ENTERTAINMENTS

Southland Times, Issue 25307, 10 June 1935, Page 12

ENTERTAINMENTS

REGENT THEATRE “THE OUTCAST LADY” “The Outcast Lady,” the picturized version of Michael Arlen’s widelydiscussed best seller, ‘‘The Green Hat, drew a large attendance to the Regent on Saturday night and certainly the intensely human drama made a profound impression upon all. Constance Bennett rises, to emotional heights in almost faultless manner. Indeed though she is ably supported by a cast of notable players, particularly Herbert Marshall, Mrs Patrick Campbell, Elizabeth Allen and Ralph Forbes, each of whom has an important part, the success the picture enjoys can be largely attributed to her acting, in the sincerity of which the exploitation of personality seems forgotten. Another fine characterization is provided by Herbert Marshall, cast as Napier Harpenden. Iris comes from ill-fated stock and she, too, is to appreciate how much truth there was in, “The fates do not let the Marchs off anything.” The opening sequences, however, strike a brighter note for a beautiful romance springs up between Iris and Napier. Opposition to the love match comes from Napier’s father, Sir Maurice, who cannot overlook the hereditary mad streak in the March family and who fears a wreckage of his son’s career. Also very much devoted to the generous-hearted girl is Boy Fenwick (Ralph Forbes), whom Iriss brother, Gerald, worships. In an endeavour to establish his financial position, Napier, attached to the Colonial Service, goes out to India. The yei\rs pass ... his letters become fewer and more despondent . . she marries Boy. Fate then plays out of its scurvy tricks and Iris- learns of a grave incident of her husband’s earlier days. As an atonement, he takes his life. It is here that the film begins to mount to dramatic heights of great intensity. The characteristic courage of the girl-wue finds a respondent note in a tremendous sacrifice for, rather than shatter her brother’s idol, she allows the world to assume Boy committed suicide because of her own unworthiness. Ostracized by society, shunned by _ those nearest and dearest to her, she is cast beyond the pale, but always she masks a broken heart by a superficially bright exterior. Then Napier _ learns the truth, but he has married in the meantime. Rising to a powerful climax, the picture becomes more vividly impressive than ever and establishes itself as a memorable drama indeed. Some, excellent close-ups of Princess Marinas wedding are the highlight in an interesting newsreel, “Citadels of the Mediterranean” is an excellent travelogue, Charlie Chase runs amuck in characteristic style in a bright comedy. These “shorts.”'with an Oddity, round off a tip-top programme. CIVIC THEATRE. “BROADWAY BILL” OUTSTANDING. SUPERB ACTING. All the colour and excitement, all the joys and sorrows so inextricably bound up in horse-racing, are to be found in “Broadway Bill”—a picture which should attract as many people to the Civic Theatre as throng the Riverton racecourse at Easter. It is a story of a careless, happy-go-lucky c fellow, Dan Brooks, whose heart is in racing, but who is forced by his father-in-law to take up the uncongenial task of manager of a paper-box factory. The father-in-law, J. L. Higgins, controls everyone and everything in Higginsville and his word is law- to everybody except his youngest daughter, Alice. She is his only unmarried daughter and as such is a constant source of irritation to her father, who desires another son-in-law to take charge of one of his numerous businesses. His other five daughters all have good docile husbands who regard J. L. Higgins with that awe which the old man finds so flattering. Alice, however, has been sowing the seeds of revolt in one of them, Dan Brooks, and they soon bear fruit. In a magnificent scene Dan upsets the cloistered quiet of a family reunion by informing his father-in-law that the paper-box business will see him no more. He is going to take his wife and depart for the south, there to indulge his passion for the racing game. His wife, however, refuses to accompany him and Dan sets out in an old truck with his horse, Broadway Bill, and his stable-lad “Whitey,” a cheerful negro. He is followed by Alice, who is secretly in love with Brooks and is , anxious for him to succeed. From, this stage, the story moves on at a lively pace and’ several delightful new characters are introduced. The “Colonel and “Happy,” with Dan, Alice and Whitey are determined that Broadway Bill shall win the Derby, but the odds against them are very great. They have no money and their efforts to raise the 500 dollars required to enter the horse in the race meet with little success. Alice, who hides her love for Brooks under a gay exterior, is finally the means of getting the horse to the starting post for the big race and there ensues the most exciting race ever filmed. There are further thrills before the saga of Broadway Bill reaches its novel conclusion. Warner Baxter gives a magnificent performance as the carefree racing man, Dan Brooks, while he receives invaluable aid from Myrna Loy, who is seen as the rebellious young girl in love with her sister’s husband. Bright featurettes form an admirable prelude to the main feature. THE MAJESTIC. “GREAT EXPECTATIONS.” UNIVERSAL’S MASTERLY PRODUCTION. How admirably the novels of Charles Dickens lend themselves to screen adaptation was realized by the enthusiastic audience of the Majestic Theatre on Saturday when for nearly two hours they witnessed “Great Expectations” as produced by Universal Pictures. The thought that must have been uppermost in the minds of most members of the audience was the privilege which the present generation enjoys in being able to see the immortal characters created by Dickens come to life not in imagination, but in reality. A heavy responsibility rests on those film corporations which have the temerity to produce a Dickens novel, for these books are a rich heritage of the Eng-lish-speaking world. Fortunately Dickens is as much appreciated in the United States as in Britain, and fortunately also the producers of his novels have taken their task with a conscientious attention to veracity and atmosphere which saves such films from being a travesty of the real thing. In “Great Expectations” a certain amount of liberty has been taken in shortening and sweetening the ending, but in all other respects the story has been faithfully followed and the setting skilfully reproduced. It'is probable that there are in Southland, as elsewhere, a good many smart young people who have not read Dickens and who imagine that he is rather a dull preacher. If they go to see “Great Ex-

pectations” they will speedily be disillusioned, for it is brimful of action and excitement. Dickens certainly wrote with a purpose, but there was nothing anaemic about his stories and the opportunities for thrills presented®in his books are not over-looked by film producers. While “Great Expectations” should be thoroughly enjoyed by the most modem products of this sensa-tion-mongering age, it will make still greater appeal to the true Dickens lovers. And from the point of view of acting it is unparalleled. As Magwitch, the escaped convict whom Pip befriends and who shows his gratitude in such a way as to make Pip a young man of “great expectations,” Henry Hull is superb. Whether as the poor felon fleeing from the hulks or as the benefactor who returns from Australia a rich man, his every word and gesture ring true. Jane Wyatt makes a charming and convincing Estella, Phillips Holmes a likeable Pip and Florence Hale a Miss Havisham who vividly recalls the eccentric gentlewoman in the book. The other parts are most successfully filled, the photographic effects, including that of the search for the convicts in the fog, are excellent and the 'whole film a masterpiece. The .first half is necessarily short, but it is extremely good. A Walt Disney symphony entitled the “Fox Hunt” is a clever and amusing satire on the sport, while a special coloured cartoon, “The Jolly Elves,” is one of the most charming shorts ever thrown on the screen. Finally there is a Graham McNamee newsreel which in spite of being antediluvian, is interesting.