ENTERTAINMENTS

Southland Times, Issue 25283, 13 May 1935, Page 12

ENTERTAINMENTS

MAJESTIC THEATRE “BRITISH AGENT” The picture: “British Agent,” which had its initial screening at the* Majestic on Saturday deals with the little known activities of a British consul-general in a foreign country- Few people who have read that most fascinating book of R. H. Bruce Lockhart’s realized the difficulties to be overcome, the dangers to be faced and the sacrifices that must be made by consular official in time of war. No picturegoer should miss this very human film of the consulgeneral who is forced to. stay in Moscow while the revolution is at its height. Although the film does not follow very closely the original story it is none the less an absorbing and powerful drama, replete with action, suspense, glamour and quiet humour. Russia—land ot great wealth and great poverty, warmhearted people whose hearts, however, are tinged with an iciness that never completely evaporates; music, dancing, costly furs and a ruthless regard for the peasant. No actress could have been more suited to the role of Elena, a beautiful aristocrat in the employ of the dreaded Cheka, than Kay Francis. Her performance is a fine one, but she is not given a great deal of scope. Leslie Howard gives a splendid performance as Stephen Locke, the consul-gen-eral in Moscow. His expressive voice and equally expressive face carry him through a part any less brilliant actor might fail in. Only a fine actress and an equally fine actor could make a success of a role that is narrow in conception and has few situations, to recommend it to an audience which dislikes halting action. That this picture never for a moment palls, never tor a moment loses its gripping intensity, is a tribute to the fine acting of the featured players who are ably . supported by a cast of very convincing satellites. The Russian scenes are faithfully presented in every detail and the costuming and general atmosphere leave nothing to be desired. The story opens in Moscow where Stephen Locke, the British consul-general is situated. During a ball which he is attending he notices the peril of a Russian woman who has shot at, and wounded, one of the soldiers, and manages to save her life. They fall in love with each other and from that moment the trouble begins. Locke and three other young men desire to prevent Russia signing a separate peace with Germany, the consequences of which would undoubtedly be disastrous for the Allies, who were desperately holding their ground against the might of the German offensive. The secret police of Russia, of which Elena is a member, are watching them closely and they are unable to do anything of value for their country. During these trying days Elena and Stephen meet often. Moscow is still a city of wealth, the cabarets are still open and music and laughter have not wholly disappeared despite the revolution and its attendant cruelty and death. Locke’s companions fall under suspicion and are imprisoned by the secret police. Elena is ordered to obtain incriminating papers that would reveal Locke’s support for the counterrevolutionary movement and, despite her personal regard for the man, does so. Locke is forced to go into hiding, but is later accused of shooting Lenin and a price placed on his head. Elena learns of his whereabouts and, putting her country first, betrays him to the Reds. She later hastens to his house, determined to die with the man she loves, but just when the house is about to be blown up, the bells of the city toll out the news of Lenin’s recovery; the Soviet is in firm control of the government; the reign of terror is ended. The supporting films include two musical shorts, included in which is a unique display by a contortionist who seems even more jelly-like than the majority, a particularly clever adagio number and some clever ballet work. One of the clever “Believe It Or Not” series and an interesting news reel round off an excellent night’s entertainment.

THE REGENT. "ROYAL CAVALCADE.” GLORIOUS PAGEANT OF HISTORY. George V. is honoured and respected not because he is “descended of so many Royal Kings,” but for more personal and intimate reasons, and stirring indeed is his Silver Jubilee film, “Royal Cavalcade,” which created a profound impression upon a large audience at the Regent on Saturday night. Years of brightness and shadow, of epic struggle and achievement, of restlessness and never-ceasing change, years which echo with the march of great events, unfold their graphic story in this documentary and fascinating record of the service of a man who, during the most fateful period in the nation’s history, stood as its head. The newsreel was well established when King George came to the throne and, in consequence, the film throws into vivid light again scenes which are now truly historic. The production is alike a tribute to British patriotic instincts and to the place the King holds in the life of his people, and this intensely human document brings to the screen a remarkable pageant of history. The film is in no wise just a series of gazette items, but a dramatic chronicle gloriously creating the story of the Empire upon the broad canvas of the screen. Beginning with the accession of his Majesty, “Royal Cavalcade” describes by deft and rapid touches the outstanding incidents of the days before the war —the pioneer efforts in the air, the outbursts of the suffragettes, the heroism of Scott at the Pole and that “very gallant gentleman”—Titus Oates, the sinking of the Titanic and the social and theatrical life of those times—songs, dances, 1910 music. Then breaks the first real crisis of the King’s reign as Europe is shaken by the thunderclap of war. The film recaptures the spirit of those early weeks, the frenzy of excitement, the patriotic fervour, the response of the nation to the King’s appeal and the eagerness to fight in a struggle which no one dreamed would be prolonged through four grim and terrible years. The thrill of relief which went through France when the first khaki columns, singing “Tipperary” and spreading good humour, landed on French soil is clearly depicted. Quickly the film dashes over to Gallipoli to catch the landing of the Anzacs in the grey dawn of an unforgettable day; then back to Flanders’ fields and to London, where air raids bring the stark reality of war into the lives of women and children. On the home front are seen sisters and wives taking the places of men who have gone. It is their sacrifice in the war and no one can miss the inspiration and courage which lie behind it. The crisis passes and the cavalcade of events tells of a nation anxious to forget. Dancing, jazz, the beginnings of radio, speed racing—all help to drown the memories of war. Then the second crisis of the King’s reign—the coal strike of 1926—paralyses the nation . . . but it passes. Three years later follows the third crisis—the King is stricken with a serious illness and the film gives glimpses of an Empire united in anxiety. The fourth and last crisis is that of the depression, and again the spirit,, of the people reaches its zenith, rising above the adversities of peace. Notable figures who have played their part in the events of these pregnant years sweep across the screen

