ENTERTAINMENTS

Southland Times, Issue 22217, 9 January 1934, Page 7

ENTERTAINMENTS

THE REGENT. LAST NIGHT OF “THE BLARNEY STONE.” BRILLIANT AND AMUSING ROMANCE. Many fine films have come from England, many fine horses have come from Tom Walls’ stables and many fine programmes have been shown at the Regent. But nothing better has been produced by the British film industry or by Tom Walls than “The Blarney Stone,” which will be shown for the last time at the Regent this evening. It is a masterpiece of superb acting, witty dialogue, genuine Irish mirth and pathos and touching romance. The part which Tom Walls has to play might have been created for him, so perfectly does he interpret every change of situation, every mood in the swiftly moving romance. He is first seen performing as a youngster the gymnastic feat necessary to kiss the Blarney stone and in the closing scene his little son is being similarly inducted. Between these years life holds many vicissitudes for this lovable Irishman whose humour and wit are only surpassed by his high sense of honour. When some of the “bhoys” are after shooting him beside burning his home, his tongue comes to his rescue and enables him to escape, albeit penniless, to England where he touches rock bottom until he chances to meet a young earl and his sister whose acquaintance he had made in Ireland. His ready tongue and his irresistible charm soon bring him wealth and—what he treasures more—the love of a lady. But the Blarney Stone ceremony does not mean for him immunity from the treachery of friends and there are some pathetic scenes before wrong is righted and he regains his place in society. The story is in itself full of interest and on numerous occasions plucks at the heart-strings, but it is the superb acting and the delightful humour of Tom Walls and his gifted associates which lifts the film to such a high level. Every person with Irish blood in his veins must adore it; and it will be surprising if all others do not wax enthusiastic, for it is undoubtedly one of the outstanding pic-

tures of the year. The supports are of a high order, with pride of place being given to a magnificent travelogue of the “This England” series, showing views of Glastonbury Abbey, Wells Cathedral and the Mendip Hills, Gazetts, a cartoon, a cinemagazine and one of the Zodiac series completes an extraordinarily fine programme.

“THE LOST CHORD.” BASED ON SIR ARTHUR SULLIVAN’S MELODY. THE REGENT TO-MORROW. Each succeeding programme at the Regent Theatre reveals the wealth of talent upon which the British film studios are able to draw in their- campaign for the production of pictures of first-class entertainment value and undoubted artistic merit. “The Lost Chord,” which will be introduced to Invercargill audiences at the theatre to-morrow, has for its principals such popular players as Elizabeth Allan, Anne Grey, John Stuart and Mary Glynne. In addition Tudor Davies, a well-known operatic tenor, Billy Mayerl, one of England’s most popular jazz pianists, and the chorus of the Victoria Theatre, London, are heard in several numbers. “The Lost Chord” is a romantic drama written to incorporate Sir Arthur Sullivan’s world-famous melody. The story concerns David Graham, a young composer (John Stuart), who travels to Italy to rescue the child of the woman he loves from the villainous Count Zara (Leslie Perrins). In the banqueting hall of the Italian castle they fight a duel, in which the count is fatally wounded, and David loses the use of his right hand. In the meantime, however, the count’s mistress has carried the child off, and the young composer’s journey has been in vain. When Madeleine (Mary Glynn) hears that her child is irretrievably lost to her she finds solace in an old convent. The story sweeps on through a series of engrossing scenes to a highly satisfactory climax. There is an all-British supporting programme.

CIVIC THEATRE.

DELIGHTFUL COMEDY TRIUMPH “KING OF THE RITZ.” r Stanley Lupino, in whom discerning British critics see one of the greatest film comedians of recent times, has the leading role in “King of the Ritz,” which is at present being shown at the Civic Theatre. The production is musical comedy of the bright and breezy variety which can hardly fail to appeal to the average theatre-goer. In the course of its screening a good deal of clever humour is introduced, and several catchy song numbers also lend it appeal. The story concerns the adventures of the major-domo of the Ritz Hotel, who falls in love with a wealthy heiress. The manner of his wooing is in itself a source of joy and amusement to the audience. Before finally embarking on matrimony he decides on a visit with his lady love to the ancestral halls which, according to the tale which he has pitched to her, belong to his aristocratic family. Life in such surroundings soon begins to pall on the quandam porter of the Ritz, and finally in desperation, he returns to his old calling. In the hands of Lupino this somewhat slender theme affords the material for humour of the most laughable kind. The action never drags. Lupino has the support of a cast that has been well chosen and that includes some well-known names in the world of the moving picture. The leading feminine character is played by Betty Stockfeld, the Australian star, who is cast as the young heiress with whom the porter from the Ritz falls so violently in love. She also has a splendid sense of comedy, and her performance is little inferior to that of Lupino himself. Another who adds materially to the success of the picture is Hugh Wakefield, who is seen as the impecunious King of Blitz, a somewhat rakish representative of royalty whose actions lighten the story considerably. These three are the principal funmakers, but the whole cast is really well chosen, and “King of the Ritz” goes with a swing throughout. This week’s supporting programme is fully in keeping with the standard that has been set in previous weeks by the management of the Civic Theatre. One of the

