ENTERTAINMENTS

Southland Times, Issue 22473, 8 November 1934, Page 12

ENTERTAINMENTS

THE MAJESTIC. “ALL OF ME.” ENTERTAINING DRAMA. For good all-round entertainment “All of Me” may be classed among the most pleasing of the dramas being turned out by the Paramount studios. George Raft and Helen Mack, who have known each other for fifteen years and have been neighbours ever since the latter’s arrival in Hollywood, never appeared together either on the stage or screen until they were cast as lovers in Paramount’s “All of Me,” which • is now showing at the Majestic Theatre. The picture, which was directed by James Flood, also has Fredric March and Miriam Hopkins in starring roles. Raft and Helen Mack are cast as two love-mad slum youngsters, Honey Rogers and Eve Haron respectively. Crushed by life and law, they make the chance acquaintance of a young couple from the social world, played by Fredric March and Miriam Hopkins. When the unfortunate couple find themselves buffeted by fate’s cruel tricks, Eve requests the help of Miss Hopkins, and finds that the young lady is only too pleased to assist. It is by helping these unfortunate lovers that Miss Hopkins learns the real meaning of love—a necessity for the happiness which she eventually finds with March. In “All of Me” Raft plays the part of an ex-con-vict in love with Helen Mack, a young girl from the slums. Crushed by life and the law, they make the chance acquaintance of a young couple from the social world, played by Fredric March and Miriam Hopkins. Although Miss Hopkins has tasted romance in a sort of way, it is not until she joins the slum youngsters in a hard-pitched fight against fate’s cruel tricks that she learns the real difference between love and romance. She played safe with love . . until two desperate youngsters taught her that to hoard love is to lose it. The supports are very good, including shots of the cricket Test at Trent Bridge, England, and also of the English Derby. There is also a very clever song cartoon, “By the Light of the Silvery Moon,” and then a film showing the tennis crack, “Big Bill Tilden,” in action. The two-reel comedy featuring Karl Dane and George K. Arthur, “Summer Daze,” is really uproarious and can be counted on as the best of offerings in the laugh line! ROBERT MONTGOMERY. “THE MYSTERY OF MR X.” Thrillers about Scotland Yard, if well done, can always be relied upon to afford good entertainment. Such is the case with “The Mystery of Mr X,” one of the best mystery crime stories presented for many a long day, which will be featured at the Majestic Theatre on Saturday. “The Mystery of Mr X,’’ was written by Philip MacDonald, author of a long string of best sellers in detective fiction. The principal part is played by that cheery soul and favourite of everybody, Robert Montgomery, who is cast as Revel, a gentleman burglar. A series of gruesome murders of policemen by a shadowy fiend who signs himself “Mr X” raises an outcry by the London Press. Sir Herbert Trensham, head of Scotland Yard (Henry Stephenson), comes in for hot criticism for his failure to solve the problem of “Mr X’s” identity. In order to put a stop to the murders, which recur nightly, he assigns his smartest detective, Inspector Connor (Lewis Stone) to the case, but the crimes go on. One of the screen’s most beautiful actresses, Elizabeth Allen, as Jane, the daughter of Sir Herbert, meets Revel when he is planning to steal a famous diamond. The two fall deeply in love, and Revel forsakes crime and aids Sir Herbert to lay “Mr X” by the heels with a daring scheme. From the moment Revel enters the hunt the tale moves from one situation to another, and all through the romance affords relief against the dramatic background of sinister figures in the conflict between the police and the killer. The admirers of Robert Montgomery will applaud his acting in this picture. Lewis Stone and Elizabeth Allen are others who do well. CIVIC THEATRE. WILL ROGERS AND ZASU PITTS. “MR~SKITCH.” Will Rogers, champion of comedians, took yesterday’s audience at the Civic Theatre on a grand tour of laughter, in his latest Fox release, “Mr Skitch. The screen play was taken from Anne Cameron’s Saturday Evening Post story “Green Dice,” and proved to be even more amusing than the story that was so popular several years ago. Zasu Pitts, whose tearful eyes and expressive hands are known wherever pictures are shown, h&s the role of Mrs Skitch.” Rogers, as the head of a family of six, starts off on an auto tour with the hope of regaining the family fortune, lost in a bank, failure. He finally manages to find a job in a gambling casino, and gambles with the first dollar he earns. He wins 3000 dollars, only to have his wife lose it in an auto camp. Penniless once more, Rogers and his brood set out for Hollywood, with the hope of capitalizing on the talents of a movie-star impersonator, whose acquaintance he has made at one of the tourist camps. How Rogers finally extricates himself from financial difficulties in Hollywood brings the film to an hilarious conclusion. Rogers has ample opportunities to display his quick wit, and it goes without saying that he takes full advantage of this chance, in a role that is perfectly suited to his talents. Zasu Pitts, one of the screen’s most amusing, heads the cast, in support of Rogers, and gives a splendid portrayal as his wife. Other members of the carefully selected cast are Florence Desmond, Harry Green, Eugene Pallette, Rochelle Hudson and Charles Starrett, all of whom give remarkable performances under the able direction of James Cruze. There are the usual splendid variety of supports.

