ENTERTAINMENTS

Southland Times, Issue 22157, 27 October 1933, Page 9

ENTERTAINMENTS

THE MAJESTIC. “ZOO IN BUDAPEST.” Action speaks louder than words in the modem talking picture, says Jesse L. Lasky, whose first independent production for Fox Film, “Zoo In Budapest,” is attracting keen interest at the Majestic. “Pictures had reached their greatest peak, technically, at the time sound was first introduced on the screen,” Lasky contends. “When all the studios dashed into production of sound pictures, they completely abandoned the technique it had taken many years to develop, and started all over again. The result has been that except in very rare cases we have had ‘gabby’ pictures—pictures that talk and talk and talk.” In “Zoo in Budapest,” Lasky and his aides made a very definite effort to recapture the best of the technical skill which distinguished the last of the silent pictui'es, and used a minimum of dialogue. 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, sanguine 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, fulfils 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 finally emerges as star material. The supporting cast has been ably selected for all of the important roles in the film.

43 LIONS AND TIGERS CLYDE BEATTY IN “THE BIG CAGE.” Actual thrills of danger, rather than those of dramatic situations created by the writers of motion picture stories, feature “The Big Cage,” the Universal circus drama which is coming to the Majestic Theatre on Saturday. This remarkable picture presents in its leading role the daredevil Clyde Beatty, youngest and greatest of the world’s animal trainers, who is seen in hairraising performances with 43 junglebred lions and tigers. Beatty is the only man who ever combined lions and tigers in a circus “act.” In this story, written by himself and Edward Anthony, based on his own life, he is seen developing the performance which has made him the greatest attraction of the tented-show world. It was just such an act as this that he made such a sensational success at Madison Square Garden last year that he actually crowded the huge garden to its capacity in the worst show year in history. _ The major part of “The Big Cage” is told against the little known background of a circus’ winter quarters, and its action finds Beatty as the. centre of a series of spine-tingling incidents in .which he actually takes his life in his hands. The climax of the picture takes place in a mammoth circus tent during a performance, with several lions and tigers escaping from the arena and creating pandemonium in the milling crowds. Beatty’s supporting cast in “The Big Cage” includes Andy Devine, Vince Barnett, Wallace Ford, Mickey Rooney, Raymond Hatton, Robert McWade’ James Durkin, Wilfred Lucas and other screen favourites. A special matinee will be held on Saturday afternoon.

THE REGENT. “THE LITTLE DAMOZEL.” ANNA NEAGLE AND JAMES RENNIE. ‘The Little Damozel” to be shown at the Regent this afternoon and evening, features Anna Neagle, the brilliant English actress, and is a picture that stands out as one of the best films of its kind. The story tells of Julie Alardy, the vivacious, dainty star of a night club, where she meets, and eventually marries, Reeky E ole, a penniless young man-about-tov n. From this stage the story moves along swiftly, but always,revealing some new angle, until a satisfactory conclusion is reached. Miss Neagle, dainty, talented, and channing, renders the part of Julie in a manner that immediately makes her a prime favourite with her audience., Revealing a deep understanding of the requirements of her part, she gives a performance that is a delight to witness, and at no time does she succumb to the ever-present temptation to over-act. James Rennie is cast in, the part of Poole, a role that suits him to perfection. He gives an intelligent interpretation of a young man who is forced to accept a bribe to marry, and Benita Hume, Athole Stewart, and Alfred Drayton, who are cast in the subsidiary roles, handle their respective parts with artistry and efficiency. An unusually varied and entertaining programme of short subjects supports the main picture. "CAVALCADE.” SEASON OPENS TO-NIGHT. A MIDNIGHT MATINEE. It is not surprising to learn that the booking for the opening of “Cavalcade”

