ENTERTAINMENTS

Southland Times, Issue 22465, 28 December 1934, Page 3

ENTERTAINMENTS

THE REGENT. “BULLDOG DRUMMOND STRIKES BACK.” RONALD COLMAN, WARNER OLAND. Ronald Colman makes a debonair figure of “Sapper’s” nonchalant amateur detective of fiction in “Bulldog Drummond Strikes Back,” the delightful film which heads the new programme at the Regent Theatre and is assured of a most successful season. The film is a perfect blend of exciting suspense and light-hearted humour, and is interpreted by a brilliant cast. Even more engaging than in his original screen portrayal of Captain Hugh Drummond Mr Colman acts with just the right touch of bravado and the right flavour of whimsical humour. His is a flawless performance. C. Aubrey Smith is splendid as a peppery police inspector, who is continually persuaded to leave his bed to view corpses, which invariably have disappeared before his arrival. The traditional part of Algy, played previously by Claude Allister, is given a new but inimitable interpretation by Charles Butterworth, who is a perfect foil for the exuberance of Ronald Colman. Considerable humour arises from the casual manner in which Algy repeatedly leaves his wife ‘ on their honeymoon, in order to aid and abet Drummond in his adventures. Loretta Young brings grace and charm to the part of the “lady in distress” who appeals fp Drummond for assistance and Una Merkel shows a fine sense of comedy as the mortified young wife. Moreover, there the some excellent character studies, especially those of two quite unimaginative police constables by Halliwell Hobbes and E. E. Clive. Warner Oland plays a typical Oriental part as the “villian of the piece,” Prince Achmed. The direction of Roy del Ruth is splendid, and from the opening scene, in which the hero leaves a London fog of genuine Samuel Goldwyn vintage to discover a body in an (apparently) deserted house until the exciting finish the plot moves easily; people vanish with bewildering rapidity and regularity, a mysterious radiogram in code is found, the callous Prince Achmed’s nefarious plan is discovered, and the film moves swiftly to a spectacular climax. However, it is all more or less in fun and, in fact, some of the more melodramatic movements are satirized by the characters themselves. It comes very clpse to becoming a cheerful burlesque of the ordinary mystery picture. But the entire production has been handled with such intelligence and such verve that it has become one of the most genuinely entertaining films to have reached the screen for some time. The splendid supporting programme includes a brilliant Walt Disney cartoon, “Gulliver Mickey,” an organlogue. “Theme Songs of Yesterday,” a mystery in miniature and Travelogue. Plans are open at Rice’s Regent shop and the theatre (’phone 1938).

CIVIC THEATRE.

LAST NIGHT OF “THE SHOW-OFF.”

Spencer Tracy is becoming known as one of the most versatile actors on the screen. Romantic leads, character studies, villainous rascals, comedians, song-and-dance men and just plain everyday citizens are all the same to him. To each type he gives a polished performance. In his latest picture, “The Show-Off,” he has the role of “J. Aubrey Piper,” probably the most boastful character ever portrayed on the screen. It is a part that could quite easily have, been made objectionable in the extreme, but such is Tracy’s talent that the role is human, even likeable. Indeed, the audience can understand and sympathize with Madge Evans, as the show-off’s wife. The picture is adapted from the celebrated stage success that enjoyed great seasons in the principal theatres in America and England. Besides Spencer Tracy and Madge Evans, the cast includes Lois Wilson, Henry Wadsworth, Clara Blandick, Grant Mitchell and Claude Gillingwater. Charles Reisner directed. It’s a good thing Spencer Tracy has a good memory. Without it he’d be completely sunk in trying to portray J. Aubrey Piper, the egotistical hero of “The Show-Off,” in which he is currently featured with Madge Evans for Metro-Goldwyn-Mayer. First to last, Tracy has to memorize 20,000 words of dialogue for the picture! It is said to be one of the longest parts in the history of the talking screen. And most of his speeches are devoted to telling the world, his wife and his wife’s relations how good he is. “The ShowOff” is one of the most successful stage plays on record. Originally produced on Broadway, it broke long-run records. Later it was played in virtually every city of the United States and England.