—statesmen, generals, famous actors and actresses . . . the incomparable Pavlova, George Robey, Elaine Terriss, Harry Tate, Owen Nares and others are brought to the front in this fascinating story. No effort has been spared by the producers in collaboration with the Admiralty and the War Office, to make the picture a worthy record of the King’s reign and behind it all, is a dramatic significance mounting all the while to an intensely moving climax. A New Zealand Tourist Publicity film, “The Magic Playgrounds,” which takes the audience round Rotorua* and Geyserland, has pride of place on the programme, of “shorts,” which, in addition, include interesting Australian ana British newsreels. The whole show is all-British.

CIVIC THEATRE. 2 “MY OLD DUTCH.” A COCKNEY “CAVALCADE.” The opening of the Invercargill season of “My Old Dutch” on Saturday night saw the Civic Theatre once again proving an irresistible lure to the enter-tainment-seeking public. Memories of the grand old song from which the title of the picture is derived must have drawn many of the large crowd that filled the theatre and these people would be more than satisfied. The film captures all the humour and sentiment that is bound up in the song and makes real the story that the words of the lyric suggest. But even those to whom the song is just a relic of the days of crinolines and hooped skirts cannot fail to be moved by “My Old Dutch,” for it is a “cavalcade” of London working people. Noel Coward’s masterpiece was a saga of the upper middle classes, but “My Old Dutch” tells the tale of a simple Cockney family. The story embraces happy days on 'Ampstead ’Eath (rendezvous of every true Cockney), the terror and uncertainty of the war years, the dramatic upheaval of the great strike of 1926, and depicts the fortune of one family in their progress through this period. This family, by their very naturalness, must win their way into the heart of any audience. The opening scenes show the whirlwind coster courtship of two young people, Lil and Bert, who are destined to found the family. After their marriage they take in as lodger one Ern, a hard-boiled specimen of London’s East End, and the three become the pivot round which the story revolves. A son is soon added to the family and he is responsible for revealing that Ern has a heart of gold despite his decidedly rough exterior. Then comes the war and its effect on this household is shown in divers ways. The son enlists, but the father, despite many subterfuges, cannot pass the military examiner. Bert’s efforts to get into khaki are often humorous and sometimes pathetic, but finally he becomes a special constable. These war scenes are remarkably well done. The war takes it toll of the family. The son is killed and his young wife, whom he married just prior to leaving for the front, dies in giving birth to a son. Lil, Bert and the inimitable Em still carry on, however, until the great strike brings further drama into their lives. And so this rich, colourful pageant of London working-class life continues to unfold the destinies of these three plucky figures till finally the story reaches a terrific climax. The casting in the film is superb. Gordon Harker is in his element as Ern and gives the best performance of his career. His sardonic humour and that expressive curl of his lip dominate the film to the last. Betty Balfour further enhances her reputation as one of England’s leading actresses by her delineation of Lil. Comedy and dramatic moments find her equally at home, while her gradual transition from sparkling youth to a mellow old age is very effective. As Bert, Michael Hogan is the sturdy, intelligent Cockney workman to the very life, and he reveals besides that he is the possessor of a fund of quiet humour. The supporting cast, too, is uniformly excellent. “My Old Dutch” must ranked as one of the greatest efforts of British film studios. Admirable supports provide a fitting prelude to the main feature.