ENTERTAINMENTS

Southland Times, Issue 25306, 8 June 1935, Page 9

ENTERTAINMENTS

CIVIC THEATRE “BROADWAY BILL” “Broadway Bill,” a Frank Capra production, opens a season at the Civic Theatre to-day. The picture Is, frankly well worthy of a better name, for the mere title “Broadway Bill,” suggests nothing of the appealing screen romance that is contained in this fine film. Based on a story by Mark Kellinger and written by Robert Riskin, who collaborated with Capra on his two previous successes, “Lady For a Day,” and “It Happened One Night,” “Broadway Bill” sets a standard of screen entertainment that will not easily be equalled. Warner Baxter’s “Dan Brooks,” the racing man, is his finest screen characterization since the Cisco Kid in “In Old Arizona,” while Myrna Loy is a delightful revelation, a new and greater screen personality. The story itself is a simple one—it is all in the manner of telling it, and it is here that Capra displays his genius. Horses form the essential background, and “Broadway Bill” himself is a horse, and not a New York tough, as might be supposed; a horse with a mighty heart; a horse that must inevitably remind New Zealanders at least of the unconquerable Phar Lap. All the excitement, the tension, the bustle, and the betting of a huge race meeting is vividly portrayed, and it is done in such a way that even those who are least interested in racing as a sport must react to the thrills of this lively film. “Lively” is perhaps the word that fits it best, not necessary in the sense of action, and there is plenty of that, but in the very characters of the people and the atmosphere of the whole story. Dan Brooks is a young man who married into the family of J. L. Higgins, who controls everyone and everything in Higginsville. His word is law to everyone except Dan, whose interest in business is absolutely negative. Dan’s interests lie in horses, freedom, and everything that is the antithesis of hidebound Higginsville, and the entire Higgins clan sneers at him—all except the youngest sister Alice (Myrna Loy). Dan finally kicks over the traces, and with him goes his horse “Broadway Bill,” and the coloured groom Whitey, an unfortunate figure in the story. Unknown to Dan, there goes with him also the devotion and sympathy of Alice, his young sister-in-law. The developments thpt follow are filled with drama, pathos, and there are few in the audience who can remain altogether firmly planted in their seats while “Broadway Bill” leads the field past the judges’ box in spite of the strenuous efforts of a crooked jockey to pull him. Another pleasing measure of the picture lies in the fact that it is suited to all tastes and ages. It is clean and wholesome, and its entertainment value is 100 per cent. The large and talented cast acquits itself admirably. The first half of the programme is also of an exceptionally high standard, and includes an interesting Fox Movietone News. There is also a beautifully-coloured Disney cartoon depicting the adventures of a two-year-old after he falls down a well. The box plans are at the theatre and Begg’s. THE MAJESTIC. “GREAT EXPECTATIONS.” DICKENS’S CHARACTERS ALIVE. If Southlanders could realize how vividly the unforgettable characters in Charles Dickens’s “Great Expectations” are thrown on the screen by Universal Pictures they would not rest content until they visited the Majestic during the present session. That was the conviction reached by a Southland Times reporter whose pleasant task it was last evening to review this magnificent production. Charles Dickens may, in this ultra-modern age, have some detractors; but the great bulk of the people are discriminating enough to regard him as one of the greatest of British novelists. It is therefore an occasion of exceptional interest when one of his books should be vivified by means of that amazing product of the century, the talking picture. “Great Expectations” is all that it has been claimed to be—and a great deal more. The closest examination will merely accentuate the brilliance of this production in all departments. The photography is notably impressive and in places startlingly effective, especially in the scenes where Magwitch appears. The attention which has been paid to detail has never been surpassed in any film production, each “shot” and sequence being really a marvel of technical accuracy. It would be foolish to expect the original story of “Great Expectations” in its entirety upon the screen which is definitely limited in its scope but the film which has been produced is nothing short of marvellous in the way it reflects the real authentic spirit of Dickens’s narrative. The story concerns the life of a boy reared in poverty, with no education, being brought up to be a “gentleman.” He befriends an escaped convict, and later receives a large sum of money for the purpose of his education. He comes in contact with a young woman, the ward of an eccentric old woman, and instantly falls in love. However, the girl has been brought up against love, and the unusual circumstances leading up to his overcoming this barrier to happiness, in which he suffers many disappointments owing to his friendship and loyalty to his benefactor, form the basis of a very fine story. Henry Hull, who portrays the part of Magwitch, the escaped convict and benefactor, gives one of the most vivid and poignant characterizations seen on the screen for some time. Phillips Holmes’s version of “Pip,” the “gentleman,” is a role quite suited to his talents, while Jane Wyatt, as Estella, brings her stage experience to bear on a brilliant piece of characterization. Fine performances by Florence Reed and Alan Hale also tend to the success of the film. THE REGENT. HERBERT MARSHALL AND CONSTANCE BENNETT. “OUTCAST LADY.” It will be remarkable indeed if “Outcast Lady,” which is to have its premiere at the Regent ’Theatre to-day, does not remain lifelong in the memories of thousands of people as one of the finest film dramas ever screened. Built on the foundations of a “best seller” in novels, Michael Arlen’s “The Green Hat,” it assumes similar status in the domain of the screen. The production is particularly notable for the outstanding work of Constance Bennett, who displays a rare power of handling emotional situations with feeling and restraint. This beautiful actress is the inspiration of the piece. Rarely has she reached such heights with her art. She is an innocent, but she is bom of illomened stock, and she finds herself exposed to the thrusts of outraged pride, of misbelief, and of misrepresentation. Yet she has her own pride, a far more noble thing than the pride of those who would cast her beyond the pale, a pride that she places above even life itself. Dramatic though the tale is, Constance Bennett probably achieves so much success in her interpretation simply because she acts so naturally. The picture revolves around the love of Iris March (Constance Bennett) for Napier Harpenden (Herbert Marshall). One member of the March family once said,

