.” Stalks into the lives of himself and his family grim tragedy, but the many poignant moments are relieved by some clever touches of humour. The picture gradually mounts through a series of incidents—all thrilling, mysterious and astonishing—but the climax is as refreshingly pleasant as it is unexpected. The whole . programme is sound screen entertainment.

CIVIC THEATRE. "42nd STREET.” THE PICTURE WONDERFUL. Not since the Civic Theatre has reopened for talking pictures has there been a more delighted and satisfied house as that which crowded the theatre from street to screen on Saturday night to witness Warner Bros.’ picture wonderful, “42nd Street,” a lavishly staged musical comedy with melodious song hits, daring costumes, brilliant dance ensembles and snappy dialogue. A story that follows conventional paths, presenting an unknown chorine’s rise to overnight fame. Ruby Keeler scores a hit in the lead, while Warner Baxter, Bebe Daniels, Guy Kibbee and super beauty chorus give sterling support. The picture has realistic back-stage atmosphere, and a mammoth show climax. Seldom has Broadway stage life been so convincingly depicted—stripped of its superficial glamour, to stand revealed as a world of nerve-racking toil. The building of a mammoth musical is presented from its very inception right down to the finished product, after weeks of hectic rehearsing under the slave-driving methods of Julian Marsh. Back-stage atmosphere is perfectly conveyed in swift, incisive cameos that undeniably ring true. The actual show, which forms the climax of the film, is brilliantly put on, with sensational dance ensembles, tuneful numbers and lavish spectacular scenery. The highlight is undoubtedly the vast turntable on which chorines pirouette with machine-like rhythm ' and graceful artistry. Another telling sequence is a beautifully photographed “42nd Street” number, with New York’s theatrical quarter graphically staged in intimate detail. Ruby Keeler’s sensitive portrayal of Peggy is a remarkably fine piece of work, cleverly suggesting the transition from tyro to star, Warner Baxter’s realistic study of the bullying, harassed stage director, Marsh, is excellent, and George E. Stone’s slyly humorous stage manager is a joy. George Brent does well in the unsympathetic role of Pat. Ned Sparks’ laconic, magnate, Guy Kibbee’s “fruity” Abner, and Dick Powell’s ingenue, are also well-observed portrayals, and Bebe Daniels gives Dorothy just the requisite amount of tempestuousness, while Ginger Rogers and Una Merkel turn in delightful studies of two blonde chorines. 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, stingrays 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. THE MAJESTIC. “HARMONY ROW.” GEORGE WALLACE IN UPROARIOUS COMEDY. The laughter capacity of an audience was tested to its fullest extent on Saturday when George Wallace commenced a season at the Majestic Theatre in the Efftee comedy riot, “Harmony Row.” This film is nothing more than it purports to be—an uproarious farce that keeps those who view it in a state of almost helpless mirth. And after all that is the only true test. It would be superfluous to commence with any introduction of George Wallace himself, for his name is once more rapidly becoming a household word in this part of the world. He is “our very own George, the one and only.” Suffice to say that in this latest success, he. is seen at his very best. As a diminutive and bungling policeman he has the audience laughing continuously.. After the sergeant has “taken down his particulars” (a request that George, very naturally misunderstands) he is assigned to patrol duty, at Harmony Row. Ironically enough this is not a neighbourhood where peace and the milk of human kindness flow undisturbed. On the contrary, brawls, street fights and hold-ups are the order of the day, for Harmony Row is Melbourne’s worst district. As might be expected, George is far from being the perfect police-

man. With his imposing helmet reclining at a jaunty angle, he chums up to a few girls and arrests a boy for walking out of an hotel with a bottle of liquor, but when any real trouble develops his beat conveniently leads him in the opposite direction. He is given orders to bring to book a desperate criminal called “The Ferret,” but when George has the man in his power he succumbs to a pathetic story and gives the thief all his money. The climax comes when an escaped convict forces George to change clothes with him, so that the hapless constable has to report at the station in a suit looking greatly out of place on a policeman. Realizing that George is not the right man for Harmony Row, the sergeant transfers him to a highly respectable neighbourhood. But George has a real flair for getting mixed up in all sorts of trouble, and on the very first night he is called on to investigate eerie happenings in one of the mansions. Weird, ghostly things have been taking place in this house, a phantom having just put in an appearance. George is greatly averse to arresting ghosts, and declares that he is much more at home on the street, but the occupants of the house force him to remain on duty there. He is almost scared out of his wits on a number of occasions before the mystery is finally cleared up; spectral figures flit from room to room, while skeletons appear in dark corners. All this is magnificent comedy, and the mirth-provoking situations pile one upon the other until the end, when George beats “Slogger” Lee, the terror of the underworld, in a side-splitting boxing match, thereby vindicating his own honour and winning the girl of his heart. It is all good, clean fun, with never a dull moment, while one can never have enough of George’s quips, sallies and quaint facial expressions. There is some excellent satire, too, directed chiefly at the American gangster element and the English “haunted house” theme respectively. Though George is, of course, the mainstay of the whole production, the large, cast of supporting players has been particularly well chosen and acquits itself most creditably. The major names are Thelma Scott, Phyllis Baker, Marshall Crosby, John Dobbie and Edwin Brett, with particular credit to the boy, Willie Kerr. The Australian featurettes on the supporting programme are outstanding both for variety and general

excellence. The overture “Carmen” is played by the Williamson Royal Grana Opera Orchestra, Kathleen Goudall is heard to advantage in songs at. the piano and Peter Bomstein gives a violin solo. Then, in addition to the newsreels, an extremely interesting film “Corals of the Barrier Reef” is screened. This is a programme which cannot fail to be immensely popular.