ENTERTAINMENTS

Southland Times, Issue 22490, 26 January 1935, Page 8

ENTERTAINMENTS

MAJESTIC THEATRE. ' HERE AT LAST. “TREASURE ISLAND.” The screenings of that classic adventure story, “Treasure Island,” from the pen of Robert Louis Stevenson, is assured of a record season at Invercargill. No less than three sessions will be held to-day, commencing with a matinee at 10.15 this morning. Most people have their own private Treasure Island. They have read the book and raised their own images. It is unfortunate perhaps, but it is certainly The virtue of the film, that many of these images must be remodelled in seeing it. If the picture had not been successful, if it had not interpreted Stevenson’s story so sympathetically, there would have been no deep effect on the mind. It would merely have been “a film,” based perhaps on a book, but not touching.the heart of the book or colouring its impression. But the producer has been careful not to improve on the story; he has used his material effectively, and he has chosen players who fall naturally into the important parts. He has turned out such a realistic and faithful Treasure Island that he must accept responsibility for destroying, or at least changing, many fond illusions. Those who see the film, will in future think of Long John Silver in terms of Wallace Beery, and Jim Hawkins will be nothing more to them than young Jackie Cooper. Beery was the obvious choice for the part of the cheerful old rogue, John Silver. As in his other films he can indulge his flair for looking evil and dirty and vile in every way, retaining, in spite of all, his simple charm and sly humour. There is beauty in extreme ugliness, and there is beauty in the ugliness and vileness of Long John Silver. He is really a nightmare pirate figure, exercising a powerful fascination over the boy, Jim Hawkins, but Stevenson gave him a liberal share of twisted humanity and honest, unscrupulousness. Berry fills the part well, without difficulty because it suits him. He is complete in every way, even to the single leg and the parrot, and he is as agile with his murderous crutch as the bird is skilled in squawking “pieces of eight.” Jackie Cooper has a difficult part to play, but he does it completely. Jim Hawkins was always a vague, impersonal figure, but Jackie Cooper has made him into a well-knit lad in knee stockings and curls. Lionel Barrymore has been used as Billy Jones, the blustering old evildoer with the secret of the treasure in his chest, but, unhappily, he fades out of the picture early. Captain Smollett, who commands the Hispaniola on treasure trove, is played by that competent actor, Lewis Stone, who is used for stock parts probably more than any other man in Hollywood. Ben Gunn, the itching madman of the island, is played by Charles Sale, Squire Trelawney by Nigel Bruce, and Dr. Livesey by Otto Kruger. The photography has been excellently managed, and the settings are good. The romantic background of the sea, a big sailing ship, and the inevitable quota', of “scurvy knaves” from the pirate lairs—toothless, evil, tousyhaired, and strongly armed—all are there. The fights, the pirate flag, the treasure itself, all make this a tip-top school holiday attraction. Another popular film on the same programme is “Mike Fright,” one of Hal Roach’s “Our Gang” releases, in which the youthful heroes are called upon to broadcast the strains of their “Silverscreen Submarine Band.” It is hilarious fun from beginning to end. A Hearst newsreel includes news in the Saar territory, which at the moment is the subject of so much international discussion.

, . THE REGENT. ' “ROMANCE IN THE RAIN.” NEW AND JOYOUS ENTERTAINMENT.' Lilting.music, crisp and racy dialogue, piquant situations, and a charming love affair are delightfully blended in “Romance in the Rain,” the Universal comedy-drama which is to commence its Invercargill season at the Regent Theatre to-day. The film goes with a swing from the start, there is no hiatus in the exhilarating tempo, and the last scene, satisfactory to all concerned, comes all too quickly. As an antidote for depression, no more successful picture has been screened in Invercargill for a long period. It is a story of a modem Cinderella, whose dreams come true, when she is taken from a life of drudgery by an enterprising publicity man attached to a magazine that provides romantic stories for the American public. Perhaps the film is most notable for the manner in which it presents Heather Angel, the English actress who was recently given a Hollywood contract. This charming and beautiful actress blossoms out to give a delightful performance as the modern Cinderella whose i dreams come true. She is ideal for the part with her winsome charm. Her acting throughout is excellent., and it is safe to say that her first role in an American production will make her a firm favourite. In spite of a talented supporting cast, she holds the stage, and audiences experience all her emotions of happiness and disappointment. She also reveals an hitherto unsuspected accomplishment—a pleasant singing voice—her two numbers in the film being charmingly sung; Opposite her is Roger Pryor as an enterprising Press agent and fiction writer, who, by winning publicity, raises her from obscurity to fame in a rfight. He has already many successes to his credit, but in “Romance in the Rain” he gives one of his 'best. He is the possessor of a pleasing personality and real acting ability, besides being able to sing a song with the best. Victor Moore, however, almost steals the picture by his delightfully funny role of J. Franklin Blank, the publisher, a querulous soul, with innumerable worries. His comedy is original, and never suffers from overemphasis. In a slight intonation of the voice or a glance of the eyes, he conveys a wealth of implication. Esther Ralston is as beautiful as ever as the publisher’s fiancee, who eventually traps him into marriage, and Ruth Donnelly has a sympathetic role as the publisher’s typiste, who takes an active interest in the happiness of Cinderella. Varied entertainment is provided in the supporting programme, which includes two excellent newsreels, an hilarious comedy, and a cartoon. CIVIC THEATRE. MADE FOR YOUR AMAZEMENT. “STAND UP AND CHEER.”

