ENTERTAINMENTS

Southland Times, Issue 25302, 4 June 1935, Page 3

ENTERTAINMENTS

' KEGENT THEATRE “CHAINED” . The Metro-Goldwyn-Mayer production “Chained,” which is to have its final screening at the Regent to-night, is a film of outstanding merit, and provided last night’s large audience with outstanding entertainment. Both the principals, Clark Gable and Joan Crawford, have already established .a splendid reputation for themselves in the screen world, and the quality of their performance in the present film undoubtedly brings them fresh laurels. But although due praise must be given them, Otto Kruger as Richard Field, portrays the New York business man and husband to whom Miss Crawford as Diane Laverly finds herself so unfortunately “Chained,” with such rare skill that his performance also calls for special notice. “Chained” shows to excellent effect the acting ability of Joan Crawford. Though more subdued than in some of her earlier films she is just as appealing and convincing. Her personal appeal is capitalized to the fullest extent and her exquisite gowning gives the enterprising cameramen ample opportunities to show her in attractive studies. The story is a thoughtful development of the theme of a beautiful young woman who has gained the love of a man many years her senior, whose life has no regard but for the social standing her marriage gives her. On a sea voyage she finds a new lover in a

young horse-breeder from the Argentine. The treatment of the plot is not too obvious, nor is it too serious. There are many piquantly amusing situations. Stuart Ei-win shines in these, his liking for lonely females on the lines setting the wheels of fate turning and the audience laughing. Clark Gable, besides playing the part of the young lover to excellent effect, adds materially to the mirth-provoking part of the film. Otto Kruger again shows his class as a character actor by making a distinct success in a quiet and restrained way of the part of the older lover. The story takes many unexpected twists before reaching its happy ending. The settings for the story are very pleasing indeed; they change from the luxury of New York and a sumptuous liner to the fine open-air scenery of Argentina. Excellent background is provided for the performances of the nlayers. Indeed, the whole picture, from the point of view of production, is handled with a skill that shows the I utmost appreciation of what are the exact abilities of the cast. The supports, too, are excellent. “BEHOLD MY WIFE.” SYLVIA SIDNEY-GENE RAYMOND. A unique story, cleverly turned, excellently acted, beautifully staged—that is “Behold My Wife,” Sylvia Sidney’s new starring Paramount picture, which is coming to-morrow to the Regent. Miss Sidney, who has q played a variety of nationalities in her screen career, is this time cast as an Indian maiden and she brings all the charm, all the petite wistfulness to the role

that audiences have come to expect ot her. She is more than capably supported by Gene Raymond who plays opposite her. The cast includes those two favourites, H. B. Warner and Laura Hope Crews, in addition to Juliette Compton, Monroe Owsley and Charlotte Granville, among others. Raymond is cast as a wealthy son of wealthy parents, madly in love with a girl from what his family regards as a “lower social stratum.” Their efforts to break up the affaii - drive the girl to suicide, and Raymond, broken-hearted but infuriated, leaves his home vowing vengeance. Numbed by his tragedy, he drives his car grimly across the country, to crash it, finally, in New Mexico. There he meets Tonita, the Indian girl played by Miss Sidney. An idea strikes him—what better way to revenge himself on his family than to marry her—to bring this “savage” back to their exclusive salon as his wife. This he does —and what follows is a sometimes grim, sometimes amusing, sometimes tragic, but always dramatic denouement. Miss Sidney’s brilliant performance is a satisfying climax to her work in “Ladies of the Big House,” “An American Tragedy” and “Madame Butterfly.” She is always fresh, always charming, and—above all—always sincere. Raymond gives a magnificent performance as the tragedy-stalked boy, and H. B. Warner, as usual, is suave and convincing. The work of the entire cast makes “Behold My Wife” one of those pictures which you just can’t afford to miss. \ CIVIC THEATRE. “LET’S LIVE TO-NIGHT.” Now showing at the Civic Theatre is “Let’s Live To-night,” a light-hearted comedy-drama co-starring Lilian Harvey, diminutive foreign actress, and Tullio Carminati, debonair cosmopolitan star. “Let’s Live To-night” is a Columbia production directed by Victor Schertzinger, who recently made “One Night of Love,” starring Grace Moore, 'for the same organization. Carminati enacts the role of a charming man-of-the-world who believes no one should take love seriously after his twentyfirst birthday. But he has difficulty living up to this tenet when he meets Miss Harvey, cast as an attractive young girl eager for romance. They meet by chance in the Casino at Monte Carlo, continue their acquaintance aboard Carminati’s yacht, and are reunited at the carnival in Nice. But other plot complications enter, with Carminati’s idealistic young brother, played by Hugh Williams, falling in love with Miss Harvey. To make matters worse, Tala Birell, cast as a sophisticated noblewoman, refuses to relinquish Carminati. Just how all these factors develop is a credit to the ingenuity of Bradley King, who wrote the original story, and Gene Markey, who prepared the screen adaptation. Others in the strong supporting cast include Luis Albemi as Carminati’s valet, Janet Beecher as Miss Harvey’s mother, Arthur Treacher as a gossipy columnist, Gilbert Emery as an Indian Maharajah, and Claudia Coleman as an entertaining matron. The supports are exceptionally fine and include “Gum Leaves” comedy and “Stage Struck” cartoon. The latest Australian Fox News and a coloured rhapsody entitled “The Shoemaker and the Elves.”