in a bitter moment, that the fates did not let the Marchs' off anything. They are people of intense feeling, Iris being further endowed with a great courage and a fine sense of the response of a gentleman in dealings with friends. In love with Napier, she is loved by Boy Fenwick (Ralph Forbes), who is the object of the hero-worship’ of Gerald, Iris’s brother. Napier’s father, Sir Maurice, is opposed to his son’s marriage with Iris, fearing the wreckage of his career and the slight strain of madness with which the Marchs pay for their great personal attractions. Napier insists, but claiming that he must first establish his financial position before they can be married, goes to India with his father. Four years pass, his letters become more and more despondent, and Iris feels that she will never see her hopes fulfilled. She marries Boy, Napier arriving home just after the wedding. Chance discloses a damning incident of her husband’s earlier. days; and he, in despair, commits suicide, and to ensure that her brother’s idol shall not be shattered, Iris allows it to be thought that it was due to her own Unworthiness. Outcast from society, hated by her brother, suspected but still loved by Napier, she plunges into the ■high life of foreign countries, superficially gay but sad at heart, while the world talks scandal. The story moves on, growing in its dramatic intensity to an all-powerful climax. The demands made on the actors by a story of this nature are immense. While chief honours go to Constance Bennett, fine performances are also given by Herbert Marshall, who acts with dignity and restaint, and Hugh Williams, the neurotic brother of Iris. “Outcast Lady” is a splendidly acted film with a peculiarly absorbing story. The supports include a travelogue of the Mediterranean, comedy, oddity and newsreels, completing an ideal entertainment. GORE REGENT THEATRE. Edna Ferber’s intriguing exposition of the eternal triangle, “Glamour,” is the main feature of the double programme showing at the Gore Regent Theatre to-night and on Monday. Constance Cummings and Paul Lukas play the leading roles. Also showing is “The Show-Off,” featuring Spencer Tracy. Madge Evans plays opposite Tracy in this rollicking romance that brings laugh after laugh. MATAURA REGENT THEATRE. The medicos have had their fling in “Men In White,” for M.G.M.; now Fox have chosen to record the trials, tribulations and love affairs of the nurses in “The White Parade,” which is. showing at the Mataura Regent Theatre this evening. The picture deals with the training of student nurses, the theme concerning the career of a young probationer who falls in love with a wealthy young man. Her decision to refuse to marry her lover and devote herself to a life of service makes an interesting climax. Loretta Young and John Boles play the leading roles. OLD TIMERS’ PARTY. Next Wednesday evening the longpromised concert of the Old Timers’" Party will be given in Smith’s Hall. With reasonable prices and a programme full of items by well-known performers, there is no doubt about the appeal the concert will make and added to this there is a wide variety of numbers the popularity of which has been long established. Those who have fond memories of the tunes of days gone by will have a full and satisfying evening, and to the younger people the concert should be a refreshing change. Following the concert, an old time dance will be held. BOY SOPRANO. Before going to Australia to make a series of gramophone records, Master Warwick Humphreys, a brilliant boy soprano is giving a concert in the Civic Theatre on June 27. This lad is a great favourite with northern audiences and his name on a programme means a packed house. Many in Invercargill who have heard him over the radio are looking forward to hearing him from the concert platform. He will be supported by other outstanding juvenile artists giving that variety so essential to the success of a concert programme. Tickets are selling freely and intending patrons are advised to secure their bookings early.