COMMENCING TO-MORROW.

“SORRELL AND SON.”

A classic of literature, and a classic of the silent screen, Warwick Deeping’s “Sorrel and Son” now comes before the public again—this time in the form of a talking film made by British and Dominions at Boreham Wood. There has never been made a more strikingly successful emotional drama than the silent film —and it is safe to predict that a similar reception awaits the new version. In the first place the star of the silent, H. B. Warner, plays the part of Sorrell once more in the talkie version, thus making his British film debut. He was brought over specially from Hollywood because it was thought that there was no one within the entire ranks of the acting profession who could play Sorrell as well as he. In this part he has behind him not only the experience and knowledge gained while portraying the character six years ago—but the lesson of over a hundred screen performances in Hollywood. He brings to the talkie a new attraction —

namely a rich and eloquent English speaking, voice, which supplementing his complete mastery of screen technique and his ability to register all shades of emotion brings it about that his characterization of Sorrell stands out undoubtedly as one of the greatest film acting triumphs of recent years. Warwick Deeping’s story has been rigidly adhered to in the scenario of Lydia Hayward, in the writing of which the author himself took an active interest. The director chosen to handle the subject was Jack Raymond, than whom no one could be better qualified. Although he has done much work as a comedy director no one is more expert than he in the development of an emotional human theme. It is significant that one of his greatest silent film successes was a subject of this order—- “ Somehow Good”—from a script by Miss Hayward. The supporting paU- 5 are played by a mammoth cast. Kit, the son, is taken by Peter Penrose and Hugh Williams —it is the latter s last British screen appearance before leaving for Hollywood. Winifred Shotter appears as Molly Pentreath, the young novelist whom Kit marries, and it is interesting to see this very accomplished actress playing a distinctly new type of character. Sorrell’s ex-wife is played by Margot Grahame—again an interesting choice, for Margot has recently been the leading feminine personality in two musical romances. Her performance in “Sorrell and Son” reveals her as a highly talented character actress. Donald Calthorp is Orange, the surgeon. Buck, created on the silent screen by Louis Wolheim, is portrayed by Wally Patch, one of the most notable of present day screen “heavies,” while Evelyn Roberts is Roland, the quixotic hotel proprietor. Hope Davy and Louis Heywood appear as Ethel and Duncan, a pair of film lovers. The action of the story covers London and two country districts, known as Staunton and Wistonbury. The country scenes were shot in the Cotswold village of Broadway, Worcestershire, while the Pelican Hotel, where Sorrell finds fortune, is actually a beautiful Broadway hotel, dating back to the seventeenth century—the famous Lygon Arms. In this way one of the most beautiful stretches of English countryside figures in the film, and adds considerably to its pictorial value. “Sorrell and Son” commences at the Civic Theatre to-morrow.

THE MAJESTIC.

“MEN IN WHITE.”

No more sincere or moving film of the drama behind the cold efficiency of modern hospital life has been presented on the screen than “Men in White,” the Metro-Goldwyn-Mayer production now showing at the Majestic Theatre. The manner of the presentation of the subject, forceful yet alleviated by a deft introduction of the lighter side of comradeship and romance, stamps the film as a particularly able production. Both the principals, Clark Gable and Myrna Loy, are seen in roles which mark a departure from their usual characterizations, and both have succeeded admirably. Clark Gable takes the part of a young and promising surgeon, whose every ambition and energy must be devoted to the exacting call of duty. Myrna Loy, on the other hand, the daughter of a wealthy New York family, resents his absorption in his work, and the motive of the drama is this constant antagonism between duty and the demands of his self-centred fiancee. Although Miss Loy’s part is not one that can win much sympathy, she gives a well-rounded portrayal. The honours of the whole picture, however, are stolen by Jean Hersholt in the part of Dr. Hochberg, a mellow and devoted old scientist and surgeon, who represents the highest ideals and selfsacrifice of the profession to which he belongs. Elizabeth Allan, the young English actress, is given a difficult role as a young nurse who feels that she understands the young surgeon’s hopes and ambitions, and who is prepared to sacrifice herself with him in the cause of science. H. B. Warner is excellent in a minor part. The setting of the film, an elaborately-equipped modem hospital of austere beauty,_ is skilfully photographed, while the insight the film gives into ultra-modem hospital methods is of great interest. In contrast to the drama of the principal film, the supporting programme provides a widely-varied selection of light entertainment.