TO-MORROW.

“THE WHITE PARADE.”

One of the most human, compelling and dramatic screen narratives in years, Jesse L. Lasky’s “The White Parade,” opens to-morrow at the . Civic Theatre and is hereby recommended as superlative entertainment. It is a story with a soul! “The White Parade ’ may safely be described as an extraordinary picture. Extraordinary not only in its material, but in the approach of Director Irving Cummings and Producer Lasky to the telling of their story. It is a gripping and a poignant drama, and the manner of its presentation—buoyant, easy, skilful—is a distinct contribution to screen history. Loretta Young offers a masterly performance as the young student nurse who is the heroine. The film follows her schooling from the day of her enrolment, until just graduated, she has to make her choice between the man she loves, John Boles, and the service whose true meaning has be‘come every day more dear to her. John Boles contributes a splendid characterization as the rich young suitor who, baffled by the elusive secret of these girl nurses, seeks to persuade her that her life lies with him. There are memorable performances also by Dorothy Wilson, Muriel Kirkland and Astrid Allwyn, among the heroine’s comrades, and by Jane Darwell and Sara Haden, as veteran nurses who are their superiors. “The White Parade” has been adapted by Sonya Levien and Ernest Pascal from a screen story by Rian James and Jesse Lasky, jun. This last in turn was based on Rian James’s novel of the same title. Jesse L. Lasky has always been a pioneer. His own career parallels in many respects the history of the motion-picture industry. It was Lasky who gave such a picture as “The Covered Waggon,” the first great picture of the west, and “Wings,” the first great picture of the air. Now, in “The White Parade,” he has created a picture which for originality and drama will, we think, stand unsurpassed when it is as old as “The Covered Waggon.” If it’s something

new you want, and something enthralling, don’t miss “The White Parade.” A great picture. THE MAJESTIC. “LIVES OF A BENGAL LANCER.” A REMARKABLE PICTURE. “Lives of a Bengal Lancer” is showing to crowded houses at the Majestic. Men’s comradeship in the barracks and on the fields of sport and battle, is quite as noble a. theme, and one that cannot be assailed by the “suggestiveness” that creeps into too many pictures. Femininity is represented by Kathleen Burke, who has, however, a very small part. The picture is true to its name—an episode in the history of the 4th Bengal Lancers, engaged in keeping order amongst the turbulent tribes on the North-west Frontier of India. There are thrilling scenes of intrigue and warfare, and exciting chases after wild pig, the one being no more dangerous than the other. There is humour, too, in plenty, though some of it is tinged with grimness, as when two brother officers try to keep up their courage by mutual bickerings as they lie in a dungeon in an Afghan stronghold, waiting to be tortured. Although Gary Cooper is credited with the leading role,. as Alan McGregor, hot-headed, kind-hearted Scots-Canad-

ian, Franchot Tone and Richard Cromwell, as two junior officers of the regiment, divide the honours evenly with him. In barracks, Cooper and Tone bicker incessantly, though the latter’s perverted sense of humour nearly brings him to grief when, to annoy the the other, he insists on trying to play Scots airs on a snake-charmer’s pipe, saying that the music is very like that of the bagpipes. His playing lures a cobra into his room, and he has to play in deadly earnest until Cooper comes to his rescue. One of the regiment’s tasks is to hunt down Mohammed Khan, a daring hill robber, who has defied British arms for years. The outlaw captures Cromwell, and takes him to his stronghold, and the other two officers, disguised as native merchants, make their way thither in the hope of rescuing him. Recognized by the outlaw, they are imprisoned and tortured until one of them breaks down and tells Mohammed Khan the route by which a consignment of ammunition, on its way to a friendly ruler, will be taken. His capture of the ammunition train, however, is nullified by the self-sacrifice of the captives, who, at heavy cost to themselves, break out of prison, turn a machine-gun on the Khan’s men, and blow up the magazine, making a breach in the defences of the fort through which the Lancers can. enter. The supporting films are of an equally entertaining character.