ENTERTAINMENTS

Southland Times, Issue 22218, 10 January 1934, Page 9

ENTERTAINMENTS

* CIVIC THEATRE. GENUINE GOOD FUN. “KING OF THE RITZ.” Owing to its great success “King of the Ritz” will be screened at the Civic Theatre up to and including Friday. It has proved one of the most delightful of musical comedies and provides a most entertaining evening’s amusement. It is all good fun from beginning to end, and all classes of audiences will revel in its genuine good fun and wholehearted nonsense. The popular Stanley Lupino is the chief fun-maker in the leading film, which is remarkable for witty and bright dialogue, tuneful song numbers and a succession of mirth-provoking situations that provide one long laugh—the correct tonic for the festive season of the year. “King of the Ritz” portrays the story of a flirtatious hotel porter, who is. in love with an aristocratic, title-seeking widow, who transfers her affections from one person to another at frequent intervals in a frantic endeavour to secure a title. Our porter, played by the inimitable Lupino, becomes so indispensable in his duties as hotel porter that he can and actually does command the manager to do his bidding, and he rules the guests with an iron hand, each of them vying against the others for his favours, because he knows all their innermost bedroom secrets through looking at a secret television screen attached to his desk which reveals to him what is going on in every bedroom, by simply turning the switch. Periodically peeping at the allseeing screen, he beholds his beloved widow in the arms of a count, who, whilst making love to the widow, steals her pearls, which are restored to her by the porter. Hip frequent intrusions at just the critical moment into the widow’s bedroom and his frustrating his rivals’ proposals are scenes which will provoke laughter galore. The part of the hotel porter is most admirably played by Lupino (the star of “Sleepless Nights”), whilst the aristocratic and sophisticated widow is played by Betty Stockfeld. Hugh Wakefield as the King of Blitz, is most amusing at all times. There is not a dull moment in the picture. The acting and settings are of a high order, and the musical scenes, outstanding in originality and appeal, contribute largely towards the success of the picture. The supporting films are entertaining and instructive. Glimpses of events abroad are seen in several news reels, and in the Gaumont British Miniature Oxford University is filmed in its entirety foi - the first time. The views of those famous halls of learning are well worth seeing, and the announcer in detail traverses the historical associations of every building within the grounds that comes into view. The box plans are at the theatre and Begg and Co’s. MAJESTIC THEATRE. “MELODY CRUISE.” CHARLIE RUGGLES AND PHIL HARRIS. Laughs, songs and romance are all mixed together in “Melody Cruise,” which opens at the Majestic Theatre this afternoon. The musical comedy motif is its dominant feature. This is so brightly carried out, and there are so many points of originality in its technique and in its humour, that it cannot fail to win a wide commendation. The appetite for such fare, if at all jaded, must undoubtedly be stimulated by the spice of its gay, sprightly comedy and its refreshing melodies. 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. Charlie Ruggles, of habitually worried mien, appears in the principal role. He takes all the honours as far as the provision of comedy is concerned, and the performance he gives must rank as the most successful and diverting one of his career. . He has the co-operation of Phil Harris, a vocalist in the “crooner” category, but it is Ruggles who wins the approbation of the audience most persistently. The many embarrassing situations that the plot lends itself to suit admirably Charles Ruggles’s particular character; his predicaments become at once an inducement to pity and an inducement to hearty laughter. And as Pete Wells, the companion of Alan Chandler (played by Phil Harris), he finds life one predicament after another during the cruise in a luxury liner from New York to California. Chandler’s earnest aim in life is to dodge marriage, and he calls on the amiable and sympathetic Pete to be his guide, philosopher and friend in this particular matter. So that Pete will do his job conscientiously, Chandler sends to Pete’s wife, a lady with very definite views on the behaviour of husbands, a sealed letter, which is to be opened only after Chandler’s marriage. In that letter is a very revealing document, a document that makes the unsuspecting and respectable business man Pete an accomplished cavalier des dames with a murky past. Pete becomes panicky at this information, and in order to save the family escutcheon from a nasty and totally undeserved blot he sets out to warn the ladies off Chandler. He enlists the aid of the steward, but after getting nicely started on his campaign he finds things become a little involved by the discovery of two attractive but strong-minded young women under uncompromising circumstances in his stateroom. He receives his next jolt when he unexpectedly meets a friend of his wife’s, and he escapes from a decidedly awkward position by explaining the two girls away as his nieces. In the meantime the ChandlerMarlowe romance was progressing nicely, but this was of little comfort to the hapless Pete, who, horrified at the thought of his pending exposure, found life very real and very earnest, particularly when Chandler and Laurie became married, and the letter becomes valid. Additional films will include a Masquers’ Club comedy, Vagabond Travelogue, Cartoons, Pathe News and Australasian Movietone News. Matinees will be held to-day and on Thursday.

THE REGENT. “THE LOST CHORD.” BASED ON SIR ARTHUR SULLIVAN’S MELODY. A romantic and deeply sentimental story based on Sir Arthur Sullivan’s popular melody is told in “The Lost Chord,” a British Dominions feature that heads the new bill to-night at the Regent Theatre, which was made by the producers of “In a Monastery Garden” with the stars of that production —Elizabeth Allan, John Stuart, Anne Grey, Mary Glynne—in the principal roles. In the general production of the film an atmosphere is obtained which suggests the beauty and tenderness of the music upon which it is based. The cast is well qualified to cope with the difficulties presented by a theme which makes a strong emotional appeal, and there is a commendable absence of over-acting. In the principal roles are Elizabeth Allan and John Stuart. The story centres round David Graham, a brilliant composer, who returns to England after spending some years abroad to find that his former sweetheart. Madeline, has contracted an unhappy marriage. Her affection for Graham is revived by their meeting, and it leads to a situation which enables the husband, an Italian count, to threaten divorce proceedings. The count leaves with their baby daughter, whom he hopes to influence in later years in

order to obtain some money that will come to her. Madeline is brokenhearted, and Graham leaves to endeavour to recover the child for her. Graham’s search ends in a duel with the Count, as a result of which the count is killed, and Graham is permanently maimed. The situation is complication by the disappearance of the child. From this stage ill-fortune follows Graham. There is a gap of twenty years in the story, and then the memory of the earlier years is revived in a series of events resulting in the rediscovery of the missing child. These events also serve to show the nobility of Graham’s character. There is a wellvaried supporting programme, which includes an interesting musical study “Melody in F”; another of the popular series of “This England,” this time dealing with Southampton, “The Gateway to Britain”; “What the Stars Foretell” to those born between May 21 and June 19 and another of the everpopular and widely-varied Ideal Cinemagazines; also an Australian Cinesound Review. This programme will be screened three nights—Wednesday Thursday and Friday, with a matinee on Friday afternoon.