promises to establish a new record, for this picture will come with an established reputation. Seldom has there been a picture so universally praised by those who have seen it and so strongly recommended to friends and acquaintances. Southlanders have been looking forward with eager anticipation to the opening sessions, the first of which will be at the midnight matinee commencing at 10.30 to-night. To-morrow and on each day next week there will be two sessions daily—at 2 p.m. and 7.45. “Cavalcade” is a film which may rightly be regarded as a milestone in sound picture production. It represents the combination of the best in contemporary drama and the most modern in picture production, a mixture of British creative genius and American craftsmanship, and the finished product is something that will be remembered long after the great spectacular pictures of the past are forgotten. “Cavalcade” is a pageant of England, comprising an interesting and significant chapter out of the history of a great country, transferred to the screen in the form of the life story of a typical English family. Here on the screen is to be seen the march of events from the dawn of the present century, through the dark days of the Boer War when Britain had her back to the wall for the first time for many years, on through the terrible years of the Great War, when the country faced disaster, moving still further to the hazardous, unsettling days of the peace which, for a time, nobody seemed to have won, through change crumbling tradition in a world which echoed to the crashing and tumbling of nearly a dozen thrones. Surely no more eventful period in the history of a country or of the world could have been chosen for the subject of a play. The combination of the playwright’s stagecraft and the producer’s filmcraft was such that this colossal subject was. not only admirably adapted to the limits of the screen, but it gained new significance and new interest as a result. The cast chosen for the presentation of the story which served as the historical vehicle was an excellent one and the least important member of it gives an entirely satisfactory performance. The principal roles are taken by Diana Wynyard and Clive Brook. Both acquit themselves with striking distinction. Nothing they have hitherto attempted has been more to their credit than their portrayal in “Cavalcade” of the parts of Jane and Robert Marryott respectively. Others who assist them in the more important parts are Una O’Connor, Beryl Mercer, Ursula Jeans, Robert Lawrence and Herbert Mundin. “Cavalcade,” however, is more than a mere assembly of stars in roles that suit them. It is a genuinely atmospheric production, the effectiveness of which is greatly enhanced by innumerable points of imaginative direction and clever suggestion, and through the whole production there runs a background of music which is striking in the extreme. “Cavalcade” embodies more than any film that has yet been made the spirit of England and of English people. It is not a direct and uncompromising attack on war, but in its simple and unembellished presentation of events since the commencement of the twentieth century it is a. more telling argument for the cessation of war than the most bitterly direct propagandist production. There is an. excellent supporting programme, specially selected to suit the main attraction. It covers a wide range of interesting topics and provides an excellent preface to the featured film. The box nlans for the season will be found at Rice’s Regent Shop.

CIVIC THEATRE. A DELIGHTFUL ROMANCE. “ALOHA.” “Aloha,” a romance that commences in the islands of the Pacific and carries on to the atmosphere of the wealthy homes of America, is a drama full of appeal and charm. The picture, which will be screened for the last time tonight, has attracted large audiences, at the Civic Theatre. A splendid caste includes Ben Lyon, Raquel Torres, Robert Edeson and Thelma Todd. A little half-caste upsets a. smug, cold aristocratic world when Jimmy Bradford brought her home from the tropics as his bride. The picture moistens the eyes a bit with tears and evokes many emotional thrills. It is tempestuous romance beautifully acted and produced. The supporting pictures are “Not So Loud’’ (comedy), “Audio Revue” (travel) and “Eskimotive” (a Felix the cat cartoon).

“THE POWER OF EVIL” AND “MUSSOLINI SPEAKS.” A double feature programme tomorrow will include “The Power of Evil” and Mussolini Speaks.” “The Power of Evil” is a picture that dares to blast the lid off the national capitol. Ruthless, frank, fearlessly honest. You’ll thrill to the patriotic young man’s single-handed fight against gang politics and gang politicians. Here’s a story with the explosive force of a bombshell. It pulls no punches, shows no favour. And through it all weaves the delightfully natural romance of a young political tartar. Columbia has woven into the story the Soldiers Bonus Army which has monopolized newspaper pages for weeks. The picture concerns Button G. Brown, played by Lee Tracy, a patriotic descendant of one of the signers of the Declaration of Independence, who doublecrosses the crooks who put him in office. Here in Washington under the spotlight—the truth handled without gloves. Exciting, sensational, dramatic, surprising, and as shocking as a charge of dynamite. Never have you seen such a picture. Tracy is letterperfect as the forceful Congressman Brown. We can’t think of another person who could have handled this difficult assignment as capably as he has. Constance Cummings is infinitely more than just “the woman in the case.” Charming, talented, her performance in “The Power of Evil” will place her high among the screen elect. The same goes for every member of the highclass cast which includes Walter Connolly, Arthur Hoyt, Arthur Vinton, Frank Sheridan and Clarence Muse in an amusing coloured characterization. Also showing is “Mussolini Speaks.” A nation heard him and followed him; the world listened and wondered and marvelled. He is called by many “the wonder man of our generation.” This man is Mussolini, one of the world’s most vivid and powerful personalities. The thrilling record of his life is set forth in the Columbia picture, “Mussolini Speaks.” Every phase of his life from his childhood to the present is revealed in its natural setting and with the inherent drama that is so much a part of this great man. Mussolini’s life is more colourful and thrilling than fiction. You see him as the blacksmith’s son, school teacher, political gadfly, leader of the Fascist! movement and Dictator of Italy. And every phase is dramatic and romantic, clearly and interestingly set forth and enhanced by the fact that it is acted by the man himself who is a natural born actor and possessed of one of the most colourful and vivid personalities ever to be encountered.

GORE REGENT THEATRE. Another British double is billed for the week-end programme at the Gore Regent Theatre. Heading the <( P ro ” gramme is the classical drama “In a Monastery Garden.” One of the most magnetic and inspiring themes ever presented by talking films is enclosed in this picture which is more soulful than the music it immortalizes. Reinforced ribs will be needed during the screening of the second film on the programme. This is “Almost a Divorce” featuring the British frozen-

faced comedian, Sydney Howard, with Nelson Keys and other stars.