CLIVE BROOK AND DIANA WYNYARD IN “THE DOVER ROAD.”

A most delightful comedy will be presented at the Civic Theatre next Saturday. The characters in”this film version of an A. A. Milne play are so finely drawn and so excellently impersonated that they grip the affections of the audience convincingly, and it forgets all about sin through the truly human manner in which they live through a period of enforced captivity in a house on the Dover road. Again Clive Brook is in the role which he has filled so well in many an American picture—that of an English gentleman. On this occasion he is a wealthy man with a strange hobby of entrapping runaway couples and endeavouring to show them the folly of their ways. His role is _ a distinct contrast to his delineation in “Cavalcade,” but not nearly so great a contrast as that supplied by Diana Wynyard as Anne, the eloping young lady. “Cavalcade” seemed to have fixed her to a type, yet in this her latest film she breaks clearly away and becomes a charming young English girl, ingenuous, resolute, with a sense of humour. Her charm, simplicity of dress and of bearing, and winsomeness that is never strained carry her to another triumph of artistry in a picture that is of very high artistic merit. Reginald Owen, as the person of noble blood and little means, who deserts his own wife and takes the Dover road with Anne, makes a fine, easily-exasperated character, who shows that his breeding is barely

skin deep, and demonstrates how the missing of a morning shave can change completely the bearing of a man. Billie Burke, as the original wife of the lord, who has also embarked upon the sea of elopement, makes a most amusing part of the hysterical woman who changes her affections and becomes extraordinarily solicitous over the ailments of any mere male. Also showing is the first instalment of the tour of H.R.H. the Duke of Gloucester in Australia. THE REGENT. “JIMMY THE GENT.” A NEW KIND OF “RACKET.” James Cagney, who has a large following of admirers of his natural and open work before the camera, has returned to the Regent Theatre in his latest effort, “Jimmy the Gent,” which bristles with smart comedy and witty dialogue. The diminutive but pugnacious Cagney is the “gent” of the film, and the story deals with what is presumably a “racket” plied by bogus lawyers in the United States. When rich men die leaving no apparent heirs, these men “find” relatives of the deceased, and after drilling them in the family history of their supposed uncles or fathers, they present them at the courts to claim their dues. Some, of the heirs take a great deal of teaching, but eventually they claim their inheritances, and pass over 50 per cent, of the profits to their lawyers who have traced them. Cagney, who is by no means a gentleman, manages to discover the greatest number of relatives, and is assisted by his gang in this task. Alan Dinehart, his main opposition who has more confidence than brains, comes to grips with Cagney early in the piece. The story throws light on an attempt made to get something for nothing, no matter what the odds are that have to be faced, but the subject is not taken too seriously, with the result that the fun runs high at frequent intervals. Romance is also to be found in the film, Cagney and Dinehart being ever present to fight a hard and bitter battle for the honour of possessing the figured lady. It is a battle both figuratively and literally, as the two come to blows in the latter portion of the picture. Bette Davies is the girl, she being cast as an employee of a rival firm to Cagney’s, and on the surface her employer is much more respectable than the opposition combine. Cagney’s efforts to win her respect lead to some startling transformations, and the story moves along at top speed, providing drama, comedy, and romance as a well-blend-ed mixture. “WONDER BAR.” LAUREL AND HARDY. CENTENARY AIR RACE. With these three headlining attractions the Regent will commence a four-day season at the matinee tomorrow (Friday) afternoon —a season that should surely be a record, for everyone will be eager to see all of these outstanding films. “Wonder Bar,” a most spectacular musical; Laurel and Hardy in one of their funniest comedies, “Any Old Port”; the finish of the Centenary Air Race with Scott and Black telling the story of their trip, and other incidents. That is the basis of a programme which no one could pass by. Drama, comedy, and song, all cleverly blended, and staged against a background of spectacular settings, make “Wonder Bar,” entertainment of a particularly attractive character. In a cast with Kay Francis, Al Jolson, Dolores Del Rio, Ricardo Cortez, Dick Powell, Guy Kibbee, Fifi D’Orsay, and Louisa Fazenda, any production could be expected to reach a high standard, and their varied talents have been so cleverly blended that the result is a picture of engaging charm. The theme deals with life behind the scenes at a gay Parisian night club, known as the Wonder Bar. It has earned that title obviously by the grandiose nature of its entertainment and the appeal of the features which are introduced for the amusement of the gaiety-seeking populace. This aspect has given the producers endless scope for staging wonderfully spectacular ballet settings, some of which have seldom been excelled. Running through the picture are romance, professional jealousies, and the unscrupulous plotting of rivals, whose aim is to encompass the ruin of the proprietors of the Wonder Bar. Also interwoven into the picture is the story of the indiscretions of the bored wife of a rich banker, who, pining for the attention that is denied her owing to big business dealings, falls passionately in love with a gigolo. But the latter only uses this fascination to enrich himself materially and skilfully plays off the love of one woman against that of another. Al Jolson has a part that suits him particularly well as the ever-popular proprietor of the Wonder Bar. A spiritual song scena takes him through the Pearly Gates, where he registers his astonishment at meeting former friends. A strong supporting programme is screened. The box plans are at Rice’s Regent shop.