ENTERTAINMENTS

Southland Times, Issue 22156, 26 October 1933, Page 3

ENTERTAINMENTS

CIVIC THEATRE. “ALOHA.” BEAUTIFULLY PRODUCED AND ACTED. “Aloha” brings to the Civic Theatre a Tiffany production that moistens the eyes a bit with tears, tickles the funnybone deliciously, and evokes many emotional thrills. Ben Lyon and Raquel Torres play the leading roles. Lyon is the young San Franciscan who goes to the tropics in, the interests of his father’s tremendous copra business. He has a sweetheart back home—Elaine—to whom he is true until loneliness and disappointment over not being called back home, drives him into the arms of Ilanu. Ilanu, portrayed adorably by Miss Torres, is an unhappy half-caste —unhappy because her grandfather wants her to marry a native, but the blood of her white father rejects the idea. She loves Jimmy, and doesn’t hesitate to let him know it, so when Jimmy’s inhibitions break down and he promises to love her always, she is utterly happy. Belonging to Jimmy’s world, however, is very difficult. She is willing to please, but it is hard to understand the way of civilization. No matter how hard she tries, the things she says and do are always wrong, though inspired by the greatest desire to please. Her errors are full of laughs, Jimmy’s family is hard hit when he comes home with a Kanaka bride. His father, a man who has commanded all his life, finds there is one command he can’t give his son—even though he gives it with a blow in the boy’s face. Jimmy will not ship Ilanu back to her island, so he is ordered out of his father’s house, and Jimmy, who was destined to head his father’s business, takes to carrying a lunch pail. This is but an interlude. When his father dies he comes back to the ancestral mansion, and pearls sent Ilanu by her grandfather as his dying gift save the Bradford busines, which was tottering. This should have set Ilanu solid with Jimmy’s family, but his sister, Winnie, is a snobbish cat, whose chief ambition is to separate the pair. She has a thousand and one torments for Ilanu, who is far too innocent to realize what Winnie is doing. “Aloha” remains at the Civic Theatre until to-morrow. It has been directed by Albert Rogell with beauty and understanding. The cast could not be better. Raquel Torres is fiery and tender by turns, and lovable always. Ben Lyon holds your sympathy throughout. Robert Edeson is immense as the father; Thelma Todd is thoroughly catty as the sister; and Marion Douglas is irreproachable as the jilted sweetheart. The supporting features include “Not So Loud” comedy, “Eskimotive” cartoon and an “Audio Revue.”

THE MAJESTIC. “ZOO IN BUDAPEST.” AN UNUSUAL PICTURE. One of the year’s most unusual pictures, “Zoo in Budapest,” with Gene Raymond and Loretta Young in the leading roles, commenced a season at the Majestic Theatre last evening, at a time when a novelty on the screen is like a breath of spring air. Filled with natural drama and brought to a climax by an episode equally in terror the most dangerous ever filmed, “Zoo in Budapest” reaches the highest point of entertainment. The main situation, that of a young boy who resents the ruthless slaughter of animals for their furs, is enacted before a background of growling wolves, tigers, and other beasts of the jungle—all ferocious and as anxious to leap at their protector’s throat as at their trainer’s. But the drama is barely concerned with the activities of the animals, leaning more toward the reactions of humans to the oppressive circumstances found in life itself. Simply told, expertly performed and ably directed, “Zoo in Budapest,” the first of Jesse L. Lasky’s independent productions for Fox, fills the Lasky promise for better pictures and points to an optimistic film future. Loretta Young, as the young girl endangered in a suddenly upset zoo, plays her part in an even more efficient fashion than ever, and Gene Raymond, who promises to be one of the foremost players of the screen, here emerges as star material. The supporting cast has been ably selected for all of the important roles in the film. The story opens as crowds are pouring through the turnstiles of the Zoo in Budapest. A little boy, Wally Albright, and his governess pass the cages. But Wally’s only concern is to ridi the elephant. O. P. Heggie as Dr Grunbaum, director general of the zoo, is occupied with the animals. On his return to the office he interrupts an argument between his secretary and a woman complaining of the loss of a fur piece. After pacifying her he admits to his secretary that the thief is Gene Raymond (Zani), an orphan boy who is a friend of all the keepers and the animals. As he is playing with the lion cubs, Raymond receives Heggie’s summons, but cannot resist delaying the visit to fondle the sick orangoutang; he chastises a leering keeper for burning the tiger with his cigarette. The girls from the orphanage are coming for their lesson in natural history. Raymond’s eyes fall upon them. He smiles at Loretta Young (Eve), the most lovely. She returns his smile and from then on the story is a succession of swift-moving events. The usual Majestic standard in shorts is maintained.

