ENTERTAINMENTS

Southland Times, Issue 22294, 9 April 1934, Page 10

ENTERTAINMENTS

THE MAJESTIC. RUTH CHATTERTON IN “FEMALE.” FORMER IDOL REGAINS PRESTIGE. Ruth Chatterton came into her own again by her personal charm and brilliant acting in “Female” which opened at the Majestic on Saturday before a large audience. This gifted English actress has since she crossed the Atlantic lost much of her popularity, for most of the films in which she appeared were unworthy of her. But one had only to listen to the remarks of the audience as they left the theatre on Saturday to realize how completely her prestige had been restored. The title of the film, “Female,” is misleading if it inspires visions of a sex drama full of glamorous and amorous adventures. Ruth Chatterton has to play the part of woman whose organizing genius and business acumen place her at the head of a big automobile manufacturing firm. From her presidential chair she handles men as pawns in the serious game of outgeneralling rival manufacturers. Beneath her imperious sway the business flourishes and men do her obeisance. Away from her office she is no longer the superwoman of business, but like the female mosquito, she still carries the sting. She wants to treat men as she believes they treat women—“love ’em and leave ’em.” To her palatial home she invites the most attractive of her male employees and lest they cannot think of her save as president of the company she treats them to the vodka which shrewd old Catherine the Great found so effective. These cavaliers are, however, permitted only one evening’s distraction. When next day in the office they attempt to continue the affair d’amour she has them despatched to distant branches of the firm. But this mode of living palls and she decides to seek diversion by visiting a shooting gallery and dance hall. There she meets a man who—well, suffice it to say that he causes her some severe disappointments and much hard thinking, but he brings her most effectively from presidential pedestal to warm mother earth. It is a most entertaining, amusing and at times exciting picture in which the acting of all is of an exceedingly high standard. George Brent, as the conqueror of the superwoman, is responsible for an excellent performance, while the factotum of the factory is a most lovable old rascal. Ruth Chatterton’s beauty, the keen brain behind all her acting, her delightful diction (despite traces of her American sojourn) and the wonderful clothes she wears cannot fail to win admiration. She has lost none of the grace and personality which a few years ago made her a screen idol. The supporting programme has not one weakness. Newsreels, a clever cartoon, a breezy comedy in which a live turkey on its way to a thanksgiving Day table plays the major part and a reel of dazzling vaudeville turns most ingeniously introduced completes an outstanding programme. There will be a matinee to-morrow afternoon. THE REGENT. “HAWLEYS OF HIGH STREET.” ONE LONG, BIG LAUGH. A succession of hearty laughs is guaranteed by the management of the Regent Theatre to filmgoers who go along to enjoy that riotous comedy, “The Hawleys of High Street,” and not one member of Saturday night’s large audience at the conclusion of the picture was not thoroughly satisfied that the guarantee had been fully discharged. There is a laugh in every line of this feast of merriment—a convulsion, almost, in every scene. The plot of the picture is a bright and intriguing one affording opportunities galore for the exploitation of nonsense of the broadest type and the hilarious and often well-nigh impossible situations are put across with great gusto by a strong cast headed by that inimitable British comedian, Leslie Fuller, who with his companions thoroughly revels in a lively maze of the most extraordinary and amusing complications. With his mock-serious face and his flair forgetting into all manner of “scrapes,” Fuller sets out to make his audience laugh from the very start and he makes a jolly good job of it right to the words “The End” are screened. The opening scenes introduce the audience to the Hawley family—father, mother and pretty daughter. Mr Hawley is a mere cypher in his home (adjoining his local drapery emporium) and the biting tongue of his domineering wife (played excellently by Amy Veness, of “My Wife’s Family” fame) gives him a miserable existence. Small wonder, then, that he constantly seeks peace in the haberdashery department but even here the shrew frequently pursues him. Some cleverly-conceived comical situations at this stage have the audience in shrieks and now they meet Hawley’s deadly rival, Bert Busworth, the local pork butcher, whose shop is next door. Both Mrs Hawley and Mrs Busworth possess biting, scandal-monger-ing tongues and the trouble following in the train of their mischief-making can be better imagined than described. Suddenly, however, the Hawleys become financially elevated for their property is bought for £40,000 by the Railway Commissioners proposing to construct a new line. The whole horizon of their life is altered. Ambitious Mrs Hawley insists that her husband should contest the town elections against Busworth, and then follow some of the highlights of the film. Hawley, on the platform, brings down the “house” with his speeches, but, as “the ladies’ favourite,” he tops the poll. However, he does not attain this success until he has had to face up to a series of events each bringing trouble in its train. He gets mixed up with a bogus peer, satisfies too generously the thirst of his brother and himself just on the eve of a large houseparty given by his wife to her old friends—invited along to the mansion especially to meet the “very best” people—lands himself in court on a serious charge and, of course, has to have a public fight with Busworth. It is all a great show and the team work of the cast is excellent. Fuller, a natural comedian, scores heavily while Amy Veness draws an amusing picture as his ambitious wife. Judy Kelly, as the pretty daughter, Jimmy Godden, Gus McNaughton and others all contribute good work in a most entertaining film. The supporting programme, generous and well-balanced, includes a Pathetone Weekly and Pictorial, a fine film showing the Niagara Falls and, best of all, a New Zealand scenic gem giving interesting glimpses of the glorious mountain, bush and lake scenery skirted by the new Eglinton Road, views of Milford and of sights at Rotorua and Wairakei. The whole programme is sound screen entertainment. CIVIC THEATRE. “F.P.1.” (Floating Platform One). MIGHTY DRAMATIC SPECTACLE. Seldom equalled for its dramatic brilliance, and never equalled for its greatness of conception, “F.P.1.” a Gaumont-British picture released in Australasia by the Fox Film Corporation, made a most auspicious commencement to its season at the Civic Theatre on Saturday night. When properly understood, the rather strange title fully explains the unique story. “F.P.1.” is a name comprising the initials of Floating Platform No. 1, a

