ENTERTAINMENTS

Southland Times, Issue 25313, 17 June 1935, Page 4

ENTERTAINMENTS

CIVIC THEATRE / “KENTUCKY KERNELS” “Life is real, life is earnest,” some dour person once observed; but the poor man could never have witnessed the celluloid capers of Messrs Wheeler and Woolsey. These two cheerful lunatics seemingly consider life to be one mad, merry jest and—in their own inimitable fashion—do their best to foster this spirit in motion picture audiences the world over. It was in a mood of joyous anticipation, therefore, that a large crowd made its way to the Civic Theatre on Saturday night to see these high priests of mirth in their latest picture. Expectations were more than fulfilled for the film—" Kentucky Kernels”—affords the two more scope than their previous vehicles and the result is some two hours of hilarious excitement. What is more they have adopted a junior partner one “Spanky” McFarland, who also believes that film audiences should,have no occasion for gloom. “Spanky” is a mischievous imp with a flair for pantomime that is reminiscent of the Jackie Coogan of “The Kid” days. He is seen as an infant to whom life is just one merry round of glass breaking. The sight of windows, windscreen or glasshouses brings a wicked grin to his face, a stone to his hand, and he listens to the musical “crash” that inevitably follows with the boredom of the true artist. This gifted youngster is thrust upon Messrs Wheeler and Woolsey by a person who had intended to adopt him, but who quickly repents this decision Wheeler and his confrere are out of work magicians grimly striving to keep the wolf from the door, but they are unprepared for this unorthodox visitation of the stork. They are not discomposed for long, however, and when lawyers arrive with the information that Spanky is the heir to a vast estate in Kentucky the two decide that guardianship has its compensations. The trio depart for Kentucky—a state where the women are noted for their charming drawl and the men for their quickness on the draw —and land into the middle of a deadly feud. The feud is between two families, the Wakefields and the Milfords and Spanky is a Milford. The result is obvious: guns bark and blood flows. Wheeler and Woolsey enter into the spirit of the thing, however, and the bloodiest battle would become ludicrous with these two in the thick of it. At one stage the two magicians arrange an armistice, for Wheeler has fallen in love with the daughter of Colonel Wakefield and shooting at a girl’s father is hardly conducive to winning her love. For a time all is soft music and charming love scenes in which some delightful singing is heard. And then Spanky’s proclivity for glass smashing causes a renewal of hostilities, tl e feud becoming still bloodier. Scenes of really inspired foolery follow and it would be a dull clod who did not succumb to the well nigh uncontrollable mirth engendered by the antics of V. .eeler, Woolsey and Spanky. They enter into the story with zest and as the picture proceeds they reach glorious heights of comic acting. There may be more polished actors who win the polite sniggers of the ultra-sophisticated, but for those who desire humour that is not based on timid naughtiness in the boudoir, Wheeler and Woolsey are, allsufficient. In “Kentucky Kernels” they have discovered pastures new in the land of mirth and those who omit to see the film will miss .ome of the trickiest comedy ever screened. Outstanding featurettes, which include a cartoon, a comedy and an interesting travelogue dealing with modern Russia, combine to make the present programme one of the best ever screened at the Civic Theatre —and that is high praise indeed.

THE MAJESTIC. “MURDER IN THE CLOUDS.” MAGNIFICENT VIEWS OF ’ JUBILEE. If the wagging tongues of satisfied patrons do not attract large audiences to the Majestic to-day and to-morrow it will be surprising, for the fare offered on Saturday was most palatable. Probably a good many of Saturday’s capacity audience went to the theatre expecting to see a reasonably good first half and a fairly thrilling drama of aeronautics. To their agreeable surprise they discovered that “Murder in the Clouds” was the best aerial drama yet presented 'and that the first part of the programme, containing as it did magnificent views of Jubilee Week in London, was in itself well worth the price of admittance. Warner Brothers have departed from the usual in producing “Murder in the Clouds,” the result being an absence of the rather boring, droning, looping and zooming of films featuring the aeroplane. Stunts there are in plenty, but they are cleverly woven into the theme of the picture which deals with the deeds of a band of international spies who stop at nothing to steal a chemical formula for a high explosive which the United States Government is sending by plane from the West Coast to the War Department in Washington. Thrill follows thrill jn the subsequent battles between army planes and that of the fleeing robbers. Planes are shot to the ground and airmen are seen parachuting from their flaming ships. The picture also carries a stirring romance in which two air pilots fight for the love of an air hostess, one of them kidnapping her by plane, with the other giving chase. For the first time Lyle Talbot, although constantly playing leads, has been given the principal role, that of a daredevil air pilot who eventually is instrumental in smashing the band of conspirators. It is a highly dramatic part and Talbot handles it with unusual talent. Ann Dvorak is charming as the pretty hostess who is kidnapped by a suitor who really belongs to the band of spies. She also does some death defying stunts in driving her car at breakneck speed when searching for a brother believed to have been blown up in a plane. Gordon Westcott forms the third side of the romantic triangle, and gives an excellent performance as a dastardly villain in league with the band of conspirators. The photography deserves special mention. Paramount’s pictures of the King’s Jubilee cannot fail to fill hearts with a glow of pride in living (under the British flag, and cannot fail to bring home to dwellers in this distant part of the Etnpire the unswerving affection of Londoners for the King and Queen. Their Majesties are seen driving from Buckingham Palace through the densely thronged streets of the city so brilliantly adorned for the occasion. They are shown in St. Paul’s during the Thanksgiving Service and at Westminster during the presentation of loyal addresses from the Lords and Commons. The Lord Chancellor, the Speaker and the King himself are heard reading their addresses—and without any so-called English accent aped by foolish colonials. The film should be missed by none: every school child should be afforded an opportunity to see It. Completing the programme is a clever cartoon based on popular magazine titles, an interesting “Believe it or not" and two newsreels.

