ENTERTAINMENTS

Southland Times, Issue 22345, 9 June 1934, Page 10

ENTERTAINMENTS

THE REGENT. IRENE VANBRUGH IN “HEAD OF THE FAMILY.” NOTED ENGLISH STAR’S SCREEN DEBUT. Lovers of British acting at its best may look forward to a special treat in “The Head of the Family,” the Warner Bros.-First National production which plays at the Regent this afternoon and evening, for this picture marks the talkie debut of one of Britain’s leading stage stars—lrene Vanbrugh. Certainly this is an important event in the annals of the British screen, and as can be imagined from the reputation of this great artiste, no stone has been left unturned to ensure her vehicle being in keeping with her personality. Besides offering a story of powerful dramatic appeal, the picture has the additional value of a number of popular and famous players in supporting roles, including John Stuart, himself a star, Arthur Maude, Pat Paterson—recently given a contract by a major Hollywood studio—and D. A. Clarke-Smith. “The Head of the Family” is also important because it brings to the screen a subject that has not hitherto been attempted by a British studio, picturizing the effort of the older generations which, from its traditional security and serenity, finds itself faced with the necessity of adapting itself to new conditions wrought by the post-war period. ' Iren Vanbrugh has the role of the head of such a family, whose inspiration and courage successfully steers her husband and her children through the storm of domestic and financial difficulties that overcome them at a moment when their security seems most assured. The drama concerns the rivalry of tw"> great steel magnates— Powis Porter, whose conservative ideas precipitate his ruin, and Stanmore, of the newer school of business, up-to-date in his methods and ruthless in his determination for success. Even after Stanmore has accomplished . Porter’s downfall he cannot complete his victory of buying him out. Porter refuses to sell the valuable process that once brought his success, despite his straightening circumstances. Guided by his wife, he successfully weathers the storm, but not before incidents of the most dramatic kind have brought the story to its thrilling and exciting climax. Throughout the unfoldment a powerful romantic note is struck by the love of Powis Porter’s daughter for Stanmore, which she can neither admit nor cherish, because of the feud between him and her father. “The Head of the Family” may be described as a stirring commentary on the current'

scene, with a story that cannot fail to thrill and entertain. Arthur Maude supports Irene Vanbrugh as Powis Porter, acting with his usual fine restraint, and John Stuart is completely at home as Stanmore. In the role of the daughter, Pat Paterson easily demonstrates why Hollywood has taken such an interest in her, and Roland Culver plays the erring son, whose disgrace finally brings the two rivals together. The supporting programme is a widely varied one. Box plans are at Rice’s Regent shop or seats may be reserved by phone—No. 1938. CIVIC THEATRE. KATHERINE HEPBURN IN “MORNING GLORY.” Claimed to be Katherine Hepburn’s best picture, ‘‘Morning Glory,” which opened its season at the Civic Theatre yesterday, made a profound impression on those who witnessed the initial screening. “Morning Glory” is but another proof that there is every justification for classing her among the six foremost stars, male or female, on the screen to-day. Already she is spoken of as “the Hepburn,” in observance of a fashion which seems to distinguish those who have attained the front rank from the lesser stars in the Hollywood constellation. Certainly in her latest picture her work is flawless and beyond ordinary criticism. She appeals not only to one particular class of theatre-goer, but to all, and having seen “Morning Glory,” one leaves the theatre with the fixed determination not to miss her next production. As a type, Miss Hepburn is probably unique, for it is not beauty that carries her along. No strange exotic flower is she, like Greta Garbo, but rather a girl with an intense and unquenchable fire burning in her dark eyes. Her high cheekbones and somewhat angular jaw only add to the strange attraction of her personality, which is also enhanced by an evenly-pitched voice with which she delivers her sentences with a singular fluency. As Eva Lovelace, Miss Hepburn plays the part of a girl from a Middle West town in the States, determined to achieve success on Broadway, and she makes of the role a vivid and arresting study. Never hesitating or stumbling over a word, she rattles off her story to the theatre magnates with a spontaneity and enthusiasm that win her their amused sympathy, if little else, but in her eye there glows an unshakeable resolve to achieve. Having “crashed” into the august presence of the immaculate Adolphe Menjou, who is seen as the producer, she magnanimously forgives him his slightly unruly reputation with the fair sex on account of his charming manner, and then proceeds forthwith to her theme. In the background Douglas Fairbanks, jun., as Sheridan, the playwright, watches her campaign for recognition in sympathetic amusement which gradually changes to a deeper feeling as he realizes how much he has in common with her, and gains a glimmering of what lurks behind those expressive eyes. Truly, this girl grows upon one. While awaiting her interview with the theatre magnate, Eva meets Robert Hedges (C. Aubrey Smith), a veteran actor, who holds her awed attention while he tells her anecdotes of the divine Sarah and of Ellen Terry, her two idols. “Bernhardt,” he says, “knew how to break your heart, , but Ellen Terry knew how to mend