gigantic island of steel, moored in midAtlantic, as a half-way stopping, and re-fueling base for transocean flights. This seemingly futuristic idea originated years ago in the mind of a German engineer, A. B. Henninger, and some two years ago his prospective plans were published. No attempt has been made in actuality to construct the “F.P.1.” but this picture is based on the supposition that one such platform is constructed. The drama of the story comes from two sources—first, the intrigue and underhand bribery with which a large shipping combine seeks to prevent its construction, and failing that, to achieve its destruction—and secondly, the mental strife of the two men most dearly concerned in the construction and ultimate success of “F.P.1.” caused by their mutual love for one woman. Conrad Veidt, with an European and American reputation behind him proves himself definitely among the screen’s most powerful actors, by a brilliant portrayal of the re-cord-crazy world-famous flyer Ellison. Leslie Fenton gives a polished performance as Droste, engineer and dreamer, designer of “F.P.1.” and Jill Esmond is quite all one could desire in the third leading role. Her acting is flawless, and in addition, she proves a most attractive ornament in. a cast otherwise composed almost entirely of men. “F.P.1.” contains thrills for everyone —remarkable scenes of the Island Platform under construction, wonderful “shots” of flying and plane stunting, the rush of panic-stricken men to the life-boats, and the crash of Veidt’s ’plane into the ocean after he has escaped in a parachute. Not only these, but the thrill of vibrant action in. a fast-moving story is there, too, and with it the drama of achievement and intrigue. For its dramatic power alone, “F.P.1.” warrants your patronage —for its amazing scientific foresight, you should see it, while its romance will appease the wish of every woman! A fine supporting programme includes the latest Fox (Australian) News, “Sweet Art,” an Ideal Cinemagazine, “Dreamers,” a comedy which is distinctly new, and the latest Gaumont Graphic.