THE KEGENT. “THE LITTLE DAMOZEL.” DELIGHTFUL MUSICAL ROMANCE. Hats off again to the British studios which again score heavily with “The Little Damozel,” a delightful musical romance which held a large audience at the Regent last night completely captivated. Here is an absolute gem—richly human, intensely dramatic in parts, and most effectively blended with captivating music. A thoroughly satisfying story preserves the continuity and coherence of the picture and each tuneful number seems to have its place in the logical development of the plot. A finished production from every angle, peopled by some talented players headed by Anna Neagle (of “The Flag Lieutenant” fame), the film has as its basis a famous play together with music written by Noel Coward to brighten many of its scenes and certainly it must rank on a high plane in screen entertainment. Clever flashes of humour and musical numbers are woven into the story, the telling of which demands that the members of the cast should also be qualified to attempt emotional and dramatic acting. And of such qualifications they leave not the slightest doubt for each gives an interpretation fully in keeping with the best traditions of the British stage. The central figure in the story is Julie Alardly, the favourite of a night club, where she entertains with singing and dancing numbers. Among the frequenters of the club is Reeky Poole, a penniless man of the world, who is known to have lost interest in women. Poole, however, is loved by a rich heiress, whose hand is sought by Captain Partington. Partington sees in Poole, a rival, and devises a scheme by which he will cease to stand in the way. The result is the marriage, surprising to everyone, of Reeky Poole and Julie. The latter, free of a type oi life which she has long despised, is a changed woman, and her married life is one of supreme happiness until circumstances arise which uncover the plot. The story from this point is handled in a convincing and intensely interesting manner until it leads to the

only satisfactoiy conclusion. Anna Neagle, both as the night club favourite and as the wife of Poole, shows talent that is far above the ordinary. Her speech is pure and clear, her singing softly pleasing, and her interpretation of a role which demands frequent changes of mood one which must be found delightful by all who see it. The choice of James Rennie for the part of Poole, a man whose life has been filled with such disappointments that degraduation of accepting a bribe to marry troubles him not in the slightest, was made with a shrewd knowledge of the requirements of the part, which he fills with conspicuous success, while Benita Hume’s acting is marked by characteristic polish and dignity. The supporting programme forms a pleasing introduction to the main feature. “The Funeral March of the Marionette” is a musical item of considerable interest, and a fine scenic film presents views of the Cornish coastline. “Zodiac No. 1” is the first of a series of films that are likely to arouse unusual interest, and the concluding item is “And So To Bud,” which presents a series of novelties.

“CAVALCADE.

MIDNIGHT MATINEE FRIDAY. THE CAVALCADE OF GREAT EVENTS. Booking is proceeding apace for the opening sessions of the Fox production “Cavalcade” which is to be screened at a midnight matinee (commencing at 10.30 on Friday night) and at two sessions daily for the following week. In northern centres very few seats have been left over after the booking closed, and that experience is likely to be repeated in Invercargill, for no picture has been so much spoken of and looekd forward to for years, as “Cavalcade.” For every one of us there is something to be learned from this version of Noel Coward’s “.Cavalcade.” It is a grand and inspiring work, telling the history of our own times as historians cannot tell it, and makes an unanswerable plea for peace, uttered less from the battlefield than from the fireside of those waiting at home. Those who go to “Cavalcade” to pass the time lightly, to be entertained, have gone to see a work of art when they should have gone to see a circus. “Cavalcade” is no narrow entertainment, but something of far greater breadth —and depth—a form of art, and as such it demands a little thought from its audiences. Nor is it a mere National Anthem in so many reels; its message is one of peace and dignity, reminding us that not only are we citizens of the British Empire, but also citizens of the world. “Cavalcade” is definitely a classic of the screen, and, being a classic, has an individuality of its own. The acting of Diana Wynyard and Clive Brooke is well nigh perfect, unspoiled by theatrical effect. Surely no other pair could have grown old so gracefully or brought to bear in the last scenes the same mellow sunset touch. The large supporting cast, which includes Herbert Mundin and Beryl Mercer, is as good; while Frank Lloyd’s direction is remarkable for its detail symbolism, and skilful use of dramatic irony. The plans for the season are at Rice’s Regent shop.