DAINTY SHIRLEY TEMPLE.

“LITTLE MISS MARKER”

There can be no doubt of the charming personality and unassumed naivette of the pretty child actress, Shirley Temple, as she appears in the entertaining film, “Little Miss Marker,” which will have its initial screening here at the Majestic Theatre on Saturday. Her winning smile and natural childlike manner have a universal appeal, and in a story with more than a touch of sadness she radiates brightness and cheerfulness. Left as security for a gambling debt with Sorrowful Jones, Broadway’s meanest and most miserably-dressed bookmaker, the curly-headed little girl wins her way to the hearts of a hardened gambler and a cabaret performer, Bangles Carson, and eventually brings happiness to lives where sordidness and materialism had once prevailed. Taking a role completely the reverse of those in which he usually excels, Adolphe Menjou will surprise even his most, ardent admirers by his sympathetic portrayal of the character of “Sorrowful” Jones. Instead of the suave gentleman, the polished philanderer, the social idler, of former pictures, he is a shabby, parsimonious bookmaker, with a Bowery accent and a black string tie. Had Menjou played more such roles he would have a wider circle of admirers amongst male picturegoers than he has. Charles Bickford, in the role of a crooked racehorse owner, Big Steve, acts splendidly and gives a well-bal-anced performance. As the cabaret singer, who is immediately won over by the delightful Little Miss Marker, Dorothy Dell also acts well, and her singing of a bright little song with

Shirley Temple is most entertaining. The minor roles are all extremely well taken, and there is much mild humour for which Lynne Overman, as Regret, is largely responsible. The whole film, however, is redolent of the delightful personality of Shirley Temple, who has undeniably captured the acting honours even from the accomplished Menjqu himself. Careful production, a pleasing story, and exceptionally good acting added to the charming appeal of the child star make this a film of outstanding merit. Parents should note that “Little Miss Marker” will be shown at Saturday’s matinee performance in addition to cartoons, etc. The complete list of films will be found most appropriate for juveniles.

GORE REGENT THEATRE.

Showing at the Gore Regent Theatre on Saturday only is the British musical picture “On The Air” featuring all the greatest British Radio stars. The vocal items are excellent, and the dancing and contributions are also of a very high standard. One of these in particular with an Egyptian setting is novel and clever and hilariously funny. Also good supports, including the African wild life picture “Tembi.”

THEATRE ROYAL, WINTON.

“CINDERELLA’S FELLA.”

Marion Davies plays one of the most entertaining roles of her film career in the novel musical production, “Cinderella’s Fella,” the Metro-Goldwyn-Mayer championship vehicle which is to be seen at the Theatre Royal, Winton. Bing Crosby, noted crooner of radio and motion pictures, plays the radio crooner role opposite Miss Davies. Six jingly melodies have been created for the film by the noted composing team of Nacio Herb Brown and Arthur Freed. Their new numbers—“ Our Big Love Scene,” “Going Hollywood,” “We’ll Make Hay While the Sun Shines,” “Temptation,” “Cinderella’s Fella” and “After Sundown”—written exclusively for Miss Davies, promise to become nationally popular overnight. To beautify the musical numbers, numerous original dance ensembles in gorgeous, colourful settings were created and supervised by Albertina Rasch, famous dance instructor.