ENTERTAINMENTS

Southland Times, Issue 22216, 8 January 1934, Page 7

ENTERTAINMENTS

THE MAJESTIC.

CHARM OF “RIO RITA.” SUPERB SINGING, INFECTIOUS FUN. Those who, having seen “Rio Rita” as a stage production or in a previous film, have decided to exclude the present session of the Majestic from their patronage had better change '.heir minds, for they will miss a wonderfully colourful and stimulating experience. There was not a vacant seat in the theatre on Saturday evening and to hear the comments as the big audience disgorged itself into the street was to realize how successful is the latest version of this popular musical comedy. Probably the most typical remark was “Well, I’ve seen ‘Rio Rita’ twice before, but I’m glad I came, for this is easily the best.” This point has been emphasised in the present notice through a genuine desire to prevent people from falling a victim to the familiarity which breeds contempt. Age cannot wither “Rio Rita” but the wizardry of the sound film and the wonders of technicolour have made the latest presentation shine with a lustre never previously attained. John Boles and Bebe Daniels, the principals, are not only responsible for the most realistic portrayal of the characters of Captain Stewart of the Rangers and of Rita that has yet been given but their singing, particularly that of John Boles, is magnificent.’ The quality and timbre of his voice are excellent but it is the depth of soul which he gets into his singing which makes it so alluring. The delightful music of “Rio Rita” is so well known as to need no recalling. Suffice it to say that never before has it been so enchantingly rendered as in the film now winning acclaim at the Majestic. The humorous side is entrusted to Wheeler and Woolsey, and however critical picture-goers may have been on past occasions at the expense of these comedians there can be only one opinion about their work in “Rio Rita.” From start to finish they are delightfully witty, adroitly .runny and infectiously amusing. The familiar cellar scene is splendidly done, many new quips have been introduced into the repartee, Woolsey’s singing and tap dancing are captivating, and Wheeler’s face is a revelation in artistry. Many gorgeous ballets are witnessed and there is some fine choral singing, with the exhilarating song of the Rangers as an outstanding number. The aid of technicolour has been employed for the latter half of the film and many brilliant scenes on the old pirate barge are depicted. Altogether the film represents a distinct advance on anything yet attempted in the realm of musical comedy and it should not be surprising if at both afternoon and evening sessions to-day and to-morrow there are crowded houses. The supports, though few in number owing to the length of “Rio Rita” lack nothing in quality. There are two entertaining gazettes, a snappy cartoon and a highly instructive travel film.

