ENTERTAINMENTS

Southland Times, Issue 22491, 28 January 1935, Page 3

ENTERTAINMENTS

THE MAJESTIC.

SUCCESS OF “TREASURE ISLAND.

ADMIRABLE ADAPTATION OF CLASSIC STORY.

Hundreds of happy, exultant children with masks hiding their grins of delight came trooping out of the Majestic about mid-day on Saturday. Twelve hundred adults came streaming out at night, with no masks to conceal their exhilaration at having renewed acquaintance with heroes and villains of their youthful days. Men who had read “Treasure Island” before their cheeks knew the rasp of a razor, women who had come under the spell of R.LS. before their cheeks boasted artificial bloom, were wafted back to the careless, carefree days of youth by the magic of Metro-Goldwyn-Meyer’s screen version of this full-blooded tale of hidden treasure and piracy on the Spanish main. One might well have imagined that an American production of this thrilling but ingenious tale might have caused poor R.L.S. to turn in his grave on the hillside at Vailima; but to see the film is to realize that the spirit and atmosphere of the story have been admirably caught by the producer and the gifted cast. One sees figures which one has carried in imagination throughout the years leap to life on the screen as the quest for Captain Flint’s gold involves good men and bad men in perilous adventures on land and sea. There is not a jarring note, even an Americanized Jim Hawkins being acceptable in the person of Jackie Cooper. One after another the familiar figures make their entrances and their exits just as one would imagine R.L.S. would have decreed had he been directing at Hollywood. Looming largest is Wallace Beery as Long John Silver. With a parrot perched on his broad shoulder and the lower part of his right leg tucked so cleverly behind its upper part that one would swear he had in fact lost it, Beery succeeds beyond belief in depicting the likeable but villainous leader of the gang of cut-throats who, in the guise of honest sailors, have been given berths on the good ship Hispaniola. Perhaps at times there is a tendency to overdo close-ups of this superman of the screen, to dwarf the story before his personality; but this can be overlooked in view of his superb interpretation of the cast. As Jim Hawkins Jackie Cooper comes through with credit in spite of his slightly effeminate appearance. Lionel Barrymore fits perfectly into the part of Billy Bones, the blustering, earhaunted, rum-swilling sailor who brings to the Benbow Inn the seachest containing the secret of Treasure Island. Lewis Stone as Captain Smollett, Otto Kruger as Dr. Liversey and Nigel Bruce as Squire Trelawney are equally successful, while Charles Sale as Poor Ben Gunn brings a vein of fun into the bloodthirsty happenings by his search for parasites and his quaint mannerisms. Careful attention to background has made all the scenes most realistic, and in such escapades as fights in the rigging the skilful use of the camera adds considerably to the effect. Altogether it is a film which fulfils the highest expectations and one which should be missed by no boy, girl or adult in Invercargill. “Treasure Island” is such a long picture that only two supports are required, but these two are excellent. A Hearst Newsreel whirls one round the globe until the Saar is reached, and here much valuable information concerning this important territory is imparted. An Our Gang comedy featuring the clever youngsters as musicians in a radio entertainment brings convulsive laughter. In short, no richer treasure has been unearthed in fihndom than that which has been transported across the Pacific to delight the eyes and gladden the hearts of Southlanders who seek adventure within the portals of the Majestic.

