ENTERTAINMENTS

Southland Times, Issue 22453, 13 December 1934, Page 18

ENTERTAINMENTS

THE MAJESTIC. JOE E. BROWN AGAIN. "A VERY HONOURABLE GUY,” An exceptionally talented cast supports Joe E. Brown, the prince of comedians, in the First National picture, “A Very Honourable Guy,” which is at present at the Majestic. Alice White, the diminutive blonde, who was a reigning star two years ago, plays the leading feminine role. Miss White recently returned to screen work and has played the leading feminine role in three pictures. Others in the cast are noted both on the stage and screen. Robert Barrat, who recently came to the screen, was famous on Broadway for many years. It was while playing in “Lilly Turner” in New York that he was engaged to play the same part on the screen. Alan Dinehart also is an old stage player although he has been doing picture work for the past several years. “A Very Honourable Guy” is the fourth picture for Irene Franklin, a headliner in vaudeville and on the musical comedy stage. This production is a distinct departure in Joe E. Brown comedies, Joe playing the role of an underworld character. The picture concems Feet Samuels, a gambler with the reputation of being a very honourable fellow who always keeps his word, but all his bets go wrong. Hortense, his girl, throws him over for a rival and Samuels is put in custody for hitting a policeman. The Brain, a racketeer leader, bails him out but this only adds to Feet’s troubles as he has to give the Brain 500 dollars on a specified date—or else he will be “taken for a ride. Samuels, at length, manages to emerge from his troubles and all ends happily. The supporting films are all very Interesting and in themselves are a complete entertainment. They include an excellent travelogue of Central Africa, a really laughable comedy and an outstanding musical number “Rambling Around Radio Row.” JOHN GALSWORTHY’S NOVEL. “ONE MORE RIVER.” A remarkably complete picture of London and suburban England of today is presented in “One More River, coming to the Majestic Theatre on Saturday, with Diana Wynyard in the starring role. Sixty-eight “sets” were constructed for the picture, ranging from the English law courts to Melton Mews, to a liner in the River Thames, to a rural village with its ancient inn and parish church, to the homes of titled Britons and to the interior of a London club. The entire action of the story is laid in England, and it is said that the atmosphere of the country has been simulated with remarkable fidelity. And, except for certain atmospheric scenes actually made in the locale of the story, the entire production was filmed in Hollywood! Miss Wynyard’s supporting cast is truly of all-star proportions, featuring Jane Wyatt in her movie debut, and Mrs Patrick Campbell, Frank Lawton, Colin Clive, Reginald Denny, C. Aubrey Smith, Lionel Atwill, Alan Mowbray and many others. “One More River” was directed by James Whale, and the dramatic story by the late John Galsworthy was adapted for the screen by R. C. Sherriff. The story tells of a young wife who flees from her sadistic husband home from Ceylon to England. On the boat she meets a young man and an innocent friendship grows up between them. She is sued, however, by her husband, Colin Clive, who mentions Frank Lawton, the young friend, as corespondent, and the wife’s pride induces her to remain silent regarding the very point which would drive her husband from the courtroom in disgrace, and make of him the accused. With the exception of Miss Jane Wyatt, a talented young actress, the entire cast is English, as, indeed, it should be when depicting such an essentially English story as that of “One More River.” CIVIC THEATRE. GREAT COMEDY OFFERING. “CALL IT LUCK.” Ayone who wants a really good laugh would do well to see “Call It Luck,” the current attractions at the Civic Theatre That clever Englishman, Herbert Mundin, is at the head of the bill, and what a hit he scores. With him are Pat Paterson, a charming little blonde, and Charles Starrett, a general favourite. The story opens in London, where the genial Herbert, driver of a hackney carriage, wins £25,000 in a sweepstake. He announces his intention of founding a home for his fellow “cabbies,” and, with this end in view, goes off to America to win more money with a horse he has bought from a swindler But there he gets into the clutches of another gang, posing as the mayor and other dignitaries. A fake reception is arranged for him, and this is one of the highlights in the delightfully humorous film. By a clever ruse this gang extracts his last penny, and it is a sorry Herbert who breaks the bad news to his pretty niece and her handsome lover. There are a thousand and one amusing incidents until the day of the big race, when Herbert’s landlady risks her total wealth on Sabre’s winning the handicap. The swindlers agree to accept her bet, for they have had the clock on Sabre and know just how fast he can run. In the meantime the niece finds out the mystery of Sabre and it is arranged to keep him and Herbert locked up in a stall, while a champion racer is substituted. But there is a hitch in the proceedings. The champion disappears, but Sabre, actually an old but gallant charger, arrives at the course just as the barrier is about to go up. He is lengths at the rear of the field, but, encouraged by the bugle, he remembers how he used to run and comes in a glorious winner. There are excellent supports. JANET GAYNOR IN “SERVANTS’ ENTRANCE.” Reunited for the first time since their initial co-starring venture made “State Fair” memorable, Janet Gaynor and Lew Ayres will be seen again as the gay young sweethearts of “Servants’ Entrance” when this newest of important Fox pictures opens on Saturday at the Civic Theatre. Unlike anything in which they have appeared before, the story of “Servants’ Entrance” will afford spectators the opportunity to laugh at the troubles as they thrill to the romance of the madcap lovers whose young lives it depicts For while “State Fair” bordered on the heavy drama in spots, “Servants’ Entrance” is mostly in the romanticcomedy class. In their newest roles Janet portrays a merry million-heiress of an automobile manufacturer who goes from riches to poverty and back again, while Lew is a chauffeur who goes from poverty to riches. Starting from opposite rungs of the social ladder, they meet at the bottom. The climb upward is fraught with humorous and fascinating adventures. Janet’s descent to poverty is motivated by a desire to become a useful woman—to learn to cook, sew, bake a cake and take care of babies. So she disappears through the front door of her own palatial home, and makes her way to