“Stand Up and Cheer” will head the new programme at the Civic Theatre to-day. Commenting on this film, a northern critic said: The last reel leaves the impression of endless throngs of cheering crowds, of marching, youths, girls, and men, of bands and mass demonstrations on an unsurpassable scale. This. comes as the climax to. an hour and a-half’s- entertainment almost bewildering in its variety. Even without the crowds, this picture could not fail to arrest attention. It has nearly a dozen eminent players in the cast, a regiment of shapely chorus girls, singers, and, skilled acrobats. Take such stars as Warner Baxter, James Dunn, Madge .Evans, Shirley Temple, Stephin Fetchit, John Boles, Nigel Bruce, Ralph Morgan and Arthur Byron—here, is talent enough to delight the heart of any producer, and the only

difficulty is to make full use of it. Outside America the attempt would never have been made, but in this case it was necessary to impress millions with the success of a simple plan to conquer depression by a spirit of gaiety. As a musical comedy show, “Stand Up and Cheer” is adequate entertainment, though the story which threads through it is scarcely more than an excuse for the production of the picture. The leading parts are played by Warner Baxter and Madge Evans, who do their best with the story end of it; the others are a rich range, from John Boles to little Shirley Temple, a four-year-old who by a pleasant miracle is neither raucous no precocious, and sings and dances with a naturalness which, combined with outstanding talent, makes her the queen of the entire production. Briefly, the theme of “Stand Up and Cheer” is that the American administration comes to the conclusion that what the country needs to lift it from the depression is a laughter epidemic. To this end, a new department is formed, the “Department of Amusement,” and in charge of it is placed a famous showman. The departments tests out artists, and sees to it that only the best and brightest of entertainment is put before the public. Some attempt is made to wreck the department by business interests which have made money in consequence of the depression, but the department carries on the good work to a triumphant conclusion. Warner Baxter has not much. scope for his powers in the role of the head of the department, but he makes the most of such opportunities as come his way, and Madge Evans, as his secretary, attractively helps to iniect romantic interest into the film. John Boles and Sylvia Froos sing to advantage, and others of the principals are James Dunn, Nigel Bruce, Arthur Byron, Ralph Morgan, and Jimmy Dallas. There are some particularly catchy song hits in “Stand Up and Cheer,” including “I’m Laughing” and “Broadway’s Gone Hill-Billy,” and there is a series of lavish spectacles and stage scenes in which every detail helps towards the full effect. The supporting films include two Fox News reels, “Mad House” cartoon, “Byways in Bankok” Magic Carnet. “Chasing the Champions” camera thrill, “Fox Australian News” showing the English girl cricketers in Sydney playing the Australian girls. •

EMPIRE PICTURES, RIVERTON. “FUGITIVE LOVERS.”. AU the sensations of a rapid, thrilling cross country trip are promised by advance reports to audiences at the Empire Theatre when “Fugitive Lovers,” a new Metro-Goldwyn-Mayer ship production, opens at a matinee^today at 2 p.m. In addition tq authentic scenes sho' from : a great trans-Con-’ tinental bus ~as it actuaUy sped from New York to Hollywood, the audience will see the most daring prison break and thrilling .man-hunt screened. The supports- include a comedy, travel talk, Metrotone News and Cinesound Review.