most interesting items is a short film dealing with the University of Oxford. In this the audience is shown the beauty of the buildings, the many quaint customs still attaching to life in England’s greatest university and the peculiarly appropriate settings of town and countryside. The box plans for the season are at the theatre and at Messrs Charles Begg and Company’s. THE MAJESTIC. “RIO RITA.” A STUPENDOUS SPECTACLE. It is generally recognised that only on rare occasions does the screen version of a musical play come up to the standard of the original stage presentation, but there must be few of the large audience that witnessed the screening of “Rio Rita” at the Majestic Theatre yesterday and on Saturday who would not agree that in filming this delightfully melodious romance the producers have gone far beyond what could be achieved on the legitimate stage. There is about the settings a generous breadth and brilliancy that could not possibly be equalled by any other medium but the screen, and in addition thv telling of the story has been entrusted to a perfectly balanced cast, every member of which is a star. Bebe Daniels has the leading role, and of all the performances,she has so far given in her screen career, it is certain that she has never done anything so convincingly artistic as her portrayal of the dashing, alluring, Rita. Her singing of the many melodious numbers for which her part calls is a sheer delight, and throughout her acting is characterized by a graceful poise and assurance as well as a more than usually intelligent understanding of a particularly difficult role. Briefly, the story centres round the adventures of a daring Mexican brigand whose deeds have become almost legend throughout the countryside, and who manages to evade capture in a manner that is almost uncanny. Rita’s wayward brother comes into the plot, and through him she comes in contact with a handsome, dashing captain of the Texas Rangers with whom she falls in love. The ending, of course, as the ending to such a story should be, is a happy one, and

the incidents that lead up to it are interspersed with musical numbers and comedy situations so deftly woven into the action that they form a very definite part of the plot instead of being mere incidentals. John Boles has the part of the hero—a role that suits him to perfection. He is the beau ideal of what a hero should be—at times the dashing, courageous captain of cavalry, and at others the tender lover—and at no time does he display any tendency to over-act in a part that presents many temptations to do so. His magnificent tenor voice is heard to advantage in several solos, and there are other fascinating musical interludes when he joins in duets with Miss Daniels. The comedy relief is in the capable hands of the inimitable pair, Wheeler and Woolsey, who, as an erratic lawyer and a bigamous bootlegger respectively, are responsible for some clever foolery, presented as only they can present it. The elaborate grandeur of the settings is a feature that assists in no small measure in making “Rio Rita” one of the outstanding films of the year, and whilst the Mexican background remains in evidence to a very large extent, the producers have succeeded admirably in introducing a subtle blending of choruses and ballets without in any way interrupting the tenor of the story. An unusually varied and entertaining programme of short subjects is shown in support of the main picture.

“MELODY CRUISE.”

. ANOTHER MELODIOUS “MUSICAL.”

MAJESTIC WEDNESDAY.

The brightest of entertainment will be provided in “Melody Cruise,” which comes to the Majestic Theatre on Wednesday. The excellent acting of a fine cast, a novel story, and subtle humour make the picture one which supplies an ideal attraction. It is primarily musical comedy, into which are introduced many points of originality as regards both technique and humour. The appetite for such fare, if at all jaded, must undoubtedly be stimulated by the spice of gay, sprightly comedy and the refreshing melodies such as are found in this film. There is a particularly generous musical score which maintains a high standard throughout.

while one of the high lights is the introduction of a fascinating and gracefully intricate skating ballet. Apart from this the film can clai mto have one of the most effective openings yet brought to the screen and to incorporate some of the most remarkable synchronizations of sound and action yet attempted. This elaboration of human effort with technical artifice has a happy result in the creation of a very acceptable and novel form of humour. Charles Ruggles, of habitually worried mein, appears in the principal role. He takes all the honours so far as the provision of comedy is concerned, and his performance must rank as the most successful of his career. He has the co-operation of Phil Harris, a vocalist, but it is Ruggles who wins the approbation of the audience most persistently. The plot, while necessarily light, frivolous and spicy, holds the interest of the audience throughout, Ruggles drawing laugh after laugh with his apt drollery. It becomes necessary for him in the interests of his own marital security, to steer his friend clear of sentimental entanglements during a voyage on a sumptuous liner. There is an array of feminine beauty on board, however, and his task is by no means a light one. “Melody Cruise” will be remembered for many interesting novelties. The audience is surprised to see fishes dancing foxtrots on the waves, stars forming animated music bars and shimmering notes _in the heavens, and an ocean liner rearing up on its stem and waltzing out of New York harbour. The chief, entertainment, however, is in the doings on board the luxury liner, where all kinds of unexpected complications place Ruggles in a most embarrassing position.