the servants’ entrance of another, masquerading as a maid. It is thus that she meets Lew, a chauffeur with an inventive turn of mind whose passion is a new type of motorboat. To win his love, and to make him capitalize his invention without revealing her identity become Janqt’s amusing problems.

THE REGENT. ' JOAN CRAWFORD IN “SADIE McKEE.” POWERFUL DRAMA OF MODERN LIFE. “Sadie McKee,” the Metro-Goldwyn-Mayer production heading. the new programme at the Regent, is a powerful drama of modern life, and it will be long remembered by all who are fortunate enough to see it. In the title role, Joan Crawford, the vivacious leading player in several recent films, is seen at her best, and achieves perhaps the greatest triumph of her career. The story of “Sadie McKee” is from the pen of Vina Delmar, and deals with the problems and adventures of an ambitious young woman who is left stranded and friendless in New York City, but who ultimately finds success and happiness. Miss Crawford has never given a more convincing portrayal—she makes her part live. Playing opposite her is Franchot Tone, who was associated with Miss Crawford In “To-day We Live” and “Dancing Lady.” He gives a realistic performance as a prosperous young lawyer and one of Sadie’s many admirers. Other important male roles are enacted by Edward Arnold, who is cast as a middle-aged and pleasureloving millionaire, and by Gene Raymond, who is seen as an impecunious and somewhat weak-willed young man. Both give excellent interpretations of their parts. Also in the picture are popular Esther Ralston, Jean Dixon, Gene Austin and Leo Carroll. Many of the scenes are on a most lavish scale, particularly those set in the cabarets and the night clubs of New York. Briefly, the story concerns itself with a girl and three men, each man playing a significant part in the dynamic Sadie’s successful thrust for fame. Sadie, daughter of a cook in a small town, finds herself confronted by the cruel indifference of a great city. Hardship and struggle leads to marriage to a dipsomaniac millionaire, which sets the stage for the intense drama which follows. Franchot Tone, as a romantic male lead, for the first time wins Joan Crawford in the final sequence—a change of luck for the gracious young actor, whose romantic success in private life is well known. The supporting pictures are of an equally high standard. “Air Fright,” a burlesque on aviation, with Thelma Todd and Patsy Kelly in the principal parts, being especially good.