it,” and perhaps this conversation strengthens her ambition. Between them a friendship springs up and Hedges is able to introduce her to the right people. One of the most effective scenes in the picture is the part}’ to celebrate a successful first night, to which Eva, after weeks of discouragement, and in a half-starved condition, is taken by Hedges. There a couple of glasses of champagne loosen her tongue, and the gay atmosphere does the rest. There is the usual splendid array of supports, including English and Australian Gazettes, a Cartoon, scenic and comedy. MAJESTIC THEATRE. “BY CANDLELIGHT.” Theatre audiences enjoy hearty laughter and patrons of the Majestic Theatre will receive their share of good fun when they view “By Candlelight,” which opens its season to-day. The old theme of mistaken identities is given a clever twist in “By Candlelight,” a sparkling comedy in a Continental setting, which had its initial presentation at the Majestic Theatre yesterday. In the leading role, as a butler who impersonates his master, Paul Lukas loses his moustache and the suave look which went with it in all his previous films. The result is a Lukas who is more human, more of a man, and less of a Don Juan. His characterization throughout is very sound and should do much to enhance his reputation as one of Hollywood’s most polished players. Opposite him is Elissa Landi, who forsakes the intellectual type of role she is wont to play for that of a maid who masquerades as her aristocratic mistress. Miss Landi is very beautiful; but she is more than that, she is an actress as well, and at all times she is completely at home in a part which is by no means as easy as it appears, at first glance. She portrays with an easy grace every little mannerism of a girl who is attempting to conceal the fact that she is of common birth. Another good performance comes from Nils Asther, as the philandering prince who waits on his own butler. The producers showed great discrimination in filling those essentially European roles with European players. Other artists who appear are Esther Ralston, Dorothy Revier and Lawrence Grant. The crisp, well-chosen dialogue is a delight to the ear, as is the incidental music. There are many scenes aboard a train travelling from Vienna to Monte Carlo, with the quaint short car and distinctive equipment which is part of ■ European railroads. It is on this train I that the butler and maid masquerad- ■ ing as members of the nobility strike up an acquaintance which begins about hilarious complications when the two

carry on their romance in the apartment of the butler’s titled master. Much of the action of the story takes place in the Prince’s luxurious apartments in Vienna and Monte Carlo, and there are scenes at the famous gambling casino of the latter city, where jealous husbands increase the intensity of decidedly awkward situations. As a distint change from the atmosphere of royalty, there are sequences at an Austrian country fair where the romance of the masquerading servants proceeds apace under the influence _of sparkling wine. Featurettes will include the Paramount British News, a Mentone Musical Comedy, Goofytone News, Oswald Cartoon and a Graham McNamee Reporter reel. The same programme will be shown this afternoon with the addition of episode two of “Clancy of the Mounted.” VARIETY ENTERTAINMENT. CIVIC THEATRE, MONDAY. Patrons are advised to book seats early for the variety entertainment to be given on Monday evening at the Civic Theatre. Among leading performers appearing will be Mrs Paton, (whistling solos), members of the Sunshine Revue Company in -minstrel numbers and sketenes, Miss Renee Ward’s pupils in dainty ballets, Mr Cockburn (female impersonator), Mr Neilson in humorous numbers, Mr Dick Cameron (comedian), Miss Violet Daniel (comedienne), Bertie and Freddie Green, patter sketches, etc. The orchestra will be composed of members of Invercargill’s leading musicians and patrons are assured of an excellent evening’s entertainment at popular prices (1/- and 6d). The total profits of this entertainment are to be donated to a disabled relief worker. EMPIRE THEATRE (RIVERTON). “PADDY THE NEXT BEST THING.” “Paddy the Next Best Thing,” a rich Irish drama, that is said to have captured native charm recently released from Fox studio, will be screened for three sessions, commencing at Riverton to-night. The stars are Janet Gaynor and Warner Baxter, who have earned for themselves a high-place among the leading teams on the screen. The scene of the story is set in Ireland, and much of the beauty, the colour, and the interest attaching to this land and its people have been introduced into the picture The country fair, with its argumentative Irishmen, its blarneytongued salesmen hawking their wares, the sheep in the street, the sows and their young, the strutting ganders and the geese, forms just one of the thousand bits of atmosphere that are typical only of Ireland. Through the whole picture runs the lilting strains of Irish music, which adds in no small measure to the vivid atmosphere of the film. The supports, which cover a wide field, are of an equally high standard.