THE CIVIC. “STAND UP AND CHEER.” ORIGINAL MUSICAL COMEDY. A sense of decorum and conventional reserve forbids that theatre audiences may give full vent to their appreciation of a particularly bright programme; on this sense a severe strain was imposed on Saturday night, when to “stand up and cheer” must certainly have been the natural impulse of a crowded house at the Civic Theatre. Built solidly upon a superficial story, “Stand Up and Cheer” is really a musical comedy extravaganza, abounding in ballets and “song-and-dance” acts, an endless variety planned and executed solely for the purpose of delighting eye and car. Though the plot serves merely as a background for wholesale gaiety, it is one remarkable in its originality, and one probable only from the mind of modem America.. In the dafkest days of the depression, White House is gravely concerned by the obvious pessimism of the citizens of the United States and the decision is reached that there is an urgent need for a general “pep-up”. To this end the “Department of Amusement” is formed, with Warner Baxter, in the role of a famous showman, honoured with the portfolio of Secretary of Amusement. Baxter is the personfication of organized efficiency. and under his directions hundreds of artists are interviewed, dismissed, and engaged. It is in the arranging of the many entertainment stunts that opportunity is found for the presentation of a colourful array of taler.t. Especially appealing is the “hill-billy” number, “Broadway’s Gone Hill-Billy,” staged on a lavish scale, while humour . is abundantly provided by the rounding up of a “genuine” hill-billy, whose song is something which must be heard to be believed, and by the antics of two “senators” whose serious mien and speech is completely offset by their surprising acrobatic capabilities. John Boles and a fair friend are responsible for a romantic interlude, . while . the captivating sweetness of little Shirley Temple charms all hearts. Thus splendidly supported, the Department of Amusement, despite some attempt by a financial group to effect its downfall, cannot fail to succeed, and the final scenes vividly portray the unrestrained joy of all America when a courier sings the welcome news that the land of the Stars and Stripes is at last “out of the red”; the onlooker leaves with an impression of thousands of cheering crowds, people of all classes and conditions, in a united demonstration of thanksgiving for the prospect of bright things to come. As an example of the enterprise and ingenuity of the American film producer, this picture is one not to be missed. Supporting “Stand Up and Cheer” is a programme of excellent short features, prominent among which is a news-reel showing Lovelock, New Zealand’s mile champion, winding the inter-univer-sities’ mile from Bonthron, the American, in a thrilling finish. A Magic Carpet feature depicts the ancient pomp and pageantry of mysterious

Siam, and there are laughs aplenty from the Terry Toon comedy. Local women cricketers will find interest in the gazette featuring the English women players on the Sydney Cricket Ground, hitting boundaries and taking wickets in a fashion calculated to make the average male player sit up and take notice. THE REGENT. “ROMANCE IN THE RAIN.” IRRESISTIBLE MUSICAL COMEDYDRAMA. With an irresistible blend of spice, haunting music, bright dialogue and joyous laughter, set against the background of a delightful romance, the featured film on the new programme at the Regent, “Romance in the Rain, can be thoroughly recommended. This sparkling comedy-drama is right off the beaten track, and refreshingly so, for its novelty of treatment and its unusual appealing plot provide a very welcome relief in its high entertainment value. Replete with diverting and piquant situations, the film simmers with merriment from start to finish and its humour has that quality of utter cleverness which cannot but make a distinctive appeal to all tastes. The appetite of the most jaded picturegoer must undoubtedly be stimulated by the spice of this gay, sprightly show and its refreshing melodies and Saturday night’s large audience unanimously voted it: “Great!” The musical comedy-romance motif is its dominant feature but some strikingly spectacular, scenes designed with an eye to the greatest possible beauty and effect and the introduction of fascinating and graceful ballets add to the effectiveness of the production. The breezy story opens on the brightest note possible—an enterprising Press agent and fiction writer, at a musical show in search of “colour” and “copy,” finds his attention unpleasantly diverted by a fusillade of pips fired at him through a shooter by two mischievous boys in the gallery. • To add insult to injury, a lady’s shoe next lands upon him. As a punishment, he confiscates the shoe much to the annoyance of its owner, a beautiful girl entirely innocent of the trouble caused him. Develops a charming romance when, spraining her ankle on her way from the theatre foyer into the teeming rain outside, he comes to her assistance. Mainly through his influence, she finds herself transported from a life of drudgery to one of fame; in short, she becomes a modern Cinderella whose dreams have actually been realized. _ Of course, there lies behind this glorious experience for the girl a business interest as it is all part and parcel of an ingenious scheme launched by the agent’s publisher, determined to still further popularize his romantic magazines. But many of the planned situations become gloriously upset and the story has many most amusing twists before the long-looked-for climax to the romantic theme is reached. Heather Angel, the English actress recently given a Hollywood contract, wins all hearts as the sweet Cinderella and her whole being seems to radiate happiness, brightness and joy. As the Press agent, Roger Pryor also gains general favour. He is cynical, amusing, audacious and sure in turn and especially when a rival for the girl’s affection appears on the scene he fights his way to her heart in convincing style. Special mention, too, must be made of the excellent work of Victor Moore as the worried publisher and of Ruth Donnelly, his secretary. The musical score is the most tuneful imaginable and the production is conceived in a mood of utter gaiety and novelty. Fully in keeping with the featured film are the supports —interesting newsreels, a clever cartoon and an hilarious comedy. The programme is tip-top from every angle.