THE REGENT. OUTSTANDING PROGRAMME. FEATURE FILM AND SUPPORTS. The programme at present screening at the Regent is an outstanding one. “Mrs Wiggs of the Cabbage Patch,’ the feature film, provides very complete and satisfying entertainment, while the supporting items, especially Paramount's official record of their Majesties’ Jubilee celebrations in London, will remain long m the memory. The main offering admirably preserves the spiri. of the book—its humour, its moments of tenderness and, above all, its picture of a family who remain happy in spite of distress and poverty. The producer, David Zukor, has done his work well, and has carefully avoided heartrending scenes that could easily have crept into a film of this nature. To numerous. Americans the name of Pauline Lord' immediately conjures up vivid memories of many stage successes. In this production she plays the part of Mrs Wiggs, and displays the very great talent that has endeared her to audiences in the U.S.A. At home with her sons and daughters; at the song and dance revue which she attends through the kindness of a newspaper philanthropist and at the hospital where her boy is fighting for life die is always Mrs Wiggs—ever- . patient, ever-cheerful. Miss Hazy, the great friend and neighbour of Mrs Wiggs who reads the matrimonial advertisements because she desires a husband, is portrayed by Zasu Pitts. She is very much at home in her role of the excitable spinster, and provided Saturday night’s audience with many hearty laughs. W. C. Fields gives a capital study of C. Ellsworth Stubbins, the old mime who marries Miss Hazy because of her supposed excellent cooking. This part could have been easily overacted, but Fields does not strive after effects. The romantic interest is supplied by Evelyn Venable, a very beautiful young woman who lends the Wiggs, family a helping hand on more than one occasion, and by Kent Taylor, her lover, who also assists the Cabbage Patch family. Evelyn Venable is making excellent progress in talking pictures, and undoubtedly she has a very promising future before her. The boys and girls who comprise the Wiggs family are all very well cast. They register sorrow when they learn there can be no thanksgiving dinner because their mother has not received her washing money, they express great joy on the evening they attend the theatre and join in the celebrations which take place when Miss Hazy is married with gusto and spirit. During the screening of “Mrs Wiggs of the Cabbage Patch” each member of the audience really lives with the Wiggs and actually becomes one of the family. For this reason alone the film should be witnessed by everyone who follows with interest the latest productions of the talking screen. And now a word in praise of the supports. The programme opens with a comprehensive news-reel. Interesting Paramount varieties follow and then Betty Boop, now decked in gorgeous colours, shows how Cinderella married a prince in spite of the opposition of the ugly sisters. The Silver Jubilee celebrations in London form the subject of the final supporting film. The scene on Monday, May 6, when, in brilliant sunshine, the King and Queen drove from Buckingham Palace to St. Paul’s Cathedral to join with a great congregation representative of the nation and the Empire to give thanks for the completion of the 25th year of his Majesty’s reign, is shown with startling clearness. This historic picture concludes with views of the Westminster Hall ceremony on Thursday, May 9. when the King and Queen received addresses of congratulation from the two Houses of Parliament. MATAURA REGENT THEATRE. All the thrills of the circus are to be had in “Red Waggon,” British International Pictures’ great picturization of Lady Eleanor Smith’s epic romance of circus life which comes to the Mataura Regent Theatre to-night. A great story is crammed full of action, thrills and romance. Charles Bickford, Greta Nissen and Raquel Torres head the cast.