THE REGENT. TOM WALLS IN “THE BLARNEY STONE.” DELIGHTFUL IRISH COMEDYDRAMA. “A complete and lively exposition of the Art and Craft of Blarney—by Tom Walls” would perhaps best describe “The Blarney Stone,” an altogether delightful comedy-drama which, as refreshing as a breath of Old Ireland, had its initial screening before a packed audience at the Regent on Saturday night. This must indeed, be the greatest triumph of England’s finest comedian and shure he’s a broth of bhoy throughout the masterpiece. Possessing an Irish atmosphere of charm and wit, the production is altogether different from the usual film with which we have become so accustomed to associate Tom Walls and his partner Ralph Lynn, for, though it abounds in droll whimsical humour, a particularly strong dash of convincing drama makes tears the twin sister of laughter. Sparkling dialogue . . . delicious situations. . . Tom Walls, aided by a strong cast, at his best. .. What more is needed to lift the picture high out of, the rut of mediocrity in screen entertainment? As Tim Fitzgerald, a true son of Erin, he dominates every scene of this really outstanding production and, cleverly assuming the irresistible allure of a rich Irish brogue, he shows undoubted genius in interpreting a difficult type. The picture opens showing Tim, a small boy, being held head first over' a drop while he reaches to kiss the Blarney Stone. The proverbial assured luck and charm possessed by everyone who has ever implanted a kiss on the legendary tablet also serves to provide Tim, when he grow up to manhood’s estate, with a glib tongue and an irresistible personality, especially when there are females to benefit. Whether it is natural eloquence oi' the effect of the utor.e no one can prove, but Tim undoubtedly has the “gift of the gab,” and when the lovely Lady Anne Cranton and her brother, the Earl of Breethorpe, calls at his house for water, owing to a car breakdown, both fall for his chai ms. He is, however, besieged by Sinn Feiners but, after a lot of blarneying—really delightful—he saves the lives of his visitors and himself, and flees. He crosses over to London, down and out. Breethorpe, generously drunk, puts him on the ladder of success and he becomes a prominent commercial figure. At this point the story strikes a dramatic note that rivets the attention of the audience even closer than ever before. Tim’s partner commits serious defalcations, the auditors report the irregularities and Fitzgerald, bravely acting as the scapegoat, is sentenced to seven years’ penal servitude. Fortunately, however, the prisoner is soon granted a free pardon though not before he has suffered several days imprisonment. The touches of romance are as delightful as they are pronounced, while, thanks to the brilliant direction as well as the acting of Walls, the story in many scenes is told as much pictorially as by the dialogue. The Old Bailey trial is a fine piece ot work as is also the arrival of Fitzgerald at Wandsworth Prison. Though he is nearly the body and some of the film, there is yet room for some excellent acting by the strong supporting players. Anne Grey, as Lady Cranton, is positively charming but all portrayals are, in fact, well worth while The picture is a real gem. . . what more need be said? The supporting programme is fully in keeping with the high standard of the featured film there are popular newsreels, a clever Walt Disney cartoon, a most instructive Ideal Cinesound Magazine, another of the Zodiac series revealing what the stars foretell to those born between October 24 and December 23 and a delightful film showing many glorious glimpses of Old England. The whole show is a sheer delight and can thoroughly be recommended. CIVIC THEATRE. “KING OF THE RITZ.” HILARIOUS COMEDY. Packed from street to screen on Saturday night the audience simply rocked with laughter at the Gainsbrough picture “King of the Ritz” and the splendid supporting programme. It is a most appropriate and attractive bill of fare of a high standard that should appeal to all tastes. The Gainsborough production, “King of the Ritz,” which is the main feature, is excellent com-

edy of many parts and a triumph for the British studios. Not only does the dialogue ripple with subtle and clever wit throughout the numerous humorous situations of the picture, but there are musical numbers which should make an instant appeal. All the characterizations are extremely diverting. Stanley Lupino has deservedly earned a name for himself in comedy on the screen, and in the leading role of “King of the Ritz” he makes the. fullest possible use of every opportunity afforded by his lines. From the beginning to the end of the production he is irrepressible, adopting a role somewhat different from his usual, but suiting him to perfection. Betty Stockfeld in the part of Betty Cooper registers what is probably her most striking success. The necessarily lighter plot provides many opportunities for the most mirth-provoking scenes. An hotel porter (Lupino) has a secret television screen by means of which he is able to look into every bedroom in the hotel by simply turning on a switch. Thus knowing the intimate secrets of the lives of the guests, he becomes a man of power among those in his little world. Staying at the establishment is a widow who is anxious to many into the aristocracy, but the fact is that the porter and television operator is in love with her. Being possessed of a knowledge of her movements, he interrupts her, when she is in the arms of a scheming count, who has designs on her pearls. The scenes which follow could not fail to amuse any audience. There is a pleasing ballet in the picture, while among the musical numbers “No Matter What You Do” and “I Don’t Want to be the Duke of Terribel” should prove popular. In the supporting programme “Oxford University,” a British Gaumont short, presents many interesting views of Oxford, while an announcer describes the historical associations of the buildings seen and makes a survey of many of the notable men of history who have studied at the great university. Two Fox Movietone Newsreels show, among other things, the sensational crash of the famous Italian air ace, de Pinedo, in his attempt to create a new long distance record from New York; the start of an extended cruise to Finland of the British aerial squadron; the Nippon turf race for the Emperor’s Cup; and the aerial war manoeuvres of the Japanese over Tokio. The box plans are at the theatre and Beggs music warehouse.